Just a theorbo and an archlute are enough. Not so bad :-) -------- Messaggio originale -------- Da: [email protected] Data: 21/07/19 17:15 (GMT+01:00) A: tribioli <[email protected]> Cc: Matthew Daillie <[email protected]>, "[email protected] list" <[email protected]> Oggetto: [LUTE] Re:
So - I took a quick look: l'Orfeo starts in C and goes through a, d, F, g, G, Bb, c and even f. A separate theorbo for each key change, I suppose!)) RT ==== http://turovsky.org Feci quod potui. Faciant meliora potentes. > On Jul 21, 2019, at 8:49 AM, [email protected] wrote: > > Out of curiosity: > There should be estimates around of how many keys say a Monteverdi opera goes through. > I am pretty sure Claudio didn't worry about the fretted guys temperaments, did he? > unless they had a different axe per movement. > RT > > ==== > http://turovsky.org > Feci quod potui. Faciant meliora potentes. > >> On Jul 21, 2019, at 6:16 AM, tribioli <[email protected]> wrote: >> >> I know only one thing: for me 1/6 comma practically works. No slanted >> frets nor tastini. I don't bear anymore to play early Renaissance music >> in equal temperament which on the other hand I use on all the later >> music as it allows to play in other keys than the "standard" >> Renaissance keys. >> >> I think there were not so many rules in the past. Galilei advocates >> against tastini, so there were people using them and meantone >> temperament. How many we don't know. Piccinini advocates playing with >> nails, others say not. Besard says to stretch the thumb out, some >> others say to do so if your hand allows it (for instance, I have a >> short thumb, one falanx shorter than usual). In any case, Besard (if I >> remember correctly) blames those who play shaking their hand, so there >> were some musicians that still played thumb under at his time. How many >> we don't know. Lately, some, many?, people played with the pinky very >> close or behind the bridge, so they probably had lower string tensions, >> which is probably good for instruments with many strings, and a >> completely different sound of what now people think is nice. Even our >> instruments are biased by our ideal, sweet, sound, which BTW is >> different from what was considered a good sound thirty years ago, but >> if one reproduces exactly the thickness and bar dimensions of the >> surviving boards, the sound that comes out is much brighter. Ok, it >> depends on the board stiffness too, but that's it. >> >> It is a modern, romantic, idea that everything in music must be >> written, the thecnique must be absolutely that etc. The old masters, >> simply did what they liked more and worked better for them, of course >> to the degree the instrument allowed. They wrote their own music or >> freely adapted what was composed by others, simplifying or adding >> diminutions as they thought was fit and their thecnique allowed. As in >> the case of the lute there is no continuity because no one have played >> it for a couple of centuries, we can only guess and try to stay close >> to what they "probably" did. If we like to do so, because at the end no >> one wrote a law so the lutenists have to play only old music! Freedom >> (in art, at least)! >> >> Happy plucking >> >> -------- Messaggio originale -------- >> Da: Matthew Daillie <[email protected]> >> Data: 21/07/19 11:23 (GMT+01:00) >> A: "[email protected] list" <[email protected]> >> Oggetto: [LUTE] Re: Wishful thinking on lute temparaments was Re: Lute >> Temperaments >> >> OK, I stand corrected, you know best. Have a nice day. >> Matthew >> Le 21 juil. 2019 à 11:15, Martyn Hodgson >> <[email protected]> a écrit : >>> Dear Matthew, >>> Thank you for his - though I really do not know why you suggest a >>> 'slanging match'!. My intention is merely to put some historical >> and >>> practical perspective on the matter rather than simple personal >>> assertion. To repeat: you are making the common mistake of >> discussing >>> theoretical temperaments (mainly, in practice, only employable on >>> keyboard instruments) with practical temperaments appropriate for >>> fretted instruments such as the lute. >>> Whether or not some modern players might adopt this manner >> ('meantone') >>> of fretting is not, of course, the point - perhaps they might >>> themselves engage in a degree of wishful thinking. Certainly, >> modern >>> fashions come and go as fast as fads, and in other areas of lute >>> performance practice some modern players (even a few professionals >> who >>> might be expected to know better) still insist on, for example, >>> employing thumb-under for repertoire other than the sixteenth >> century. >>> In short, such anecdotal reports, even from 'professionals, are not >>> reliable evidence of historic practice. >>> regards >>> MH >>> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > >
