Here we go again.
The only person who unequivocally states that his music is for the fully
re-entrant tuning is Valdambrini. (And very few people unequivocally state
that their music is for any other specific tuning).
I don't thank that Murcia's Resumen or Matteis is intended for the fully
re-entrant tuning. They don't include any information about this.
To the list of references I would add Brossard's dictionary whose definition
is as follows.
"A kind of instrument with five courses of strings where the lowest is in
the middle unless there is a bourdon an octave lower than the fourth."
Monica
So - is this the list so far - of music that is acknowledged in the text
itself as fully re-entrant?
1) Briceño
2) Carré
3) Valdambrini
4) (all/most/some?) Sanz
5)
the manuscripts of Monsieur Dupille, commissaire de guerre in Paris,
from c.1649: F-Pg MS 2344, and two more
And more speculatively,
(I've just remembered Tyler's tutor. His first section is for fully
re-entrant guitar and he includes music from Lady Elizabeth Cromwell's
guitar book, Sanz, Matteis and Murcia (1714) but, apart from the Sanz,
these are probably much more controversial.)
1) Lelio Colista
2) Lady Elizabeth Cromwell's guitar book
3) Matteis (pieces that open "False Consonsances ")
4) Murcia (Resumen)
Of course, players in those times might have ignored these instructions
and the whole situation could have been very fluid,varying from place to
place and time to time.
Stuart
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