Hera,
If I may be so bold, I might suggest playing closer to the bridge with
the thumb far out in front of the fingers as the treatises and
iconographic sources demonstrate. I feel that as pluckers in ensembles,
we have to get past the idea of always making a "nice" sound. (not that
you can't make a nice sound with this position.)
I must admit, I have difficulty with this myself. Whenever I try to
project the sound outside the group, I always wonder what my fellow
ensemble members must think of the brash tone, fret buzz, etc. My mind
tells me that it sounds OK in the audience but my heart tells me that
it's just wrong, wrong, wrong.
Chris
__________________________________________________________________
From: hera caius <caiush2...@yahoo.com>;
To: lute net <lute@cs.dartmouth.edu>;
Subject: [LUTE] Re: All about micing...part II
Sent: Tue, Apr 10, 2012 11:26:38 AM
All instruments very authentic copies.
Gamba and violin on gut, historical bows, baroque flute traversierre,
14 course theorbo in A on nylgut and copper and organo di legno (wood
organ)
One example:
[1][1]http://www.youtube.com/watch?v=JfDoomhnUOU&list=UUFoONkd8wBnm1emu
E8y
bClQ&index0&feature=plcp
(recording was made in 2010)
(the quality of the recording is not the best)
--- On Tue, 4/10/12, David Tayler <[2]vidan...@sbcglobal.net> wrote:
From: David Tayler <[3]vidan...@sbcglobal.net>
Subject: [LUTE] Re: All about micing...part II
To: "lute" <[4]lute@cs.dartmouth.edu>
Date: Tuesday, April 10, 2012, 12:58 AM
If you use all original instruments, you will hear the lute fine.
However, if you have thin bridges, heavy bows, thick bass bars,
metal
strings etc on the bowed strings then they will be easily twice
as
loud. And so all of the soft instruments will disappear.
__________________________________________________________________
From: Mathias Roesel <[2][5]mathias.roe...@t-online.de>
To: lute net <[3][6]Lute@cs.dartmouth.edu>
Sent: Mon, April 9, 2012 5:50:11 AM
Subject: [LUTE] Re: All about micing...part II
> there and the music was generally very interesting but I
hear
your
> theorbo only on the solo piece..." (a Kapsberger)...Na...
There's nothing wrong with an audible theorbo in an ensemble,
probably,
but
the thing is, pluckers cannot hold their tones like singers,
viols,
flutes
or organs do. So what should be heard are the impulses of each
chord
or
note
that you play. Profiling the rhythmic structure of an ensemble
piece
is
a
major task of the theorbo, I suppose. And if you're not content
with
that,
there's another way to become audible. You can break the chords.
Not
in
the
way of quick arpeggios, but in regular rhythm. You can try to go
in
consonant intervals alongside the leading part in prominent
passages.
To get on or off this list see list information at
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References
1.
[9]http://www.youtube.com/watch?v=JfDoomhnUOU&list=UUFoONkd8wBnm1emuE8y
bClQ&index0&feature=plcp
2. file://localhost/mc/compose?to=[10]mathias.roe...@t-online.de
3. file://localhost/mc/compose?to=[11]Lute@cs.dartmouth.edu
4. [12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
5. [13]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
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References
1. http://www.youtube.com/watch?v=JfDoomhnUOU&list=UUFoONkd8wBnm1emuE8y
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