> example of the opening chord of Lachrimae. Your point is well taken, that > both the bass and treble notes are to be on the beat. Some people play > the > bass note on the beat, & follow with the other notes.
I like to play the first g-minor chord non-broken, and the second g-minor chord with the same fingering very much broken. It gives a clean and clear start to the melody and provides the 'luty-broken-chord' warmth later on. But then again, there's more ways then one, for me too. > I have found that in > ensemble playing, it is usually best to finish the chord (i.e. the treble > note on the beat, so the arpeggiated chord starts early to land on the > beat. I have the complete opposite experience. Especially in ensemble playing I think it is important to be together on the bass note on the beat. How much you break - or roll - after that is up to you, but to give precision in beat is a bass job. I'm sure there are many exceptions in my playing too, but this is what I strive at. Interesting to hear such an opposite point of view of what I think is an essential ensemble/continuo truth. Whenever I play like you describe, I am immediately asked to change my 'luty ways' and get in line with 'common sense' music practise. I think the people who ask (organ/cembalo players as a rule) are right. David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
