Dear Martin and Miles,
There is another alternative: for theorbos with octave basses one could
employ an octave disposition on the final fingered course (ie the
sixth) - after all, this is how lutes were generally strung in this
period. This would smooth the aural transition from stopped sixth to
open seventh course.
And perhaps a high octave sound on the bourdons was something the Old
Ones enjoyed anyway? - so a, to modern ears, intrusive seventh course
octave may have been perfectly satisfactory to them. Shades, of
course, of the octave re-entrant tuning of guitars of the
period............
MH
__________________________________________________________________
From: Miles Dempster <miles.demps...@gmail.com>
To: Lute List <lute@cs.dartmouth.edu>
Sent: Wednesday, 13 December 2017, 16:24
Subject: [LUTE] Re: A stringing question for Sellas E. 545
Would it be an acceptable solution, for the 7th course, to make an
exception and use an octave string whose density is less than that of
gut? A nylon octave would have a thickness of .4mm or more. In the
grand scheme of things would it sound out of place in comparison to the
remaining diapasons with their gut octaves?
Miles
> On Dec 13, 2017, at 5:02 AM, Martin Shepherd
<[1]mar...@luteshop.co.uk> wrote:
>
> The problem with having unisons on 7, 8, etc is how far to go before
the transition to octaves, and how noticeable that transition is going
to be. Good luck, Magnus!
>
> BTW, does anyone have a really good reproduction of the Puget they
could share? I only have a very indistinct one.
>
> Martin
>
>
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