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  • How To Hold A Lute

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    bakar_arang
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    1. The document discusses how depictions of lutenists in medieval art can provide information about how the lute was historically played since no original instruments or playing methods survive from that period. 2. It describes how the lute and playing position evolved over time, from the medieval period where it was held against the chest without sitting, to the Renaissance period where players began sitting and using their thumb, index, and middle fingers to play individual notes. 3. By the 17th century, lutes had many more strings and were larger, requiring players to fully sit and use their forearm to press the strings onto their thigh or a table for support. Loops and straps were also sometimes attached to lutes to

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    How to hold a lute

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    1. The document discusses how depictions of lutenists in medieval art can provide information about how the lute was historically played since no original instruments or playing methods survive from that period. 2. It describes how the lute and playing position evolved over time, from the medieval period where it was held against the chest without sitting, to the Renaissance period where players began sitting and using their thumb, index, and middle fingers to play individual notes. 3. By the 17th century, lutes had many more strings and were larger, requiring players to fully sit and use their forearm to press the strings onto their thigh or a table for support. Loops and straps were also sometimes attached to lutes to

    Copyright:

    Attribution Non-Commercial (BY-NC)
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    Markieren Sie unangemessene Inhalte
    183 Ansichten2 Seiten

    How To Hold A Lute

    Hochgeladen von

    bakar_arang
    1. The document discusses how depictions of lutenists in medieval art can provide information about how the lute was historically played since no original instruments or playing methods survive from that period. 2. It describes how the lute and playing position evolved over time, from the medieval period where it was held against the chest without sitting, to the Renaissance period where players began sitting and using their thumb, index, and middle fingers to play individual notes. 3. By the 17th century, lutes had many more strings and were larger, requiring players to fully sit and use their forearm to press the strings onto their thigh or a table for support. Loops and straps were also sometimes attached to lutes to

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Als PDF, TXT herunterladen oder online auf Scribd lesen
    Markieren Sie unangemessene Inhalte
    von 2

    Looking at the three pages of lutenists illustrated in the April issue of Early Music (pp. 137-39).

    I was reminded that artists have often unwittingly recorded informal ion not available elsewhere today. This is specially true of the medieval ROBERT SPENCER lute, since no instrument or playing method has survived. The artist tells us thai it was not necessary to sit down in order to play. Because the instrument was not as big as the renaissance lute, ihe player could support it against his chesi with the right wrist under the bridge. The left hand also supported the neck as no ribbon is used around the players' shoulders. The quill was held between thumb and index finger, but unlike modern pencil-holding, the oilier end is steadied between index and middle finger. (1) About 1.500, many changes affected the playing position. The lutenist replaced the quill with thumb, index and middle linger lips, often playing more than one note at a time. The lute acquired more strings, eleven or twelve plaved as six, and it grew in size, obliging the lutenist lo sit down. The right forearm now presses the line down onto thigh or even a table (as eventually recommended bv Mace in 1676). (2)' Even the ten course 17th-century lute could be held in this way, (3 & 4) The double-headed lute, with up to twelve courses, was end-heavy, needing more support, and we see the use of a looi-warmer as a foot siool in the ter Borch painting. (5) Also on this lute we see a lace around the edge of the sound-board. The lace seems lo have been introduced in the second quarter of the 17th-century, as the number of strings increased. It helped hold the glue joints of bellv to ribs, and preserved the edge of the sound-board from wear. But it seems to me that it also provided a gripping surlace against clothing, to prevent the lute slipping while playing. How else are we lo explain the playing position /. Matteodi Giovanni, fl. 1452 d. 149"), detail of Mouton with his French lute from The Assumption of the Virgin, c. 1474, ljondon. National Gallery. balanced precariously on his coat? (6) 2 Agoitino Carrara, 15 7-1602, Man with a > There is another possible explanaLute, 1576, Boston, Museum of Fine Arts. tion which I spotted recently in a 3 IJ Valentin, f>) 1591-1632, detail from The painting by Mieris. (7) The two ivory

    How to hold a lute: historical evidence from paintings

    Four Ages of Man, c. 7625, London, National Gallery. 4. (') Peeler Franchoip, 1606-54, (?)Jacques Gaultier, c. 1635. Baton, Museum of Fine Arts. 5. Gerard ter Borck, 1617-81, detailfrom

    Woman playing a lute, c. 1670, London,


    National Gallery.

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    buttons on the back of the lute are joined by a string on which are tied two loops. I suggest these could be looped over buttons on the player's coat or dress to help support the lute. The Victoria and Albert Museum has in its collection a lute on which the two small buttons are joined by a string, but no loops. The really end-heavy chitarrone was supported by a band of material or leather fixed to a wooden hook behind and above the first peg-box. (8) The band ran across the left shoulder, behind the back, and hooked into a wooden eye fixed to the middle of the caooine strip.

    6. Francois de Troy, 1654-I7JO, Charles Mouton, c. 1690, Paris, Musie du Louvre, engraved by Gerard Edelinck 1640-1707. 7. Wiilem van Miens, 1662-1747, detailfrom The Neglected Lute, c. 1695, London, Buckingham Palace. 8. Theodore Rombouts, M97-I6J7, detadfrom The Five Senses, Ghent, Museum voor Schone Kunsten.

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