BTW: I have just played the menuet and would finger the beginning of the piece as follows:
|\ |\ > |\ |\ > |\ | > | | > __________a_____h___g)______h___ > ____a________f____|_____f_____|_ > _______g__________|___________|_ > _h________________|___________|_ > __________________|___________|_ > __________________|___________|_ > a > p m p m p m p > You see - I try to play some kind of a bass line at the beginning - you'll find this - ehem - motif? (a simple c-minor chord) also at other places in the piece. Best wishes Thomas Hi Stewart, there's a tiny mistake in your opening of the second section (here corrected): |\ |\ > |\ |\ > |\ | > | | > ___________________________________ > _____________a_____|_____________|_ > ____a_____d________|__________d__|_ > ___________________|______c______|_ > ___________________|_____________|_ > _______c___________|_____________|_ > a /a //a p m p i m p p i m Here we have one of the fantastic features of a lute: Take just the basses and play them alone and you'll find something like a bass part. If you take the upper octaves of the bass parts and the rest of the melody the octaves of the basses includes itself well into the melody. So my option would be the first one - not because it's rough but because of this special feature of the lute which by plucking one single course produces two voices (parts?) in the piece. Best wishes Thomas Am Mit, 2004-01-14 um 20.02 schrieb Stewart McCoy: > Dear All, > > Following on from the discussion about problematic voice-leading in > the theorbo music of Melii, and whether an octave-strung second > course might be the answer, I wonder if anyone has any comment about > an unusual passage in a Menuet by Losy. The piece appears in an > anthology of Czech baroque lute music: Emil Vogl (ed.), _Z > Loutnovych Tabulatur Ceského Baroka_, Musica Viva Historica 40 > (Prague: Editio Supraphon, 1977), page 44. The source is given as > "Kremsmünster, ms sign. L.78". The opening bar includes an ascending > scale in campanella style, i.e. not playing successive notes on the > same course: > > |\ |\ > |\ |\ > |\ | > | | > __________a_____h___g)______h___ > ____a________f____|_____f_____|_ > _______g__________|___________|_ > _h________________|___________|_ > __________________|___________|_ > __________________|___________|_ > a > > A similar phrase occurs at the start of the second section, but for > the little ascending scale to work you would need an octave-strung > 6th course. That in itself is not unreasonable, but how exactly > should c6 be played? > > 1) Carry on regardless, pluck with the thumb, and hope the higher > octave gets heard enough; > 2) Pluck the 6th course with the index finger to favour the upper > octave; > 3) Pluck just the upper octave of the 6th course with the thumb. > > |\ |\ > |\ |\ > |\ | > | | > ___________________________________ > _____________a_____|_____________|_ > ____a_____d________|__________d__|_ > ___________________|______c______|_ > ___________________|_____________|_ > _______a___________|_____________|_ > a /a //a > > My feeling so far is to go for the first option, but in this > particular context the octave 6th course creates an unsatisfactory > impression of consecutive octaves, not doubling at the octave as it > normally would. > > My third option is not totally zany, because if the thumb has played > the 7th course with a rest stroke (appoyando), it is possible to > roll it over the 6th course to touch just the upper octave in time > to pluck it. > > Any thoughts? > > Best wishes, > > Stewart. -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED] www.lautenist.de / www.tslaute.de/weiss --
