I use 6+8. To me it makes more sense to have F and G as diapasons because they are used more often.
It is probably worth mentioning that Campion, a late baroque source, gives us the historical solution for the lack of a G#: play it up the octave. He doesn't prefer this to the 'Maltot style' though. But, as far as I know, 6+8 was most commonly used as suggested by other (earlier) French treatises and the solo repertoire. One could argue that Maltot's tuning is the result of the change of musical style that France underwent because of the rise of the Italian style in France. This is seen in the French cantatas of his colleagues, such as Clerambault, Bernier, which Campion refers to in his Addition. Shaun Ng Sent from my iPhone > On 21 Feb 2014, at 2:43 am, Luca Manassero <[email protected]> wrote: > > I forgot to mention that I discovered the Franc,ois Campion' quote > thanks to the "Theorbo" page on Facebook :-) > ...and I just checked my own copy (thank you, Andreas!) of Franc,ois > Campion, "Addition au Traite d'accompagnement et de composition par la > regle de l'octave", Paris 1730: the quote can be found at p. 26 and, of > course, was published in 1730, not in 1716 (date of first "Traite > d'accompagnement et de composition selon la regle des octaves de > musique"). > Luca > -------- Messaggio originale -------- > > Oggetto: Re: [LUTE] Theorbo set up > Data: Thu, 20 Feb 2014 15:58:30 +0100 > Mittente: Luca Manassero [1]<[email protected]> > A: [2][email protected] > > Hi, > I am afraid it's a really looooong story. > - Italian theorbos were, as far as I know, always 6 (fretted) + 8 > basses. > - 7 + 7 are kind of hard to find n Museums and collections, but > existed. Extremely helpful when you need an occasional G sharp :-) > - 8 (fretted) + 6 basses are apparently very common nowadays. Not even > one original in museums and collections, as far as I know, BUT > Franc,ois Campion (1716) in his treatise states that most of his > colleagues have a theorbo configured that way and they call it "theorbe > `a la Maltot" from the name of his predecessor at the Royal Academy of > Music. We have strictly no other infos about a musician and theorbist > called Maltot, unfortunately. > Of course this last configuration is very confortable for many good > reasons, as you can finger an F sharp AND a G sharp, plus - of course - > many other chord patterns. > Best, > Luca > Anthony Hart on 20/02/14 13:59 wrote: > > Theorbos can be set up up as 6+8, 7+7 and 8+6. Does anyone have any > preference and reasons? > > Thanks > > Anthony > > -- > > > To get on or off this list see list information at > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > References > > 1. mailto:[email protected] > 2. mailto:[email protected] > 3. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html >
