My Wandervogellaute 'project' (an unplayable wreck in need of serious restauration) has two strapbuttons in the body.
David On Friday, 2 October 2015, Sean Smith <[1][email protected]> wrote: That's a good observation, Bruno. The string tied to two buttons on the bowl (as was my vandervogl) would not have been visible if it was only attached to a shirt button or hook (tho I doubt that would be the case in all these images). My question is - if a strap isn't being used and the left hand is holding the lute steady while, say, standing - how do you jump positions to play upper frets? For the life of me I've never gotten the hang of that. I know I gas on about the V.lute but one more thing, the bowl is extremely shallow. Its depth isn't significantly deeper - if at all - than a regular guitar. this is very helpful and stable, I presume, if a strap is attached to only the bowl. On the larger semicircle bowl of a Gerle, wouldn't the lute would simply roll down (belly facing the floor) causing a constant battle to hold it upright? Sean On Oct 2, 2015, at 11:41 AM, Bruno Figueiredo wrote: That's interesting. Watching all the pictures I noticed that none of them show the player with a strap. Therefore, they are holding the instrument by the neck (as there is no other way without a strap) and not fretting notes on the fingerboard. In fact the ones that could be doing so didn't need it because their right hand is in a way as if holding a plectrum - probably playing a single line. This is indeed so in the Cantigas de Santa Maria example, the thumb is opened just holding the instrument. The only conclusion I have from looking at these examples is that the use of a strap is not a historical one (at least until the 16th century). 2015-10-02 4:54 GMT-03:00 jmpoirier2 <[1][2][email protected]>: Please have a look at this page I put up a couple of years ago... [2][3]http://le.luth.free.fr/pouce/index.html Best to all, Jean-Marie -------- Message d'origine -------- De : jelmaa <[3][4][email protected]> Date : 01/10/2015 23:50 (GMT+01:00) A : lutelist Net <[4][5][email protected]> Objet : [LUTE] Re: Thumb-over I think the terms 'common' and 'replete' are very exaggerated for 19th century guitar repertoire. The LH thumb is used occasionally, but almost only in Viennese/Austrian solo repertoire, not in French or Spanish music. For it to work you need a guitar with a very thin neck, and it still messes up your left hand technique (in my experience, playing on original 19th C French & Viennese guitars). Jelma van Amersfoort On Oct 1, 2015, at 22:43 , G. C. wrote: > Hey Chris, that's really interesting. So the 19th century repertoire is > replete with this technique? I'm surprized and feel there is much to > this matter, which hasn't been thoroughly analyzed yet. :) G. > > On Thu, Oct 1, 2015 at 6:28 PM, Christopher Wilke > <[1][5][6][email protected]> wrote: > > The technique was common in 19th century guitar playing, where it > was > often marked with a "^". It does have some advantages and there > are > spots where it facilitates fewer chord shape changes. In that > repertoire, I haven't encountered any pieces that I absolutely > couldn't > finger without the thumb over the neck. (I did, however, perform > one > contemporary piece in which the only way I could figure out how > to get > a particular combination of notes was to use the left hand thumb. > This > was not due to cleverness on the composer's part, but rather > because he > wasn't a guitarist at all.) > I suspect that some lute players did this and some avoided it. > There > might be the odd piece that absolutely requires it. There also > might be > some performance practice insights one could gain from > experimenting > with it, but due to the risk of wrist injury, I'd be hesitant to > make a > regular practice of using it all the time. Even in the 19th > century, it > wasn't universal. Sor, for one, disapproved of it. > Chris > [1]Sent from Yahoo Mail for iPhone > On Oct 1, 2015, 12:01:01 PM, G. C. wrote: > One obscure feature of plucking which has always fascinated but > eluded > me is the technique of using also the thumb to play on the lower > strings. Supposedly mainly feasible on 6 course instruments and a > narrow neck, it has apparently been in vogue and an open "secret" > for > the initiated since the days of Francesco at least (see famous > painting > by Giulio Campi on the cover of Doug's History of the Lute if it > indeed > depicts such a practice). I know that it is very common in Rock, > (where > its so widespread, that it has to be meaningful somehow). To me, > (classically trained), it looks bizarre, and more like someone > has > learned to play the wrong way. But it has to have at least some > advantages, as it seems to be so popular (at least among the rock > music > pluckers). Not only for barrA", particularly chords where the > index > presses on a fret in front of the fret that the thumb is stopping > look > bewildering. Might there be an ergonomic/finger mechanical > reason? > (Concert playing for hours so thereby avoiding carpal tunnel > syndrome?) > Is there someone here who could explain the inner workings and/or > advantages of this technique in a simple way or point to a > website, are > there any uses for it in lute-playing (skewed barrA"?), and does > the > practice have a consensus name? > Best regards > G > -- > To get on or off this list see list information at > [2][2][6][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > References > 1. [3][7][8]https://yho.com/footer0 > 2. [4][8][9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- > > References > > 1. mailto:[9][10][email protected] > 2. [10][11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > 3. [11][12]https://yho.com/footer0 > 4. [12][13]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > -- Bruno Figueiredo Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o historicamente informada no alaA-ode e teorba. Doutor em PrA!ticas Interpretativas pela Universidade Federal do Estado do Rio de Janeiro. -- References 1. mailto:[14][email protected] 2. [15]http://le.luth.free.fr/pouce/index.html 3. mailto:[16][email protected] 4. mailto:[17][email protected] 5. mailto:[18][email protected] 6. [19]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 7. [20]https://yho.com/footer0 8. [21]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 9. mailto:[22][email protected] 10. [23]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 11. [24]https://yho.com/footer0 12. [25]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- ******************************* David van Ooijen [26][email protected] [27]www.davidvanooijen.nl ******************************* -- References 1. mailto:[email protected] 2. javascript:; 3. http://le.luth.free.fr/pouce/index.html 4. javascript:; 5. javascript:; 6. javascript:; 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 8. https://yho.com/footer0 9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 10. javascript:; 11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 12. https://yho.com/footer0 13. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 14. javascript:; 15. http://le.luth.free.fr/pouce/index.html 16. javascript:; 17. javascript:; 18. javascript:; 19. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 20. https://yho.com/footer0 21. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 22. javascript:; 23. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 24. https://yho.com/footer0 25. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 26. mailto:[email protected] 27. http://www.davidvanooijen.nl/
