I suspect the operative words here are "in barber style".
Much earlier Italian sources, e.g Millioni indicate that you should strum
between the rose and the neck. To witt
Sonando con la mano destra, però con tre, ò quautro dita, tenendole distinte
al quanto l'una dall' altra, acciò rendino più dolcezza, toccando però tutte
le corde, e sonando trà la rosa, & il manico; Auuertendo di dare tutte le
botte, che sono sotta alla linea all'in giù- e quelle che sono di sopra all'insù,
secondo si troueranno.
You should play with the right hand, with three or four fingers, having them
separate from one another, so as to render the music more sweet, touching
all the strings between the rose and the neck. Note also that the strokes
which are below the line are played downwards and those which are above,
upwards as you find them.
or words to that effect.
Monica
----- Original Message -----
From: "Rob MacKillop" <[EMAIL PROTECTED]>
To: "Vihuela" <[EMAIL PROTECTED]>
Sent: Friday, May 30, 2008 9:56 PM
Subject: [VIHUELA] strumming near the bridge
A couple of people have emailed me questioning my strumming near the
bridge.
My first response would be to say, 'just because it isn't mentioned in the
didactic literature doesn't mean it wasn't done', but today I found some
supporting evidence.
Fernando Fernadiere's <i>Arte De Tocar La Guitarra Espanola</i> might be
considered a late source, 1799, and for a six-course instrument. However,
the 6c guitar was a new-fangled instrument, and the five-course guitar was
still very much alive. Discussing right-hand technique, he says:
''The right hand is placed fairly firmly very close to the sound-hole,
because that is where a sweet and agreeable tone is obtained; and not next
to the bridge, which is where it is commonly strummed and played in
barber-style''.
Rob
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