Sorry for deviating off topic. I agree that our opinions of the technique are 
of no relevance to historic discussion.

To turn back on track, I would like to privide you with this rough translation 
from Romuald Truskolaski's Method (1820):

ABOUT RIGHT HAND. One should lay the midle of forearm down on the edge of the 
guitar and place the little finger on the soundboard two inches (1) from the 
bridge and a good inch from the strings. Other fingers are to be placed as 
follows: Thumb on the thickest string (bass E), first or index on G, second on 
B and the third finger on chanterelle (2) that is an E. For playing one uses 
mostly the thumb for wounded strings and the following three fingres for the 
unwounded strings; there are exceptions from this rule, that will become clear 
when we will come to the exercises for the right hand; even the little finger 
is not always placed on the soundboard, as explained in the footnote to the 
Excercise No. 37.
The most common error in the position of right hand is that a player curves his 
hand downwards in the wrist so much that he places the hand near the palm on 
the bridge, while, quite the contrary, the hand should be curved upwards, not 
touching the bridge nor the soundboard and be curved. 

(Footnote to Excercise No. 37)
In Allegros where one finds arpeggios of six or eight notes that require 
frequent use of the third finger, one's little finger is removed from the 
soundboard thus allowing for greater speed and equality of the performance.

NOTES: 
(1) I do not know the exact measure of an inch here. It can differ from todays 
inch up to 15% this way or the other.
(2) Truskolaski did not use the term "chanterelle". I used it as an equivalent 
to the orginal term "fifth", that was in use for the highest string of stringed 
instruments, but especially in case of violins. It is preserved in the saying, 
literally going "to put ones nose down to the fifth", meaning "to be sad".

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