Actually I fear Mantanya's comments should be taken "cum grano salis".

I think there is enough evidence that the technique was used. There are
also enough evidence that quite early objections against the use of a
"glued" pinky existed. 

I personally am trained classical guitarist and learned to play the
guitar the "segovia way". But after long years of exclusivly playing
lutes I recently bought a Biedermeier-guitar.
If dealing with this instrument after a long time playing low tension
instruments Í prefer low tension an the instrument which simply sounds
better being played in a different,  lute-orientated manner. I'm sure
this directly relates to the terms "Tension" and "String-Material" (at
the moment I'm plaing Nylgut). 
This surely is not a strong argument, just a personal experience. 

Best wishes
Thomas

-----Ursprüngliche Nachricht-----
Von: Krzysztof Komarnicki [mailto:[EMAIL PROTECTED] 
Gesendet: Sonntag, 16. Oktober 2005 23:40
An: rob
Cc: 'Matanya Ophee'; early-guitar
Betreff: [EARLY-GUIT] Odp: Re: Little finger, RH


I think we were able to stablish some three reasons for placing little
finger on the belly (bridge or whenever suitable):

1. to fix position of the hand (Sor and Aguado)
2. to fix position of the guitar (Aguado)
3. as an "innocent" technique unrelated to tradition (Bill)

And, correct me if I'm wrong, we have following reservations against the
practice:

1. that it dumps the soundbard and affects the sound (? - I was told
that by Bill) 2. that it creates muscle tention (your truly) 3. that it
is not necessary for anything (Sor and Aguado)

I wonder if there are opinions in support of the practice? I mean strong
support, just like Sor would write: what to do and what for?

BTW from personal communications with Matanya Ophee I get to know that
Renoir did not paint actual model (it was so good a theory...) but
copied another painting. I was offered with no details, alas.

Best regards
Krzysztof

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