> Honestly I can't understand why people when discussing English and 
> German 18th C. citterns completely ignore the French/Flemish tradition 
> these instruments represent. Surely they must offer a cmpletely 
> different perspective to the entire matter of 18th century citterns?

I don't think they offer a completely different perspective.
The French vogue or fad seems to start around 1770 - a decade or so after the 
British fad. The French instrument is   typically tuned in A and with seven 
courses and a slight, but important difference in tuning: E, A, D, e, a, c#, e. 
(This disposition of intervals, transposed to C is mentioned in an English 
source - and also, interestingly, in G and in a disparaging way, in a Russian 

The publications are dominated by Carpentier and C.F.A. Pollet (and one or two 
by his brother). Correte wrote a bit for the istrument too in his mandoline 
tutor. Whereas the guittar repertoire is usually a single line, the 'cistre'  
or 'cythre' repertoire (also, always, called guitthare allemande)has a 
rudimentary bass line. A fair chunk of the French repertoire is guittar music, 
transposed to A and with a simple bass line added.
Both Pollet and Carpentier mention C-tuned instruments.

The existence of lots of guittar music in French sources - and 'ingleza' music 
in at least one Portuguses source, makes  me think that Norwegian sitrenk music 
may well have included  music from the guittar repertoire - a sort of 
International pop music of simple little tunes.

Carpentier seems to have been writing for an 8 course instrument and Pollet's 
later publications are for a theorbo-like instrument with  the bass notes 
optionally an octave lower, but still playable on a seven-course instrument. 

This makes me think of another complication - the introduction at the end of 
the 18th century of instruments clearly related to wire-strung instruments and 
sharing the tuning and some of the reperoire - the gut-strung harp-guitars, 
'lutes', harp-lute-guitars. 

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