As far as I know there are only two sources which actually indicate in the
music/tablature that one
or other string only of an octave strung course should be played.
These are Mouton - Pieces de lute (1699) who indicates that first the bass
string and then the treble of the 6th course should be played using a
standard letter for the bass note and a smaller letter for the
treble note. If you have a copy of my booklet on stringing there is an
example on p.32 which I can't reproduce here.
The other source is Corrette - Les dons d'Apollon ( ca. 1760) who says in
his introduction..
"p.18 Les P que j'ai mis au dessus des LA et des RE aux pages 23, 25, 26,
28, enseignent que ses notes se pincent legerm.t du pouce sur les petites
cordes du 5e et 4e rang. Les bons Maitres se servent de cette maniere dans
les pieces pour laisser plus de liberté aux 2e et 3e doight de la main
droite.
The Ps which I have placed above the As and the Ds on pages 23, 25, 26, 28
show that these notes are to be played lightly with the thumb on the thinner
strings of the fifth and fourth courses. The best players use this method
in some pieces in order to leave the second and third fingers of the right
hand freer."
His music is in staff notation and he does indeed put a P over the notes to
be played only on the thin treble string of the course - which is placed on
the thumb side.
No-one else mentions this practice or notates in any way as far as I know.
Monica
----- Original Message -----
From: "Martyn Hodgson" <[email protected]>
To: "G. C." <[email protected]>; "Lex van Sante" <[email protected]>
Cc: "lute mailing list list" <[email protected]>
Sent: Wednesday, May 13, 2015 4:13 PM
Subject: [LUTE] Re: Vihuela Stringing
Do we know whether the 'split-course technique' as it is sometimes
termed nowadays was a notation to indicate that only one particular
string of an octave course was actually to be employed, or whether it
was pedantic intabulation to indicate in which octave the
composer/arranger wished to show the strict counterpoint theoretically
fell? Or perhaps some other indication.......
Grateful for a source.
MH
__________________________________________________________________
From: G. C. <[email protected]>
To: Lex van Sante <[email protected]>
Cc: lute mailing list list <[email protected]>
Sent: Wednesday, 13 May 2015, 14:43
Subject: [LUTE] Re: Vihuela Stringing
Bakfarks use of split-course technique in the Krakow lute book:
1. Jesu nomen sanctissimum. Secunda pars: Sit nomen domini, measure 9
2. Circumdederunt me, measure 25, measure 56
3. Secunda pars: Quoniam tribulatio, measure 15
4. Qui habitat in adjutorio, measure 59
5. Secunda pars: Non accedar, measure 27
G.
On Tue, May 12, 2015 at 7:47 PM, Lex van Sante
<[1][1][email protected]>
wrote:
Of course I did not mean the fourth but the third course, sorry for
the confusion. So Capirola as far as I know did not employ split
octave courses.
Where does Fuenllana mention splitting the courses? I have not
found
any reference. As I have no complete edition of Bakfark where does
he use this technique?
Can anyone inform?
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