Who says I tune my guitar(s) at A440? I used this pitch in my analysis
simply as a convenient reference point. But I don't think anybody would
argue that a major third below A440 is an ideal historical pitch for
guitars.
MH
--- On Tue, 23/11/10, jean-michel Catherinot
Strad (or his sons?) did indeed leave notes which indicate the position
of the octave and bourdon as you describe. And other evidence.
But to your central question - it's very much chicken and egg:
- did the octave on the basses (used like on the lute to brighten a
muddy bass)
I only says that a minor third below 440 is the tuning indicated
by Carbonchi (GCFAD), at a pitch of a=415. On instruments with a
diapason of 69 cm (as Sellas...), it equals my stringing which is a
tone higher (ADGHE) with a 63 cm SL.There is no impossibilty to use a g
I think the actual evidence from the time is minute - something in
Stradivarius and ? at most a couple of other things? (Plus something much
later? Merchi? - when the bass notes are unambiguously bass notes anyway).
Rather surprisingly the one 17th century mention of this practice is in Ruiz
Thanks for clarifying that! I understand what you mean now.
Monica
- Original Message -
From: jean-michel Catherinot jeanmichel.catheri...@yahoo.com
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; Chris Despopoulos
despopoulos_chr...@yahoo.com
Cc: Vihuelalist vihuela@cs.dartmouth.edu
On 24/11/2010 12:54, Monica Hall wrote:
Rather surprisingly the one 17th century mention of this practice
[having the low note on the thumb side] is in Ruiz
de Ribayaz's Luz y norte musical.
It's astonishing really. Hundreds of guitar publications and MSS in the
seventeenth century and
It is actual Nina Treadwell who mentions Aranies on p. 44 of her
dissertation The chitarra spagnola and Italian monody. The point is
that it is the voice parts which have to be transposed not that guitar
must be pitched a 4th higher. She seems to have got the information
from an
It's astonishing really. Hundreds of guitar publications and MSS in the
seventeenth century and just one mention of it. and yet everyone today
uses this method of stringing with bourdons. The actual evidence is so
slight.
One possible reason why it is seldom mentioned is because the commonest
You can.
I have a recording of Olav Chris Henriksen playing the Campion fugue which
has a short passage in harmonics and he is using the French tuning. He does
it quite clearly. I think I have heard someone else do it as well. Can't
remember.
Monica
- Original Message -
