I asked for prints because it's more significant for a wider use of a new type of instrument. We always have more or less single proofs for outstanding solutions in the lute world (f.ex. the 14-c. Baroque lute with swan neck of J.Chr.Hoffmann in Leipzig - and the Bach g-minor- suite... perhaps...) but I need to know the "normal" case.
So it's correct like this? 1565 Krakow, Bakfark: Fantasia VI (22) (only end), VII (23), Circumdederunt me 2da pars (26), Domine, si tu es Prima pars & 2da pars (28) (also twice stopped on the 2nd fret!): 7th course always tuned a second below the 6th course 1569 Antwerpen, Bakfark: 22, 23, 26, 28 1571-6 Lovanii, Theatrum musicum 26 (fol. 81v-82v) Has somebody the Theatrum from 1571 to see there if the 7th course is really used in Circumdederunt me 2da pars? 1574 Melchior Newsidler: probably a second below the 6th course (Who has a copy? The facsimile is out of print! I don't know exactly if the 7th course is tuned in F or D or something between. Who can have a look?) 1582 Strassburg, Barbetta: tuned a fourth below the 6th course (typesetting until number 23 with 7 lines, if the 7th course is used! After n.23 only 6 lines.) 1598 Leipzig, Reyermann 8 course (7th a fourth below, 8th a fifth below the 6th course) 1599 Venezia, Terzi and Molinario 8 course (8th a fourth below the 6th course 1600 Paris, Francisque 9 course 1611 Rom, Kapsberger 10 course Thanks for all your contributions! Andreas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
