Corrette is interesting in also having published a 1772 mandolin method. If the mandolin is to be considered--and this is obviously not of direct application to "much earlier supposed practice"--but Gabriel Leone's more professional sets of variations for solo mandolin almost always included split-string passages. He published what I consider to be the most sophisticated of that first generation's mandolin tutors in 1768.
Best, Eugene -----Original Message----- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Martyn Hodgson Sent: Wednesday, May 13, 2015 12:41 PM To: Monica Hall Cc: Lutelist Subject: [LUTE] Re: Vihuela Stringing Thanks Monica, I was aware of the 17thC lute sources (another besides Mouton uses the Aa notation) and the Corrette but raised the matter in the context of the much earlier supposed practice. Martyn __________________________________________________________________ From: Monica Hall <mjlh...@tiscali.co.uk> To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk> Cc: Lutelist <lute@cs.dartmouth.edu> Sent: Wednesday, 13 May 2015, 16:40 Subject: [LUTE] Re: Vihuela Stringing As far as I know there are only two sources which actually indicate in the music/tablature that one or other string only of an octave strung course should be played. These are Mouton - Pieces de lute (1699) who indicates that first the bass string and then the treble of the 6th course should be played using a standard letter for the bass note and a smaller letter for the treble note. If you have a copy of my booklet on stringing there is an example on p.32 which I can't reproduce here. The other source is Corrette - Les dons d'Apollon ( ca. 1760) who says in his introduction.. "p.18 Les P que j'ai mis au dessus des LA et des RE aux pages 23, 25, 26, 28, enseignent que ses notes se pincent legerm.t du pouce sur les petites cordes du 5e et 4e rang. Les bons Maitres se servent de cette maniere dans les pieces pour laisser plus de libertA(c) aux 2e et 3e doight de la main droite. The Ps which I have placed above the As and the Ds on pages 23, 25, 26, 28 show that these notes are to be played lightly with the thumb on the thinner strings of the fifth and fourth courses. The best players use this method in some pieces in order to leave the second and third fingers of the right hand freer." His music is in staff notation and he does indeed put a P over the notes to be played only on the thin treble string of the course - which is placed on the thumb side. No-one else mentions this practice or notates in any way as far as I know. Monica ----- Original Message ----- From: "Martyn Hodgson" <[1]hodgsonmar...@yahoo.co.uk> To: "G. C." <[2]kalei...@gmail.com>; "Lex van Sante" <[3]lvansa...@gmail.com> Cc: "lute mailing list list" <[4]lute@cs.dartmouth.edu> Sent: Wednesday, May 13, 2015 4:13 PM Subject: [LUTE] Re: Vihuela Stringing > Do we know whether the 'split-course technique' as it is sometimes > termed nowadays was a notation to indicate that only one particular > string of an octave course was actually to be employed, or whether it > was pedantic intabulation to indicate in which octave the > composer/arranger wished to show the strict counterpoint theoretically > fell? Or perhaps some other indication....... > Grateful for a source. > MH > __________________________________________________________________ > > From: G. C. <[5]kalei...@gmail.com> > To: Lex van Sante <[6]lvansa...@gmail.com> > Cc: lute mailing list list <[7]lute@cs.dartmouth.edu> > Sent: Wednesday, 13 May 2015, 14:43 > Subject: [LUTE] Re: Vihuela Stringing > Bakfarks use of split-course technique in the Krakow lute book: > 1. Jesu nomen sanctissimum. Secunda pars: Sit nomen domini, measure 9 > 2. Circumdederunt me, measure 25, measure 56 > 3. Secunda pars: Quoniam tribulatio, measure 15 > 4. Qui habitat in adjutorio, measure 59 > 5. Secunda pars: Non accedar, measure 27 > G. > On Tue, May 12, 2015 at 7:47 PM, Lex van Sante > <[1][1][8]lvansa...@gmail.com> > wrote: > Of course I did not mean the fourth but the third course, sorry for > the confusion. So Capirola as far as I know did not employ split > octave courses. > Where does Fuenllana mention splitting the courses? I have not > found > any reference. As I have no complete edition of Bakfark where does > he use this technique? > Can anyone inform? > -- > References > 1. mailto:[2][9]lvansa...@gmail.com > To get on or off this list see list information at > [3][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- > > References > > 1. mailto:[11]lvansa...@gmail.com > 2. mailto:[12]lvansa...@gmail.com > 3. [13]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > -- References 1. mailto:hodgsonmar...@yahoo.co.uk 2. mailto:kalei...@gmail.com 3. mailto:lvansa...@gmail.com 4. mailto:lute@cs.dartmouth.edu 5. mailto:kalei...@gmail.com 6. mailto:lvansa...@gmail.com 7. mailto:lute@cs.dartmouth.edu 8. mailto:lvansa...@gmail.com 9. mailto:lvansa...@gmail.com 10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 11. mailto:lvansa...@gmail.com 12. mailto:lvansa...@gmail.com 13. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
