In a message dated 8/17/2006 4:38:07 A.M. Eastern Standard Time,  
[EMAIL PROTECTED] writes:

Dear all,
as an amateur lute player  studying in Italy I tend to spend most of my time
playing  Italian lute music from the XVI century. Well, I guess this  happens
to everybody, anyway... ;-)
I own a  splendid 8-course lute made by Stephen Barber and Sandi Harris  and
suddenly started wondering why I *ever* bought an 8 course  lute. In fact, I
either stumble on "pure" 6-course lute  tablatures or on a Baroque repertoire
written evidently for a  10-course lute.
I would be very, very, *very* grateful if you  could post me some indication
regarding 8-course lute music  pieces to avoid selling my lute to finally get
a  6-course...
Thank you in advance,
Luca


--------------------------------
 
Luca:
 
It is fine to play 6-course tablature repertoire on a 7 or 8 course  lute.  
The earliest source of lute music from Italy is the manuscript in  Pesaro from 
around 1480 to 1495 and it contains a piece or  two requiring a 7th course 
(D)!  And the famous Siena Lutebook  with mostly 6 course repertoire was 
compiled 
during the second half of the  16th C. and contains some works requiring a 
7th course.  
 
For 7 or 8 courses in Italian repertoire: 
 
in addition to Molinaro and the Raimondi manuscript, you can find nice  
pieces to play by Terzi (1593 and 1599), some works by Kapsberger from 1611 are 
 
playable, as well as Piccinini (1623 and 1640).  Also Giulio Cesare  Barbetta 
and Santini Garsi di Parma.  All of the dance repertoire is nice,  too, and you 
can always add extra basses in yourself: Negri and Caroso.
 
There are also plenty of Italian-based composers to be found in Dowland's  
Varietie of Lute Lessons 1610 and in Besarde's Thesaurus Harmonicus, as well as 
 
the Lord Herbert of Cherbury Lutebook (not available as an edition).
 
I recommend the Lyre Music Publications anthologies of "The Art of the Lute  
in Renaissance Italy" (three volumes covering Intabluations, Dances, and  
Fantasia) to have much of this repertoire bound in convenient editions that fit 
 
well on the music stand.
 
Kenneth Be


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