First of all, thank you for sharing the Ms pages and writing posting the background information on instruments and suggestiion that the Ms. could be viewed as part of the "Danish" or "German" tradition.

Secondly, you guys are a tough audience! !

I started this post a few days ago so I may be behind the discussion by now.

I have uploaded a revised PDF of the cittern pieces at:

I have reset the tab in the 5-line form of the original and decided to alter more bass notes to better please my ear. I have also added numbers to help keep track of pieces. The transcriptions offer one possibility for the ornaments.

Does anyone have other thoughts about the ornaments? Farstad's examples didn't seem completely same to me (they always followed the note to be ornamented). In Storm these signs are on staff between the upper note(s) and bass note. The two vertical lines in Storm are rather short strokes and might be almost viewed as two long dots. The Storm cross is a longer vertical stroke with a shorter horizontal stroke (t-like).

Regarding number of courses, I wonder why the writer would bother with writing his fretting examples on page 3 with seven definite entries and two distinct notations (after the fifth course) if the 6th and 7th course were tuned the same.

I think the tablature definitely shows seven courses, as each fretting example on page 3 has tablature letters on each of the 5 staff lines (starting at the first course) then next a tablature letter with a slash, followed by a tablature letter without a slash. This happens for each fret -- 7 for the open strings, 7 for the first fret, etc.

The two page 3 tuning charts only indicate tuning for six courses. What does this mean? The seventh was variably tuned? (If one believes this music is for a 7-c instrument.)

I would agree that in many places in the music where the indicated 7th note would sound the pitch for the 6th would sound better. You will see that I have gone further in my new version in altering bass notes to a better (to my ear) choice.

Overall, a C still makes more harmonic sense (to me), as it is often in a place where I would expect a dominant harmony). There are also passage (6 and 14) where the baseline seems to be displaced an octave (if the 7th is read as a C).

There are many pieces which do not use a seventh course: 1, 2, 3, 7, 8, 9, and 15. In the rest of the pieces I always thought a C was better than an F (except for 10, and the second half of 12 where F would be better -- I viewed them as a possible mistake). I also tried a G and that also seemed to work OK, but I still think C better.

Anon Egeland's suggestion of a 7th tuned to B-flat doesn't work to my ears. He's a fiddle/violin player so may have relied on information from a plucked string player.

-- Rocky

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