Well here for the record are my views on these two.
Carbonchi explicitly says he has published his book in French tablature to
make it accessible to foreign players. Read into that what you like.
and wait for it
Calvi's book is partly a plagiarised version of Corbetta's 1639 book. The
alfabeto pieces are abbreviated versions of Corbetta's alfabeto pieces.
I did in the booklet venture to suggest that Corbetta may have started out
in life as a re-entrant tuner.
The only other one we haven't mentioned to date is Costanza. His tuning
instructions if taken literally imply a re-entrant tuning.
Monica
----- Original Message -----
From: "Martyn Hodgson" <hodgsonmar...@yahoo.co.uk>
To: "Stuart Walsh" <s.wa...@ntlworld.com>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Sent: Sunday, November 21, 2010 12:40 PM
Subject: [VIHUELA] Re: Any b-guitar repertoire in all re-entrant accepted by
all?
Dear Stewart,
I think Carre is very doubtful as being fully re-entrant for reasons
given earlier; in short, tunings probably lifted from Mersenne and
possibly garbled. All French guitarists of this period were clearly
heavily influenced by Corbetta (cf. his 'developed' French style as
well as concordant sources) who advocated a bourdon on the 4th at this
time. It's therefore prudent to assume Carre used the same ('French')
tuning unless you've got firm evidence to the contrary...
Monica's monograph 'Baroque Guitar stringing' (Lute Soc 2003) is pretty
authorative; no doubt she will let us know her views in due
course. One thing she mentions on page 17 is Sanz's (well known)
report about the practice of fully re-entrant amongst the best masters
in Rome (especially listing Colista) but suggests such tuning might
have been used elsewhere in Italy. Looking at a few published books
it's hard to come down clearly either way on the basis of internal
evidence.
A couple caught my attention which I've not seen mentioned (I think):
- Carbonchi's interesting 1643 collection has mostly alfabeto pieces in
the Italian collection and I suggest could be played equally with or
without bourdons. The french tablature pieces seem of two main types
and with which we are familiar: strummed chords interspersed with
melodic passages and treble and 'bass' settings but it looks to me
after a quick strum on two guitars (one fully re-entrant, one bourdons
on both) that with or without works equally well. I be grateful for
views on this source.
- Calvi's 1646 collection which also contains alfabeto pieces and
intabulated dances which, like the Carbonchi, I suggest are equally
acceptable with or without bourdons. It has the usual sort of tuning
chart but what might look like octave indications is I guess only a
check for unisons or octaves ('Prova').
I'm sure Monica will have written on both these but, off-hand, I can't
anything - sorry!
Martyn
--- On Sun, 21/11/10, Stuart Walsh <s.wa...@ntlworld.com> wrote:
From: Stuart Walsh <s.wa...@ntlworld.com>
Subject: [VIHUELA] Re: Any b-guitar repertoire in all re-entrant
accepted by all?
To: "Lex Eisenhardt" <eisenha...@planet.nl>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Date: Sunday, 21 November, 2010, 11:11
>>
> So - is this the list so far - of music that is acknowledged in the
> text itself as fully re-entrant?
>
> 1) Briceno
> 2) Carre
> 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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>
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References
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