Hmm again.... how can lowering the position of the high octave string
of an octave pair (so that it lies significantly below the general
string datum) not have an influence on the ease of playing just this
Of course this requires to play a little more precise with the thumb. Which
would need some exercice.
But it makes it much easier to touch the couse so that it sounds like a
bass. Which would mean that the balance of the high and low strings is
optimal to make the high octave enhance the effect of the bass. Also when
the strings are fixed in the 'normal' way it needs a really good control of
the thumb stroke, to prevent the sound of high octave string from dominating
over the bourdon.
I'm also not sure about always having a booming lower bourdon randomly
interspersed in a campanella scalic passage - but perhaps the Old Ones
didn't mind - tho' I doubt it...
Booming bourdons seems an exageration here. Hence my advice to try it for
tho' again I did think your
position was that you generally liked to have a low bass because of
your belief in the necessity of complete melodic bass lines - ie basses
that didn't jump the octave due to exigencies of the stringing. Have I
mistook your position? - in which case I'm sorry for it.
My ideas are a bit different from that. I would argue that if we use
bourdons--because we think that a certain composer had them--we should
better make them heard. This doesn't mean that we should just stop thinking
of the musical function that the notes on these courses would have, high or
low, in a specific situation.
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