Composing for the Theorbo: 2

Compiled by Lynda Sayce

Right hand techniques

The strings are plucked somewhat like those of a guitar, but with two important differences. The hand is steadied by placing the little finger on the soundboard, which limits the flexibility of the ring finger. Also the thumb has to manage all of the unfretted basses, and frequently plays the fretted strings too. The terrifically high speeds which some classical guitarists can attain are not possible on the theorbo, partly because it is a much bigger instrument and takes longer to speak, and partly because most theorbo players pluck with the flesh of the fingertip, not with the nails, and this takes longer to register on a string. Typical textures are:

Plucked chords of two or three notes, including no more than one of the unfretted basses.

Spread chords of up to six notes (one note per string!) on the fretted strings. An unfretted bass string may be added. Chords can be re-iterated and rolled in a variety of ways. Chords lying on adjacent strings may also be brushed rapidly downwards with the thumb.

Running single line passage work. This is best restricted to the fretted strings, which puts these lines in the baritone and tenor registers. Players will generally arrange the fingering so that as many notes as possible fall on different strings, giving a harp-like effect which we call 'campanellas'. Considerable speed is possible in these registers, especially if plucked notes are combined with left-hand slurs. Single lines on the unfretted basses need to be much slower, since these are all plucked by the thumb only.

Strumming is possible, including elaborate strumming patterns borrowed from the baroque guitar, but the required notes within chords must lie on adjacent strings. Strumming is not always practical on very big theorbos, because the size of the body limits the movement of the player's arm.

Dynamic variations

The right hand is also responsible for dynamics. A complete gradation of dynamic is possible, ranging from a mere whisper of sound to a strong fortissimo. To pluck loudly, the fingers require more registration on the strings, which means some speed must be sacrificed. Basically the theorbo can be played fast OR loud, but not both simultaneously.

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