Antonio-
Juan Bermudo, "Declaracion de Instrumentos Musicales..." 1555, f.95'-96.
Translation by John Milton Ward, "The Vihuela da Mano and its Music",
1953; p52. "On the seven-course vihuela the "temple comun" was
4-4-3-4-4-4".
According to this set-up, the major 3rd interval was between the 4 & 5
courses, not 3 & 4 as on the 7 (or any other) course lute. Supposedly to
facilitate intabulation of higher pitched voices from the vocal
literature. In other words, a "G" vihuela was now a tiny "D" vihuela
with the extra 7th course being a high treble string, i.e., 1st course
"g". But the instrument was mentally conceived of as "G" tenor with a
high "c" string. No music composed or arranged for such a configuration
has survived, so not having the time or talent to explore this modality
myself, I use mine as an ordinary "7 course lute w/low D".
Bermudo also recommended an impossible theoretical tuning in 4ths & 5ths
for the 7 course instrument that would provide a range to cover
everything- but of course, the limitations of the strings & response
range of the instrument kept this idea in the theoretical realm only.
A number of players were remembered as great players of the 7 course
vihuela, including Luis de Guzman (apparently the composer of a lost
book of vihuela music. Damn!), Pedro de Madrid, the great composer
Francisco Guerrero, and a few others.
Dr. Ward's book is a must read, must own book for any serious vihuela
player.
Dan
On 10/16/2014 7:46 AM, Antonio Corona wrote:
"the actual 7 course historical tuning specified for the "Vihuela
Grande"
????????
Best wishes to all
Antonio
On Thursday, 16 October 2014, 8:23, Martin Shepherd
<[email protected]> wrote:
The version in the Folger MS ("the battle gallyard") is written for 7c
lute with the 7th at D.
Same applies to the Dd.5.78 version of Mr John Langton's Pavan.
M
On 16/10/2014 04:13, Dan Winheld wrote:
> Ed-
>
> It's a piece a cake. Every time he calls for the low "F", it's in low
> position & chord voicing that makes it very, very easy to finger on
> the 7th course at the 3rd fret. Dowland does not call for this note
in
> many places where he could; as if the piece was originally conceived
> for a 7 course, low "D" instrument first.
>
> Far more telling is Langton's Pavin (also in the "Varietie") - a
> veritable showcase piece for the 8 course lute. Also no prob. on a 7
> course w/low D.
>
> Yeah, I remember your damn lute. I'm still counting pegs in my sleep.
> Almost as much fun was bringing my 7 string guitar to Mimmi Fox's
jazz
> guitar class. She kept looking at the guitar, looking at my hands,
and
> shaking her head in confusement.
>
> Dan
>
> On 10/15/2014 5:16 PM, Ed Durbrow wrote:
>> What about the King of Denmark's Galliard in Robert Dowland's
>> Variety. IIRC, you pretty much need the open F and D if you want to
>> pull it off well. I would tune 7 to low D and play the Fs up an
>> octave probably. But I'm on board with you. I had my 8 course
>> converted to a 7 course long ago. I love to watch people's faces
when
>> they count the strings and then count the pegs. As I've always said,
>> a seven course is only 7/8 as difficult as eight course.
>>
>> On Oct 16, 2014, at 4:36 AM, Dan Winheld <[1][email protected]>
wrote:
>>
>>> The answer is- Nothing! It can all be done with 7 courses- but
since
>>> my low D 7th course would generate far too much tension cranked up
>>> to "F", I have to conclude that one (well, me anyway...) needs to
>>> have either two 7 course instruments or... ONE eight-course!
>> Ed Durbrow
>> Saitama, Japan
>> [2]http://www.youtube.com/user/edurbrow?feature=watch
>> [3]https://soundcloud.com/ed-durbrow
>> [4]http://www9.plala.or.jp/edurbrow/
>>
>>
>>
>>
>>
>> --
>>
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>>
>
>
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