Composing for the Theorbo: 4

Compiled by Lynda Sayce

Non-historical and extended techniques

Harmonics

Natural harmonics (those occurring at the main node points of the strings) are quite effective on theorbos, especially those at the 12th fret (an octave above the open string) and the 7th fret (a twelfth above the open string). Artificial harmonics, of the kind commonly used on classical guitar, are not practical because they rely on moving the right hand along the string at 12 frets' distance from the stopping finger, and reaching this far around the theorbo's body is not always possible. Notating harmonics in theorbo music can be problematic, because many players will not have used them (they do not occur in the historical repertory). A verbal instruction in the score, explaining how you have notated them, may be advisable.

Microtones

Although these are theoretically available, since the theorbo has movable frets, in practice they are rather difficult to use. Moving a fret affects all six fretted strings, which may not give the desired effect. Tying additional frets in between the normal ones is a possibility - I use this measure very frequently to obtain chromatic notes in some of the more extreme historical temperaments. However, these frets take time to set up, require some practice to use, and are only completely trouble-free on very large theorbos. On smaller theorbos (the majority today) the microtonal frets are simply too close together to put a finger between them.

Non-western scale systems

Approximations to a variety of non-western scales can be achieved on the theorbo. Modes with western interval sizes but with non-tonal intervalic patterns can be very successful. Modes with non-western interval sizes, such as many Arabic modes which require three-quarter tones, are less successful, even with a shuffling of the frets, because the interval patterns do not always repeat at the intervals between open strings. Of the Javanese gamelan scales, a fairly good approximation of the pentatonic Slendro scale can be achieved simply by omitting certain notes of the western scale; however, the heptatonic Pelog scale simply does not work on a theorbo. I'm afraid I don't know anything about Indian scales and their feasibility on the theorbo. If you do, please get in touch!

Extended and avant-garde techniques

Rather a limited palette here, I'm afraid. Theorbos are expensive and fragile instruments, and theorbo makers have long waiting lists. If you include techniques which require striking or scraping the theorbo (even with fingers), or putting anything in it or on it, you are likely to have difficulty persuading anyone to play your piece, simply because of the risk of damaging the instrument. Sliding things like bottlenecks or guitar slides along the strings doesn't work particularly well, because gut strings are relatively rough. Some dramatic timbre changes are possible. A muted pizzicato-like sound can be achieved either by fretting exactly on the frets, or by partially damping the strings near the bridge. Another effective way of changing the timbre is to thread a small piece of paper loosely between the strings, which can give a very striking buzzing effect, rather like a bray-pin harp. Some clarity of pitch is lost. This effect is quick and easy to set up, and only a few seconds are required to add or remove the paper. Different papers give different sound effects, and the exact positioning of the paper can also radically affect the sound. I'm sure composers will find other ways of using the theorbo, but if you are a composer thinking along these lines, please bear in the mind the extreme fragility of the instrument.

Amplification

Composers' thoughts frequently turn in this direction, partly because of the ability to cancel out disparities in the dynamics of different instruments, and partly because of the possibility of adding electronic effects. Amplifying a theorbo is easy and effective. The two main ways are via a free-standing microphone, or via a contact microphone fixed to the instrument. Free-standing microphones are often of higher quality than contact microphones, and leave the instrument completely untouched and the player unencumbered with cables. The disadvantages are that they are sometimes too sensitive to players' movements, and may pick up extraneous noises such as shuffling feet, creaky chairs and page turns. If you go for this option, the most successful place to put the microphone seems to be above the theorbo and slightly to the player's right, which is the way the theorbo will normally face. The optimum distance will depend on the microphone, but close-miking will pick up a lot of finger- and string-noise. With a contact microphone, the best place seems to be on the soundboard rim, a couple of centimetres from the edge and just to the bass side of the centre joint in the soundboard. Unfortunately this is also where many players will want to rest their right arm, so some care is needed to find a spot where the arm will not interfere with the microphone. I stick my microphone to the soundboard with a double layer of double-sided sticky tape. This needs to be removed by very slowly and gently pushing the microphone sideways, NOT by pulling upwards, which will tend to tear out bits of soundboard wood. The lead from the microphone will probably need to be tied to the theorbo's endpin, to stop the combined weight of the microphone, lead and plug from pulling the microphone off the soundboard. This microphone will only amplify sounds from the instrument, not from the player's feet, score or nearby colleagues, but the attached lead can be inhibiting. Also any movement of the cable may lead to crackling noises; good quality leads and plugs are essential.

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