----- Original Message -----
From: "Martin Shepherd" <[email protected]>
To: <[email protected]>
Sent: Sunday, January 18, 2015 1:37 PM
Subject: [LUTE] Re: 16th century tuning and stringing
A further thought on the issue of evidence from tablature concerning octave
stringing:
The issue of voice-leading is important in the identification of which
pieces may or may not have used octave stringing, but it is not a simple
matter of the octaves being constantly present or absent - a good player
can emphasize the octave or minimize its effect, while continuing to play
both strings of the course. Octaves introduce some ambiguity into the
voice-leading, allowing some voices to resolve correctly using the upper
octave of a bass course, while being subtle enough that one does not hear
constant octave-doubling where it is not required.
Martin
In my experience players who can do this a few and far between...On the lute
the bourdon is on the thumb side of the course which makes it difficult to
eliminate. It is the other way round on the b-guitar of course.
Yours cynically
Monica
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