Thanks Monica,
I was aware of the 17thC lute sources (another besides Mouton uses the
Aa notation) and the Corrette but raised the matter in the context of
the much earlier supposed practice.
Martyn
__________________________________________________________________
From: Monica Hall <[email protected]>
To: Martyn Hodgson <[email protected]>
Cc: Lutelist <[email protected]>
Sent: Wednesday, 13 May 2015, 16:40
Subject: [LUTE] Re: Vihuela Stringing
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 libertA(c) 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" <[1][email protected]>
To: "G. C." <[2][email protected]>; "Lex van Sante"
<[3][email protected]>
Cc: "lute mailing list list" <[4][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. <[5][email protected]>
> To: Lex van Sante <[6][email protected]>
> Cc: lute mailing list list <[7][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][8][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?
> --
> References
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>
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>
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>
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