Dear Martin,
Not strictly relevant to your discussion, but the eighteenth century
six course mandora/gallichon could have octaves up to and including the
fourth course ie c with a c' if a nominal d' (top course) instrument.
How widespread this arrangement was I have been unable, as yet, to
establish.
In practice I find a high octave on the fourth course is highly
intrusive in much of the solo repertoire and so I use octaves only on
the fifth and sixth courses of both my d' and e' gallichons. But this
is, of course, a subjective judgement......
Similarly, I've also been unable to ascertain what arrangement the
eighteenth century Italia liuto used - though from the fingerboard
diagram and 'Scale' of Dalla Casa's 10 course Arcileuto Francese he
seems to have had unison throughout - with, interestingly, a double
first course (as, of course, many archlutes seemed to have employed)
Martyn
__________________________________________________________________
From: Martin Shepherd <[email protected]>
To: [email protected]
Sent: Saturday, 17 January 2015, 10:26
Subject: [LUTE] Re: 16th century tuning and stringing
Good question! ;)
On 17/01/2015 10:08, Robert Barto wrote:
Dear Martin,
OK. Great. When were they converted?
Thanks, Robert
--
Sent from my Android phone with GMX Mail. Please excuse my brevity.
Martin Shepherd [1]<[1][email protected]> wrote:
I think it's likely that Dowland was referring only to the 6th
course,
courses 4 and 5 having been already "converted" to unisons by that
time. He says specifically, "In that place which we call the sixth
string" - when he could easily have said something like "all the
basses". I suspect even when he had his 6th course in unison, he
had
the 7th-9th courses still in octaves (hard to imagine a unison 9th
course in gut).
Martin
On 17/01/2015 01:13, Robert Barto wrote:
> Thank you all for this so far.
> I just checked out Barley (1596) which is apparently a revision
of
the
> previous English translation of le Roys instructions. It clearly
calls
> for octaves on 4, 5 and 6. So this tuning seems to have been
propagated
> in the tutors in late 16th century England. (Matthew Spring in
his
> "Lute in Britain" suggests that this might not have reflected
practice
> at this time (1596) as in 1603 Thomas Robinson already calls for
> unisons.)
> I reread the Dowland comments in the Varietie as well. It sounds
to me
> as if he is at least saying that he prefers unisons, and that
octaves
> were being used more in England at than elsewhere. I cannot
imagine
> that he is only talking about the 6th course. Perhaps the style
had
> already been changing on the continent.
>
__________________________________________________________________
>
> [1][avast-mail-stamp.png]
>
> Diese E-Mail wurde von Avast Antivirus-Software auf Viren
geprueft.
> [2][2]www.avast.com
>
> --
>
> References
>
> 1.[3] [2]http://www.avast.com/
> 2.[4] [3]http://www.avast.com/
>
>
> To get on or off this list see list information at
>[5] [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
---
This email has been checked for viruses by Avast antivirus
software.
[6][5]http://www.avast.com
__________________________________________________________________
[7][avast-mail-stamp.png]
This email has been checked for viruses by Avast antivirus software.
[8]www.avast.com
--
References
1. mailto:[6][email protected]
2. [7]http://www.avast.com/
3. [8]http://www.avast.com/
4. [9]http://www.avast.com/
5. [10]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
6. [11]http://www.avast.com/
7. [12]http://www.avast.com/
8. [13]http://www.avast.com/
--
References
1. mailto:[email protected]
2. http://www.avast.com/
3. http://www.avast.com/
4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
5. http://www.avast.com/
6. mailto:[email protected]
7. http://www.avast.com/
8. http://www.avast.com/
9. http://www.avast.com/
10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
11. http://www.avast.com/
12. http://www.avast.com/
13. http://www.avast.com/
