> anyone done any studies to see if there are concordances of the same > piece in different tunings and how much this might have been done?
I'd be keen on such a study as well. Andi Schlegel has rightly raised the question if the Oeuvres de Vieux Gaultier edition (CNRS) can be considered complete in any way as it exclusively contains Gaultier's music in d-minor-tuning. The habits of the time of his active service suggest that Vieux Gaultier most probably made use of the ton ravissant and other so-called transitional tunings until his retirement in 1631. As was the custom, contemporaries would transcribe his pieces for their respective tunings, as did Denis Gaultier for his edition. I agree with Andi that quite a bit of Vieux Gaultier's music hasn't been discovered as such, probably. BTW, Mace has a table for transcribing on p. 186. Most authors write that Mace was out of time when he published his flaming plea in defense of the flat tuning in 1676. But that was only four years after Denis Gaultier's last publication of 1672. In that very year, Thomas Samson published his treatise, purporting that the d-major-tuning was the best, being taught in London by John Rogers, presumably a senior teacher. In short, I think things were still floating in Britain during the 1670ies. I suppose a study on that subject should draw on continental manuscript sources between Françisque and Ballard 1638 as a premise. Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
