The simple answer, because it looks like that. 200 years earlier they
would
have made a proper conversion, i.e. with a canted top!
Have you studied how the strings of early citterns were fixed? Very much
like this, as I understand it.
I was not thinking of conversions. And a canted top is not
Having got as far as the chapter on the theorbo in Linda's dissertation it
seems worth quoting some of the things which she says - on p.51-2 - i.e.
It is very difficult to string a single peg box lute in gut so that all the
strings sound well over its wide range. The larger the lute, the
Hola Monica!
I was rather surprised to read the following when going through the
correspondence on Lutenet!
I said that:
For the guitar I see an entirely different cause: like the ukelele the
instrument needed to be heard in the open air (imagine Spain or the New
World). By having as
Players who think that somehow guitar music can and must conform to a very
narrow interpretation of the rules of music theory are following the wrong
star altogether!
As do scholars who think that the rules of music would not apply to the
guitar
To get on or off this list see list
Have you studied how the strings of early citterns were fixed? Very much
like this, as I understand it.
I was not thinking of conversions. And a canted top is not needed to play
on
wire. I know they did that in the 18th c. And they shortened the necks of
existing instruments. All to reach a
I think especially for open air performance the plain gut basses of the
five
course guitar are not very useful. The 'musica ruidosa' that Sanz speaks
of
could refer to another (indoor?) situation. 'el que quiere taner guitarra
para hazer musica ruidosa, o accompagnarse el baxo con alguno
For example, a seven-string (four-course) guitar-like shaped instrument is
depicted on a pilaster of the Duomo of Cremona c.1560 (actually quite
nicely
'wrapped up' in an open book - of music, I presume ...).
According to Meucci that would not be a chitarra Italiana, since that
instrument
Players who think that somehow guitar music can and must conform to a
very
narrow interpretation of the rules of music theory are following the wrong
star altogether!
As do scholars who think that the rules of music would not apply to the
guitar
The emphasis is on narrow
To defend my fellow players:
We have a problem that researchers don't have. We sometimes are forced to
make decisions to be able to perform the music. And on top of that we have
to find ways to understand the music (and preferably appreciate it as well),
otherwise a good performance cannot be the
Martyn Hodgson [EMAIL PROTECTED] wrote: Date: Tue, 17 Oct 2006 09:00:21
+0100 (BST)
From: Martyn Hodgson [EMAIL PROTECTED]
Subject: Re: [VIHUELA] Re: Why re-entrant tuning?
To: Alexander Batov [EMAIL PROTECTED]
Dear Alexander,
I am genuinely open minded about all this and remain to be
Subject: [VIHUELA] Re: Why re-entrant tunings
Apart from this specific case: who is to decide whether arguments are
pseudo-academic. To take everything on the paper for granted is not
necessarily 'more scientific'. The very unusual (maybe even unique)
harmonic
language of Corbetta is in
- Original Message -
From: Martyn Hodgson [EMAIL PROTECTED]
To: Cittern NET cittern@cs.dartmouth.edu; Early Guitar NET
early-guitar@cs.dartmouth.edu; Vihuela Net vihuela@cs.dartmouth.edu
Sent: Tuesday, October 17, 2006 2:48 PM
Subject: [VIHUELA] Re: Why re-entrant tuning?
Dear Martyn,
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