Well, for the last statement -- plucking adjacent courses -- I would
   say that it depends on your goal with the body of the right hand.  If
   the goal is as I've been taught, which is to keep the hand as inert as
   possible (which gives it its weight), then you have no choice but to
   strike downward with both p and i.  It's hard to cultivate the motion,
   but it's similar to snapping your fingers.  You have to really work on
   it I suppose, but the idea is to make it automatic.
   In order to pluck upward with p and i at the same I would need to pull
   up with my hand.  For me, that spoils all preparation for the next
   notes.  I really don't know what would have been done in the time, but
   unless I'm convinced otherwise, I would like to keep with an inert hand
   (as much as I'm able).
   As for campanelas, for me the issue goes away because I don't use
   bordones.  The day will come, I suppose, and I'll fight with it then.

   From: Lex Eisenhardt <eisenha...@planet.nl>
   To: vl <vihuela@cs.dartmouth.edu>; Martyn Hodgson
   Sent: Sunday, December 4, 2011 5:21 AM
   Subject: [VIHUELA] Re: hand plucking position (wasGuitar bridges)
   >    But if we pluck THROUGH the course, (ie parallel to the plane of
   >  belly) one can achieve a much greater amplitude without the string
   >  slapping rattleing on the fingerboard/belly and thus will have a
   >  bass (as well as its octave) - as I think, the Old Ones  would have
   >  generally expected.....
   There is not much disagreement about this. I only would add that
   striking parallel is perhaps not always the best solution. Probably not
   in campanelas and, reversely, also not when playing a bass on a baroque
   And I think that, on adjacent courses, striking completely parallel
   (all 4 strings involved) with both thumb and fingers is not really
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