If you have octave tuning on the fifth course you can omit b2 and not
lose the note. I've done that with my 6c lute and nobody noticed :) -
the piece was Cutting's Greensleeves.
Bill
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__________________________________________________________________
From: Dan Winheld <[email protected]>;
To: William Samson <[email protected]>;
Cc: Lute List <[email protected]>; Edward C. Yong
<[email protected]>;
Subject: [LUTE] Re: chord fingering
Sent: Mon, Sep 9, 2013 3:56:03 PM
"Excellent practice for jumping in and out of the E-flat chord is Luis
Milan's "Pavana III". He has you jumping back and forth from E-flat to
A-flat at his tempo of "Compas algo apriesa"- somewhat fast."
-Just came up from the lab- tried out the Neusidler 4-finger chord
fingering pattern with the Milan Pavana- works surprisingly well for
most of the piece, forces the 3rd & 4th fingers to do some good work.
Some spots one can do the E-flat chord with a full 1st finger barre
(spots w/o an open 1st-g)- a lot easier for some than the hyperextended
partial barre. One spot requires sacrificing the 3rd course/1st fret
b-flat, but it's a spot that works fine. Near the end of the Pavana is
an E-flat to D-flat chord jump that is wonderfully awkward- not to be
missed! (Or easy to play.)
This was done using a 64 cm. SL vihuela, not quite "double-wide" string
spacing, using the average medium-large fingers fingers that came with
this ordinary production model lutenist.
Dan
On 9/9/2013 8:29 AM, Dan Winheld wrote:
> Bill's got it. Adrien le Roy makes it Kosher- but I would do it
> anyway. Exceptions are the very rare wide, blocky finger tips that
can
> actually cover both courses (FOUR strings!) on the end. When Joseph
> Iadone's name came up a few weeks ago, someone said that he had such
> fingers & could nail those two courses straight away in that fashion-
> makes sense, such fingers are more typical amongst double-bass
> players- and my oldest son is in fact a bass player with such
fingers.
>
> Amongst my students I have encountered those who cannot hyperextend
> the distal joint of the index finger so as to sufficiently clear the
> 1st course; so while they train themselves to eventually- if
possible-
> gain the necessary flexibility (it really is the best- and sometime
> the only way in some pieces- to play the 1st position E-flat chord)
> they either do it 4-finger Neusidler style or drop the 3rd course
> b-flat- always an option!
>
> Far more difficult is the same partial barre done with the 2nd
finger,
> required for an E major chord 1/2 step higher. Dowland, Melchior
> Neusidler, Bakfark, and a few other of the professional heavyweights
> throw that one at us! 3-course partial barre with the 4th finger can
> be useful at the 5th fret for some cadential situations. Only Jazz
> guitarists seem to need that barre using the 3rd/ring finger.
>
>
>
> Dan
>
>
> On 9/9/2013 3:56 AM, William Samson wrote:
>>
>> Hi collective wisdom of lutenists!
>> is there a preferred fingering for this:
>> _0_
>> _1_
>> _1_
>> _2_
>> _3_
>> ___
>
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