So I wonder why, from folio 48r to 60 the tab use a low course, some notes below the fifth line of the tab, often (if not all time ? I have to look again) open string, and it is not used any more from folio 61 to the end of tab ? For me this last part of tab is perhaps intended for guitar as the title named both instrument, guitar and mandora. (seems the scribe is not the same...)
-----Message d'origine----- De : lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] De la part de Mathias Rösel Envoyé : mardi 27 mars 2012 16:04 À : 'Martyn Hodgson' Cc : 'Lute List' Objet : [LUTE] Re: Tablature Mandore Guitare > > Indeed I noticed the gallichon tuning, and wrote: "Interestingly > > one tuning on fol 6 is given as for the 'Calledono' which I presume > > refers to the gallichon thus once again showing an interchange in usage > > between the mandora and gallichon - though the tuning given is not > > one I recognise from other sources". Apologies, now I see what you mean. That's on fol. 3r (= p. 5). The word actually reads "Callezono". There are three tunings. The first two of them are intended for the 5c callichon, whereas the third tuning is for the 6string viol, as indicated above the system ("Accord pro sex chordis / Aliter Viola di Gamb[a]"). The first tuning is a - e - c - G - D. That is a standard callichon tuning IIRC what Pietro Prosser wrote about it. The second tuning is somewhat faulty in that the names do not match the pitches. There is a bass clef prescribed. The notes are b - f - c - F - C. Yet the names written besides the upper three notes are g, d, a. They would match in the treble clef, but not with the bass clef. Wrong notes and correct names? I don't think so. I should think that the correct alternative callichon tuning is bb - f - c - F - C. The third tuning is that of a standard bass viol (in D). That might give a clue as for the solo music for the viol (fol. 33v 47v). Fol. 5r 33r is a bass part for the accompaniment of arias to be sung. Among them, I stumbled upon the air Sommes nous pas trop heureux by Lully (9v). Fol. 48 96 contain solo music for the mandora, closing with a long set of variations on Les Folies d'Espagne. On fol. 96 is a chart with alfabeto, followed by an air for the guitar ("Man weiß bey dießer zeit von keinem Freund" = no friends around, these days). The rest consists of duets for the viol as treble (betrayed by some dyads) and possibly the callichon as bass instruments, including a set of arrangements of tunes from Lully's opera Belloferon. Apparently, the guitar and the mandora were considered different not only regarding their respective shapes, but also in terms of playing technique and its notation. There is no alfabeto (and, inferentially, no strumming) in the mandora parts of the ms. Mathias > Hm, on fol. 6r I see a gavotte and a somewhat strange scale with wrong pitch > names (suppose its a tool for transposing from sight). And on fol. 6v I see a > Schmidt Courent. No charts on fol. 16, 26, 36, 46, 56, 66, 76, 86. > There are alfabeto and tuning instructions on fol. 96, but they are intended for > the guitar, and the tuning is not a new one but a different way of tuning, i.e. in > octaves and fifths (with a mistake in measure 1, as 1a + 3f equals a major third). > > On p. 24v seq, the headline that I can see reads Fundamentales Concentus in > Callizon, i.e. either chords in root position or basic chords on the Callichon. > Considering fol. 25r, I prefer the latter. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
