Re: technical problems on lute-theorbo (+theorbo) Att: Chris
Just saw this thread with the mention of the harp device for changing pitch (but missed the original mention of it). I speak as one who has built and repaired harps (and plays them). There are two types (and several designs of each type) of devices. And on the harp they are used to adjust a string by a half tone, not the quarter I saw mentioned in this thread, as the harp is naturally diatonic (except the cross strung which is a bit of a different beastie - and one I have). The two types are blades and levers. The levers (the more common) either lift or depress the string against a pin that is internal to the lever. The problem with that for the lute/theorbo is that the lever is very sensitive to the height of the string above the pin block. The harp has no nut at the tuning end, the strings run over individual grooved bridge pins which can be adjusted in or out to match the level of the lever. The lever is set between that bridge pin and the vibrating length, so it becomes (when engaged) a secondary bridge pin (or nut). The blade, used mainly on small wire strung harps, which are becoming popular as that is the stringing of the traditional Celtic harp, is vertical to the pin block and pushes the string to the side. It doesn't require the exacting height, but it does require a bit of space between the strings, and perhaps more that is available on the theorbo (harp spacings are much wider than the lute family). Neither blade nor lever would be appropriate at the bridge end as they both require a good solid piece of wood to attach (screw in, in the case of levers - and support the pivot in the case of blades), and I think that would change the soundboard characteristics (one could lay a plate of wood under the appropriate part of the soundboard). Ed's suggestion of the Koto type subsidiary bridge is a possibility, I use a triangular movable bridge on my string testing jig (a highly sophisticated piece of hard maple board with zither pins and dulcimer terminal pins). But it would be impossible to slip it in in the middle of a run. If any of you are interested I can scan the relevant pages of a harp repair manual that shows all the basic levers and blades, and the methods of installation and regulation (tuning). A final note, the old style harp (which is coming back with a vengeance - having been relegated to folk use when the modern orchestral pedal harp was developed early in the 19th century) was diatonic. The Medieval and Renaissance harpists played accidentals by using a finger to stop the string at the pin block, needed a strong finger and a lot of accuracy. I know one modern harpist who can do it on a reproduction harp. I have never heard of a harp hook, but assume it refers to the blades or levers. Best, Jon - Original Message - From: Michael Stitt [EMAIL PROTECTED] To: Tony Chalkley [EMAIL PROTECTED]; [EMAIL PROTECTED] Sent: Sunday, January 18, 2004 3:13 PM Subject: Re: technical problems on lute-theorbo (+theorbo) Att: Chris Chris, My apologies, I did not see your reply until Tony raised it just now. I wish I could give you more details about the harp device, but I still don't have it clear in my head. I plan to address it very soon. The problem with Ed's Koto idea - as far as I can see it, is how do you time it well playing swiftly the passagio of BWV 996? The harp hook sounds more practical. Regards, Michael Tony Chalkley [EMAIL PROTECTED] wrote: Chris, I haven't noticed a direct reply coming in to your question about the harp mechanism - if one did, could you pass it on, please? The idea is intriguing, as the harp mechanism I've seen on harps is a hook fitted into the harmonic curve of the instrument, which you can turn to touch the string at the right distance for a semitone up. More sophisticated versions exist, but one way or another they are fitted to the top block of wood at the wrest pin end. The koto-ji propostions are at the bridge end and it is easy to see that they are workable. Try as I might, I cannot see anywhere on my theorbo that I could attach a harp mechanism, short of building a sort of gantry out from the neck which would be out of reach, or having holes in the sounboard! Tony - Original Message - From: To: Sent: Saturday, January 10, 2004 1:24 AM Subject: Re: technical problems on lute-theorbo (+theorbo) Michael, Just curious about the harp-like device that Tim Crawford mentioned to you for raising a diapason up a 1/2 step. Would you mind describing it? I've seen these sorts of things on various harps and wondered how it might apply to my situation. Is it something that one could rig up on their own? I have a 14-course theorbo (only six on the fingerboard) and I'm getting a little annoyed at having to take the instrument off, stand up and re-tune if I need an F# or G# consistently in a piece. This can be especially distracting to other players in tight quarters. I wonder if the harp
Re: technical problems on lute-theorbo (+theorbo) Att: Chris
Sorry about the hook, Jon. The ones on my very cheap harp were hooks, but almost certainly were a reduced price version of the blade variety - they definitely didn't work as hooks - they were just a piece of rod bent over to give the required width. Tony - Original Message - From: Jon Murphy [EMAIL PROTECTED] To: Tony Chalkley [EMAIL PROTECTED]; [EMAIL PROTECTED]; Michael Stitt [EMAIL PROTECTED] Sent: Monday, January 19, 2004 8:34 AM Subject: Re: technical problems on lute-theorbo (+theorbo) Att: Chris Just saw this thread with the mention of the harp device for changing pitch (but missed the original mention of it). I speak as one who has built and repaired harps (and plays them). There are two types (and several designs of each type) of devices. And on the harp they are used to adjust a string by a half tone, not the quarter I saw mentioned in this thread, as the harp is naturally diatonic (except the cross strung which is a bit of a different beastie - and one I have). The two types are blades and levers. The levers (the more common) either lift or depress the string against a pin that is internal to the lever. The problem with that for the lute/theorbo is that the lever is very sensitive to the height of the string above the pin block. The harp has no nut at the tuning end, the strings run over individual grooved bridge pins which can be adjusted in or out to match the level of the lever. The lever is set between that bridge pin and the vibrating length, so it becomes (when engaged) a secondary bridge pin (or nut). The blade, used mainly on small wire strung harps, which are becoming popular as that is the stringing of the traditional Celtic harp, is vertical to the pin block and pushes the string to the side. It doesn't require the exacting height, but it does require a bit of space between the strings, and perhaps more that is available on the theorbo (harp spacings are much wider than the lute family). Neither blade nor lever would be appropriate at the bridge end as they both require a good solid piece of wood to attach (screw in, in the case of levers - and support the pivot in the case of blades), and I think that would change the soundboard characteristics (one could lay a plate of wood under the appropriate part of the soundboard). Ed's suggestion of the Koto type subsidiary bridge is a possibility, I use a triangular movable bridge on my string testing jig (a highly sophisticated piece of hard maple board with zither pins and dulcimer terminal pins). But it would be impossible to slip it in in the middle of a run. If any of you are interested I can scan the relevant pages of a harp repair manual that shows all the basic levers and blades, and the methods of installation and regulation (tuning). A final note, the old style harp (which is coming back with a vengeance - having been relegated to folk use when the modern orchestral pedal harp was developed early in the 19th century) was diatonic. The Medieval and Renaissance harpists played accidentals by using a finger to stop the string at the pin block, needed a strong finger and a lot of accuracy. I know one modern harpist who can do it on a reproduction harp. I have never heard of a harp hook, but assume it refers to the blades or levers. Best, Jon - Original Message - From: Michael Stitt [EMAIL PROTECTED] To: Tony Chalkley [EMAIL PROTECTED]; [EMAIL PROTECTED] Sent: Sunday, January 18, 2004 3:13 PM Subject: Re: technical problems on lute-theorbo (+theorbo) Att: Chris Chris, My apologies, I did not see your reply until Tony raised it just now. I wish I could give you more details about the harp device, but I still don't have it clear in my head. I plan to address it very soon. The problem with Ed's Koto idea - as far as I can see it, is how do you time it well playing swiftly the passagio of BWV 996? The harp hook sounds more practical. Regards, Michael Tony Chalkley [EMAIL PROTECTED] wrote: Chris, I haven't noticed a direct reply coming in to your question about the harp mechanism - if one did, could you pass it on, please? The idea is intriguing, as the harp mechanism I've seen on harps is a hook fitted into the harmonic curve of the instrument, which you can turn to touch the string at the right distance for a semitone up. More sophisticated versions exist, but one way or another they are fitted to the top block of wood at the wrest pin end. The koto-ji propostions are at the bridge end and it is easy to see that they are workable. Try as I might, I cannot see anywhere on my theorbo that I could attach a harp mechanism, short of building a sort of gantry out from the neck which would be out of reach, or having holes in the sounboard! Tony - Original Message - From: To: Sent: Saturday, January 10, 2004 1:24 AM Subject: Re: technical problems on lute-theorbo (+theorbo) Michael
Re: technical problems on lute-theorbo (+theorbo) Att: Chris
Chris, My apologies, I did not see your reply until Tony raised it just now. I wish I could give you more details about the harp device, but I still don't have it clear in my head. I plan to address it very soon. The problem with Ed's Koto idea - as far as I can see it, is how do you time it well playing swiftly the passagio of BWV 996? The harp hook sounds more practical. Regards, Michael Tony Chalkley [EMAIL PROTECTED] wrote: Chris, I haven't noticed a direct reply coming in to your question about the harp mechanism - if one did, could you pass it on, please? The idea is intriguing, as the harp mechanism I've seen on harps is a hook fitted into the harmonic curve of the instrument, which you can turn to touch the string at the right distance for a semitone up. More sophisticated versions exist, but one way or another they are fitted to the top block of wood at the wrest pin end. The koto-ji propostions are at the bridge end and it is easy to see that they are workable. Try as I might, I cannot see anywhere on my theorbo that I could attach a harp mechanism, short of building a sort of gantry out from the neck which would be out of reach, or having holes in the sounboard! Tony - Original Message - From: To: Sent: Saturday, January 10, 2004 1:24 AM Subject: Re: technical problems on lute-theorbo (+theorbo) Michael, Just curious about the harp-like device that Tim Crawford mentioned to you for raising a diapason up a 1/2 step. Would you mind describing it? I've seen these sorts of things on various harps and wondered how it might apply to my situation. Is it something that one could rig up on their own? I have a 14-course theorbo (only six on the fingerboard) and I'm getting a little annoyed at having to take the instrument off, stand up and re-tune if I need an F# or G# consistently in a piece. This can be especially distracting to other players in tight quarters. I wonder if the harp-device would attach down at the bridge, which would be reasonable as long as it wasn't too big and wouldn't get in the way when it wasn't being used. In that case, you could even engage it while in the course of a piece, given enough time. Even if the sound would be somewhat compromised, it would be worth it to avoid some of the hastle. I don't know if this would even have been considered in the historical days. At any rate, I think that the oldens were more practical than we give them credit sometimes. Chris Wilke --- Michael Stitt wrote: Hi Donatella, I checked out at a glance so far your tab version of BWV 996 and looks nice! There has been a real flowering of lute tablature of Bach's music. Clive Titmuss has been active and completed - quite recently, a playable version of BWV 1012 - the sixth cello suite. For beginners out there - be warned - this is not easy stuff! As for 996, it used to be my favourite and not too difficult on the classical guitar. For some strange reason I fnd it very hard on the Baroque lute. I worked out that it is not so much the technical PLAYING difficulty, but rather the problem of realisation on my fourteen course theorbo-lute. Since I note - your instrument, Donatella, is also a swan neck, you too problem run into the difficulty of not having D sharp bass, resulting in an unavoidable interruption of the passagio - opening prelude. Tim Crawford once gave an interesting solution to this, which is to attach a device - similar to one used by harpists, which stops the string. I haven't quite done this as yet! My temporary solution is to play the D# an octave higher, and although not perfect, is acceptable. You encounter this problem also in the Courante. As for the sxth cello suite, this is beautiful stuff on the lute and in the key of D Major makes it a warm and beautiful work to play. It has been said before that Bach wrote some of his finest and brighter sounding music in this key. The Magnificat is one such example. The prelude has the same intensity and virtuosic feel as that of BWV 1006a IMHO. Cheers. Michael Stitt http://bachplucked.com/lutenist/ __ Do you Yahoo!? Yahoo! Hotjobs: Enter the Signing Bonus Sweepstakes http://hotjobs.sweepstakes.yahoo.com/signingbonus - Do you Yahoo!? Yahoo! Hotjobs: Enter the Signing Bonus Sweepstakes --
Re: technical problems on lute-theorbo (+theorbo)
I wonder if you could make a little portable bridge like those used on kotos. Since it would be between the strings and belly it wouldn't even get in the way. It wouldn't need to attach to anything. You would put felt or something similar on the bottom so as not to scratch the surface of the theorbo. You would only need enough pressure to make a node. I just tried this with the handle of a magnifying glass. It works! This is too easy. Michael, Just curious about the harp-like device that Tim Crawford mentioned to you for raising a diapason up a 1/2 step. Would you mind describing it? I've seen these sorts of things on various harps and wondered how it might apply to my situation. Is it something that one could rig up on their own? I have a 14-course theorbo (only six on the fingerboard) and I'm getting a little annoyed at having to take the instrument off, stand up and re-tune if I need an F# or G# consistently in a piece. This can be especially distracting to other players in tight quarters. I wonder if the harp-device would attach down at the bridge, which would be reasonable as long as it wasn't too big and wouldn't get in the way when it wasn't being used. In that case, you could even engage it while in the course of a piece, given enough time. Even if the sound would be somewhat compromised, it would be worth it to avoid some of the hastle. I don't know if this would even have been considered in the historical days. At any rate, I think that the oldens were more practical than we give them credit sometimes. Chris Wilke --- Michael Stitt [EMAIL PROTECTED] wrote: Hi Donatella, I checked out at a glance so far your tab version of BWV 996 and looks nice! There has been a real flowering of lute tablature of Bach's music. Clive Titmuss has been active and completed - quite recently, a playable version of BWV 1012 - the sixth cello suite. For beginners out there - be warned - this is not easy stuff! As for 996, it used to be my favourite and not too difficult on the classical guitar. For some strange reason I fnd it very hard on the Baroque lute. I worked out that it is not so much the technical PLAYING difficulty, but rather the problem of realisation on my fourteen course theorbo-lute. Since I note - your instrument, Donatella, is also a swan neck, you too problem run into the difficulty of not having D sharp bass, resulting in an unavoidable interruption of the passagio - opening prelude. Tim Crawford once gave an interesting solution to this, which is to attach a device - similar to one used by harpists, which stops the string. I haven't quite done this as yet! My temporary solution is to play the D# an octave higher, and although not perfect, is acceptable. You encounter this problem also in the Courante. As for the sxth cello suite, this is beautiful stuff on the lute and in the key of D Major makes it a warm and beautiful work to play. It has been said before that Bach wrote some of his finest and brighter sounding music in this key. The Magnificat is one such example. The prelude has the same intensity and virtuosic feel as that of BWV 1006a IMHO. Cheers. Michael Stitt http://bachplucked.com/lutenist/ __ Do you Yahoo!? Yahoo! Hotjobs: Enter the Signing Bonus Sweepstakes http://hotjobs.sweepstakes.yahoo.com/signingbonus -- Ed Durbrow Saitama, Japan http://www9.plala.or.jp/edurbrow/
Re: technical problems on lute-theorbo (+theorbo)
Ed, Could you take a digital photo and show us? I think I've got the idea, but seeing it would explain everything. Michael. Ed Durbrow [EMAIL PROTECTED] wrote: I wonder if you could make a little portable bridge like those used on kotos. Since it would be between the strings and belly it wouldn't even get in the way. It wouldn't need to attach to anything. You would put felt or something similar on the bottom so as not to scratch the surface of the theorbo. You would only need enough pressure to make a node. I just tried this with the handle of a magnifying glass. It works! This is too easy. Michael, Just curious about the harp-like device that Tim Crawford mentioned to you for raising a diapason up a 1/2 step. Would you mind describing it? I've seen these sorts of things on various harps and wondered how it might apply to my situation. Is it something that one could rig up on their own? I have a 14-course theorbo (only six on the fingerboard) and I'm getting a little annoyed at having to take the instrument off, stand up and re-tune if I need an F# or G# consistently in a piece. This can be especially distracting to other players in tight quarters. I wonder if the harp-device would attach down at the bridge, which would be reasonable as long as it wasn't too big and wouldn't get in the way when it wasn't being used. In that case, you could even engage it while in the course of a piece, given enough time. Even if the sound would be somewhat compromised, it would be worth it to avoid some of the hastle. I don't know if this would even have been considered in the historical days. At any rate, I think that the oldens were more practical than we give them credit sometimes. Chris Wilke --- Michael Stitt wrote: Hi Donatella, I checked out at a glance so far your tab version of BWV 996 and looks nice! There has been a real flowering of lute tablature of Bach's music. Clive Titmuss has been active and completed - quite recently, a playable version of BWV 1012 - the sixth cello suite. For beginners out there - be warned - this is not easy stuff! As for 996, it used to be my favourite and not too difficult on the classical guitar. For some strange reason I fnd it very hard on the Baroque lute. I worked out that it is not so much the technical PLAYING difficulty, but rather the problem of realisation on my fourteen course theorbo-lute. Since I note - your instrument, Donatella, is also a swan neck, you too problem run into the difficulty of not having D sharp bass, resulting in an unavoidable interruption of the passagio - opening prelude. Tim Crawford once gave an interesting solution to this, which is to attach a device - similar to one used by harpists, which stops the string. I haven't quite done this as yet! My temporary solution is to play the D# an octave higher, and although not perfect, is acceptable. You encounter this problem also in the Courante. As for the sxth cello suite, this is beautiful stuff on the lute and in the key of D Major makes it a warm and beautiful work to play. It has been said before that Bach wrote some of his finest and brighter sounding music in this key. The Magnificat is one such example. The prelude has the same intensity and virtuosic feel as that of BWV 1006a IMHO. Cheers. Michael Stitt http://bachplucked.com/lutenist/ __ Do you Yahoo!? Yahoo! Hotjobs: Enter the Signing Bonus Sweepstakes http://hotjobs.sweepstakes.yahoo.com/signingbonus -- Ed Durbrow Saitama, Japan http://www9.plala.or.jp/edurbrow/ - Do you Yahoo!? Yahoo! Hotjobs: Enter the Signing Bonus Sweepstakes --
Re: technical problems on lute-theorbo (+theorbo)
but I've used a pencil at a distance of half a tone from the bridge from my theorbo, under the strings, and almost touching them. I use something very similar to alter pitch of the bourdons of my hurdy gurdy. The instrument being very sensitive to change in string tension, it's better for me to change the length. I made a bridge that looks like a tiny violin-style bridge (a hardwwod wedge) to slip between the string and soundboard. Caution--as mentioned, the bridge must be firmly resting on the soundboard, or else you get the trombe effect--on the lute this would just be an annoying rattle. (I haven't tried anything like this on the lute.) Leonard Williams [] (_) ~ - Original Message - From: LGS-Europe [EMAIL PROTECTED] To: Lute net [EMAIL PROTECTED] Sent: Saturday, January 17, 2004 4:20 AM Subject: Re: technical problems on lute-theorbo (+theorbo) I've once did the following experiment. Attach, glue presumably, but I've just held it more or less fixed, a bridge (koto-ji if you like, but I've used a pencil) at a distance of half a tone from the bridge from my theorbo, under the strings, and almost touching them. Think of it as a fret on the belly of your theorbo. With the right hand little finger you can press down the bass string on the pencil-fret, with your right hand thumb you can pluck the bass, raised half a tone. The bass notes sound well enough, but it is akward, to say the least, to play a chord simultaneously, and it is akward, to say the least, to sustain he bass note. But it is not impossible. A word on the koto-ji (bridges under the strings of koto). They only work well when both feet (they're little arches) touch the sounboard properly to transmit the vibration of the strings. No damping with felt or cut up silken kimono ;-) here. David I wonder if you could make a little portable bridge like those used on kotos. Since it would be between the strings and belly it wouldn't even get in the way. It wouldn't need to attach to anything. You would put felt or something similar on the bottom so as not to scratch the surface of the theorbo. You would only need enough pressure to make a node. I just tried this with the handle of a magnifying glass. It works! This is too easy. Michael,
Re: technical problems on lute-theorbo (+theorbo)
Ed, I've actually done this - something similar I rigged up with part of a clothes pin. I thought the harp-thing might be a little quicker to fasten to the instrument, though. Chris --- Ed Durbrow [EMAIL PROTECTED] wrote: I wonder if you could make a little portable bridge like those used on kotos. Since it would be between the strings and belly it wouldn't even get in the way. It wouldn't need to attach to anything. You would put felt or something similar on the bottom so as not to scratch the surface of the theorbo. You would only need enough pressure to make a node. I just tried this with the handle of a magnifying glass. It works! This is too easy. Michael, Just curious about the harp-like device that Tim Crawford mentioned to you for raising a diapason up a 1/2 step. Would you mind describing it? I've seen these sorts of things on various harps and wondered how it might apply to my situation. Is it something that one could rig up on their own? I have a 14-course theorbo (only six on the fingerboard) and I'm getting a little annoyed at having to take the instrument off, stand up and re-tune if I need an F# or G# consistently in a piece. This can be especially distracting to other players in tight quarters. I wonder if the harp-device would attach down at the bridge, which would be reasonable as long as it wasn't too big and wouldn't get in the way when it wasn't being used. In that case, you could even engage it while in the course of a piece, given enough time. Even if the sound would be somewhat compromised, it would be worth it to avoid some of the hastle. I don't know if this would even have been considered in the historical days. At any rate, I think that the oldens were more practical than we give them credit sometimes. Chris Wilke --- Michael Stitt [EMAIL PROTECTED] wrote: Hi Donatella, I checked out at a glance so far your tab version of BWV 996 and looks nice! There has been a real flowering of lute tablature of Bach's music. Clive Titmuss has been active and completed - quite recently, a playable version of BWV 1012 - the sixth cello suite. For beginners out there - be warned - this is not easy stuff! As for 996, it used to be my favourite and not too difficult on the classical guitar. For some strange reason I fnd it very hard on the Baroque lute. I worked out that it is not so much the technical PLAYING difficulty, but rather the problem of realisation on my fourteen course theorbo-lute. Since I note - your instrument, Donatella, is also a swan neck, you too problem run into the difficulty of not having D sharp bass, resulting in an unavoidable interruption of the passagio - opening prelude. Tim Crawford once gave an interesting solution to this, which is to attach a device - similar to one used by harpists, which stops the string. I haven't quite done this as yet! My temporary solution is to play the D# an octave higher, and although not perfect, is acceptable. You encounter this problem also in the Courante. As for the sxth cello suite, this is beautiful stuff on the lute and in the key of D Major makes it a warm and beautiful work to play. It has been said before that Bach wrote some of his finest and brighter sounding music in this key. The Magnificat is one such example. The prelude has the same intensity and virtuosic feel as that of BWV 1006a IMHO. Cheers. Michael Stitt http://bachplucked.com/lutenist/ __ Do you Yahoo!? Yahoo! Hotjobs: Enter the Signing Bonus Sweepstakes http://hotjobs.sweepstakes.yahoo.com/signingbonus -- Ed Durbrow Saitama, Japan http://www9.plala.or.jp/edurbrow/ __ Do you Yahoo!? Yahoo! Hotjobs: Enter the Signing Bonus Sweepstakes http://hotjobs.sweepstakes.yahoo.com/signingbonus
Re: technical problems on lute-theorbo (+theorbo)
Michael, Just curious about the harp-like device that Tim Crawford mentioned to you for raising a diapason up a 1/2 step. Would you mind describing it? I've seen these sorts of things on various harps and wondered how it might apply to my situation. Is it something that one could rig up on their own? I have a 14-course theorbo (only six on the fingerboard) and I'm getting a little annoyed at having to take the instrument off, stand up and re-tune if I need an F# or G# consistently in a piece. This can be especially distracting to other players in tight quarters. I wonder if the harp-device would attach down at the bridge, which would be reasonable as long as it wasn't too big and wouldn't get in the way when it wasn't being used. In that case, you could even engage it while in the course of a piece, given enough time. Even if the sound would be somewhat compromised, it would be worth it to avoid some of the hastle. I don't know if this would even have been considered in the historical days. At any rate, I think that the oldens were more practical than we give them credit sometimes. Chris Wilke --- Michael Stitt [EMAIL PROTECTED] wrote: Hi Donatella, I checked out at a glance so far your tab version of BWV 996 and looks nice! There has been a real flowering of lute tablature of Bach's music. Clive Titmuss has been active and completed - quite recently, a playable version of BWV 1012 - the sixth cello suite. For beginners out there - be warned - this is not easy stuff! As for 996, it used to be my favourite and not too difficult on the classical guitar. For some strange reason I fnd it very hard on the Baroque lute. I worked out that it is not so much the technical PLAYING difficulty, but rather the problem of realisation on my fourteen course theorbo-lute. Since I note - your instrument, Donatella, is also a swan neck, you too problem run into the difficulty of not having D sharp bass, resulting in an unavoidable interruption of the passagio - opening prelude. Tim Crawford once gave an interesting solution to this, which is to attach a device - similar to one used by harpists, which stops the string. I haven't quite done this as yet! My temporary solution is to play the D# an octave higher, and although not perfect, is acceptable. You encounter this problem also in the Courante. As for the sxth cello suite, this is beautiful stuff on the lute and in the key of D Major makes it a warm and beautiful work to play. It has been said before that Bach wrote some of his finest and brighter sounding music in this key. The Magnificat is one such example. The prelude has the same intensity and virtuosic feel as that of BWV 1006a IMHO. Cheers. Michael Stitt http://bachplucked.com/lutenist/ __ Do you Yahoo!? Yahoo! Hotjobs: Enter the Signing Bonus Sweepstakes http://hotjobs.sweepstakes.yahoo.com/signingbonus
