Plse read my earlier replies carefully.
Howard Posner
<[EMAIL PROTECTED] To:
mcast.net> cc: Lute Net <[EMAIL PROTECTED]>
Subject: Re: Double 1st (HIP message
07/01/2004 18:16 included)
martyn hodgson writes:
> You misunderstand the point: for larger theorboes, ie those that would
> normally be required to lower the 2nd an octave as well as the first, the
> physics doesn't work.
I understood you perfectly the first time. I just don't agree. Neither do
you, when it comes down to it.
You insist that a theorbo string tuned to e above middle C is impossible.
I
say it was done all the time. In any event, you disagree with yourself,
since you acknowledge that it is possible when you tell Stewart that any
theorbo small enough to be tuned that way would "defeat the advantage of
having a theorbo." This is just an assertion of your own idea of what a
theorbo has to sound like, perhaps colored by a refusal to consider local
variations in pitch that would make the e possible on a theorbo larger than
75 cm.
You speak of theorbos that would be "required" to lower the second course.
I think this is irrelevant to the discussion. The re-entrant tuning did
not
persist because it was "required" but because players liked it and found
that they could achieve wonderful idiomatic effects with it.
Your citation to displaced octaves in bass lines is also of marginal
relevance to octave jumps in melodic lines. I'm sure virtually every
composer of the time in every medium wrote a bass line in which a note or
two is in a different octave (either because of missing accidentals or to
accomodate the range of the bass instrument), but you don't find such
displacement in melodic parts for voice or violin or harpsichord or organ,
or in the treble lines of lute music. The two things are not the same.
Howard
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