David
May I ask you whether you use both techniques on the same piece, for  
a special effect, or only when you change music types (eg music  
before 1600 thumb-in, Post 1600, Dowland and those that follow, thumb- 
out)? Was the change gradual and not deliberate (determined by the  
increase in the number of strings) or sudden?
If it was gradual, I suppose some performer composers may have varied  
between both styles, according to the type of piece they were playing.
Would Dowland have still used thumb in for Variations, for example?
regards
Anthony


Le 1 mai 07 à 16:28, David Rastall a écrit :

> On May 1, 2007, at 9:29 AM, Andrew Gibbs wrote:
>
>> Is it right to think that thumb-out is the historically correct
>> technique for lute music composed post 1600?
>
> Both techniques were in evidence, but thumb-under was predominant:
> it's the best way to play the 16th-century polyphonic music.  As the
> thumb took on a more independent role as the bass player in later
> music, the technique changed accordingly.  I think they were going
> for a different kind of sound with the later music, although thumb-
> under was probably used with "old tuning" by some players all the way
> down to Zamboni.
>
>> Did lute players all
>> over Europe switch to thumb-out around 1600?
>
> Apparently.
>
>> And this might be a
>> silly question: are there any players today who use both techniques:
>> thumb-in for renaissance pieces and thumb-out for baroque?
>
> Not a silly question at all:  I use both techniques.  With thumb-out
> my RH fingers are still extended forward, only not quite so much as
> with thumb-in.
>
>> I am (perhaps overly)
>> concerned with historical correctness.
>
> Nothing wrong with that.  To me, tone quality is also a historical
> consideration:  I think that knowledge of historical techniques is
> important from the point of view of the qualities of tone and
> articulation they produce.
>
> David Rastall
> [EMAIL PROTECTED]
> www.rastallmusic.com
>
>
>
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>
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