On Jan 18, 2015, at 4:14 AM, Monica Hall <mjlh...@tiscali.co.uk> wrote:
> But you will still hear the low G on the 6th course and the falling 7th in > the bass (at least I will) Try playing and singing it. In context, with the middle G completing the run, and singer’s line doing what it does, and the chord beginning another moving line on the first course, you won't hear it that way. The low G sounds more like another voice entering, rather like a contrabass in an orchestra playing a simplified version of the bass part. That said, if it’s played with a unison sixth course, you probably won’t hear it and say “OMG! a linear seventh!” I brought it up because someone asked what sort of things might be taken as octave stringing. A composer's completing that run on the sixth course instead of the fourth (when the chord could just as easily have used both) is evidence of octave stringing. Whether it’s conclusive or compelling is another story. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
