Martin,
A common feature found in many early instructions for the 'baroque' lute is
to play the bass and highest note concurrently (with 1st finger) and then
continue to draw the finger across the strings (ie towards the bass) in a
stroking fashion; sometimes it is suggested that the 2nd finger continues
this stroking to further emphasise the highest note. It's always puzzled
me why so few contemporary players employ this, apparently, common early
approach. Incidentally, I know of no early instructions which indicate
'rolling' of chords in the modern manner (altho' I confess to doing this
myself at times -esp in continuo play).
Some of the renaissance lute instructions also seem to indicate a similar
technique (is it in 'Varietie' or am I thinking of Barley or Morley? - I
don't have copies top hand).
rgds
Martyn
"Martin
Shepherd" To: "Lute Net" <[EMAIL PROTECTED]>
<[EMAIL PROTECTED] cc:
hop.co.uk> Subject: Re: Rubato and rolling chords
31/10/2004
15:13
Please
respond to
"Martin
Shepherd"
Dear Stewart,
You said:
> I sympathise with Oscar Gighlia's unhappiness at being told how to
> play by his duet partner. One's performance is very much a personal
> thing, and there are times when we might resent others interfering.
> In a successful duet partnership there has to be a certain amount of
> give and take. I don't know the circumstances, of course, but it is
> possible that Gighlia's playing might have benefited from listening
> to what his partner had to say.
>
You and I have played together a lot over the years so I just thought
everyone would be interested to know how much I agree with your last
sentence here. There are many times when we have debated an issue (like
whether or not to roll a chord) and experimented with it, and come to a
consensus, and learned something in the process. When people play
together,
they should really leave their egos at home.
On the rolling of chords/rubato issue, what are your thoughts on the
opening
bar of Lachrimae? The chord must be rolled (I'm assuming a version witha
5-
or 6-note chord) - we would like the bass note to be on the beat (well it
is
anyway because it's the first note of the piece) but the top note of the
chord is the first note of the melody and we would like that to be on the
beat, too. So when do we play the second melody note? Do we effectively
cut the dotted note slightly shorter to compensate? Sorry, everyone, I'm
sure Stewart will explain it better than I can.
Best wishes,
Martin
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