The Can of Norms: Expanding the Modern Lute Plucking Technique

Talitha	Witmer

Name: Talitha Cumi Witmer Main Subject: Lute/Theorbo Research Supervisor: Bart van Oort Title of Research: The Can of Norms: Expanding the Modern Lute Plucking Technique Research Question: Can “Thumb-out,” a historical lute technique in common use following the late Renaissance period, become favored by lutenists today? Summary of Results: After its revival in the 20th century, much has been discovered about the lute and its technique. One issue that is recently placed on the agenda of lutenists is the plucking technique applied on lutes. It is a known fact that Thumb-out was the technique applied most commonly for lute playing. Yet, very few lutenists adopt this Thumb-out technique today. Modern lute tutors tend to advise to avoid Thumb-out. If not, they advise to pluck around the rossete, and position their thumb close to the index finger. In paintings and treatises, however, we see Thumb-out hand with thumb positioned away from the index while the hand is placed around the bridge, and Thumb-out hand placed around the rosette, the former more often. I delved into this technique for 3 years and have come to understand that this “forgotten Thumb-out” is as matter of fact a technique that can be very beneficial for lute players, opening new, colorful, historical and healthy possibilities. Biography: The American-Korean lutenist, Talitha Cumi Witmer, started her musical studies at age 4 with church choir and piano. When she was 9 she heard a lute on a CD and immediately fell in love with its sound. Her dream to study the lute was then realized at the age of 13, when she began her formal studies on the instrument in Tokyo. Since 2011 she studies the lute under Joachim Held, and the theorbo under Mike Fentross since 2012. She performs both as a continuo player and a soloist, in Austria, Belgium, Germany, Italy, Japan, Latvia, Netherlands, and Portugal.

6. Conclusions

As many lute players today are unaware of, the true definition of the term Thumb-out refers not to a singular method but a plethora of techniques including Thumb-out with thumb-side fingertips, and Thumb-out with pink-side or middle fingertips. Thumb-out thumb-side is a technique that allows right-hand fingers to pluck towards the soundboard, enables full contact of fingertips with the strings, free and large movements of the fingers, and flexibility of the posture of the whole torso.

This technique requires certain stringing, especially for the trebles and basses, which more common string tensions today are unable to provide. The adequacy of the string tensions commonly applied today on lutes is historically speaking highly questionable. Use of half wound strings on the bass for lutes prior to 1650’s has no historical basis and can inhibit original practice. Adoption of rest-strokes as general strokes of right-hand thumb will enable the utilization of loaded gut strings for the bases.

Lowering the string tensions of the treble strings helps not only all of the Thumb-out technique, but simplifies the slurs and ornamentation for the left hand.

In order to play with historical technique and historical strings, and to enjoy its benefits to its full extent, what becomes essential is to have an appropriate instrument that aligns with one's choices.

Delving into these techniques lead me to many benefits: louder and clearer sound, richer timbre, faster playing, freedom in finger movements, and ease for the body. That having been said, what I gained most from this research was to realize that there is no such thing as one correct way of playing. The length of our thumbs are different, our taste in sound and tone are different, our bodies are different, our genders are different, and the stories we want to express through our instruments are different. We are not here to replicate history alone, but the past is there for us to learn from it and help us reach our goals. I am so grateful to be living in this 21st century where I have so many historical examples to learn from and inspire myself.

Neither would I have thee think that in this I detract from the other, differing ways, which other men do use, not unfitly, so that there be reason for them, and an easy gracetfulness in them. For a man may come to the same place divers ways; and that sweet Harmony of the lute (the habit whereof we do daily affect with so great travail) may strike our eares with an ellegant delight, though the hand be diversely applied.⁶⁰

- Jean Baptiste Besardo

NEXT: Chapter 7. Bibliography

⁶⁰Dowland, 1610, p. B.

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6. Conclusions