The simple truth of this 7th string is - it does not have to be loaded or such. Being the first string to go OFF the neck, it is almost twice as long as the six courses ON, so to produce an octave lower then the 4th string, it has to be about the same diameter as the 4th. AS far as material it is made of, there are a few possibilities, one of which is that a longer sulfured (= whiter) string will be not as strong (not important in this position), but a little stiffer and brighter, which would match better other basses around it (important). I have people asking for one particular string which they fit in with others, as they feel it works better. It definitely has a different color. People were no different back then, at least at this. alexander
On Sat, 21 Feb 2009 16:49:34 +0100 Anthony Hind <anthony.h...@noos.fr> wrote: > It's good to read you again, Jarosław, and with such an > interesting example. > > I would not presume to give any answers, just add a question or two. > It would be good to have Mimmo's specialist opinion, on this. > > Aesthetic/loaded? > I note that MP does give two examples contrasting aesthetic > use of string colour, > with something more systematic that he thinks could be consistent > with loading: > aesthetic (Ludovico Lana 1597-1646): > http://www.aquilacorde.com/valeriani1.JPG > red basses: they suggest a loading treatment > http://www.aquilacorde.com/b.jpg > > but your example is sort of in between, interpretable either way? > unless there is a technical reason (string length) which would > preclude loading? > > Demi-filé? > However, if the date is 1649, it seems unlikely that the white > string could have been "silver wound" demi-filé, because of the early > date. > Mimmo's example is from 1770: > Zophany, 1770 ca. The Sharp family: see the white basses > http://www.aquilacorde.com/zophany.jpg > > If for a specific purpose, why substitute for 7c and not also for 6c? > I think your suggestion that > > 2/ La Hyre painted what he saw at that given moment - the white 7th > > string was put on after the original proper (loaded?) string had > > broken > > 3/ 7th string was made of some kind of substitute which the player > > consciously preferred to have on that course. > > > are quite plausible (both possibilities); but if (3) and 7c was a > preferred substitute, why was it not also preferred for 6c, which > remains red (loaded?), unless 7c were a special type of loaded (but I > might be missing something here about the reentrant tuning). > > Indeed, on my new 11c lute, Stephen Gottlieb did not put the full > complement of loaded basses (from 6 to 11), instead he stopped at 8c, > and substituted for the smaller basses : a Gimped on 7c and a pure > Venice on 6c (probably just because he already had them), but also > because he said they would be more frequently stopped down. > > Place marker? > The gimped string, while good, did break the smooth transition of the > voices, but proved quite useful while I was learning to use the > basses, as a sort of place marker: I could both see and hear where I > was. > Although, I would not actually like to suggest a similar "place > marker role" for the white string in this painting. > > I agree it is most likely a temporary substitute (as mine in fact > were also), just possibly there for its preferred quality, if it was > a special loaded string. > > Loaded? > Could this white string have been a loaded one? > > Notice, that my Venice 6c was yellowish, but it looks quite white in > contrast to the redder basses, and this is a painting, so the > difference could be exaggerated: > http://tinyurl.com/burdjo > > Could the 7c of this painting be the canary-yellow lead oxide MP > mentions, if it was there for a specific purpose (Mimmo doesn't > mention any white coloured loading)? I suppose it is more likely to > be plain gut, but that is also usually yellowish, unless bleached. > > Some artistic implication? > Although, the instrument could perhaps be an artist's prop, for > which the strings could have been chosen for some particlular > artistic effect, somehow part of its allegoric message. The white > string runs through the heart of the rose. The index (trigger finger) > is on this. If so, I have no idea what the implication for the artist > might be. > > However, a painting with a primary allegorical message, could be a > little less safe in terms of the data it gives us for an actual > playing set-up, than say, the protrait of a particular lutenist (even > if this might also have some allegorical undertones). > Just my uninformed musings > regards > Anthony To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
