First of all - given that Cantu was apparently born in 1609 this portrait of
him must date from the mid 1630s at least - some eighty years after the
French 4-course books were printed and therefore hardly a suitable model for
the earlier instument. The kind of music which he is playing - probably
strummed music in alfabeto - is not the sort which calls for any kind of
split stringing.
The point about the pegs is that they are obscured by the ribbon tied round
the peg box but there could be ten.
The strings are not very clearly drawn and they are not visible at all at
the bridge. In such a crude drawing the artist has had some difficulty
fitting them all in.
It is not a photograph...
I am not sure what you mean by "If he really split his 4th course, why did
he do it for both hands?"
I don't think that you can base theory about the way the 4-course
guitar was strung on a drawing like this.
Nor do I share this obsession with six-four chords. If they were regarded
as a problem the 4th course could just be omitted. This is in fact what
Leroy does if you look through his books.
Monica
----- Original Message -----
From: "Robert Barto" <[email protected]>
To: <[email protected]>
Sent: Wednesday, May 13, 2015 7:34 PM
Subject: [LUTE] Michael Fink's split 4th article
I'm very open to Michael's ideas, but am really not sure about a few
things. Could we collectively look at Carlo Cantu playing the guitar
(easy to google) and decide whether he is playing a 4 or 5 course
guitar? There sure is plenty of space for 10 pegs.
If he really split his 4th course, why did he do it for both hands?
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