[VIHUELA] Re: Moravsky Manuscript AND five course guitar stringing

2018-01-04 Thread mjlh...@tiscali.co.uk 
Dear Martyn, Ralf and anyone else who is interested

First of all, the instrument referred to as a “Cytarra” or “Gytarra” on 
p.49 of the pdf (it’s easiest to refer to these rather than the 
original folio numbers) appears to have 5 stopped courses and one 
unstopped bass string. If that is the case it is not a 5-course guitar. 
This should really be referred to as either chitarra (Italian) or 
guitarra (Spanish). Some of the tablature pieces are for a 5-course 
instrument with a sixth open bass.

The tuning chart on p.50 is for the “Cytarra A Mandore” which suggests 
to me that they are one and the same insrument – a 5-course instrument 
with 7 unstopped basses. The piece in tablature which follows is for 
this configuration. 

Just because something is called a “cytarra” doesn’t mean that it is a 
figure of 8 shaped instrument.

The tuning chart on p. 97 – ignoring the first interval – the first 
three intervals are the standard unison intervals of French tuning 
checks; however the last one indicates that the fifth course is in 
unison with  the 3rd course stopped at the 2nd fret. There is no 
indication that there is a low octave string on the 5th course. The 
first interval is odd; the first course can’t be in unison with the 3rd 
course stopped at the 5th fret. I can’t really read the heading – but I 
wonder if it is  Accord a whatever the Czech word for unison is.

As for placing the high octave strings on the thumb side of a course – 
Ruiz de Ribayaz mentions this in “Luz y Norte musical (1677). The fact 
that several 18th century sources indicate this explicitly suggests 
that it was the standard way of stringing – regardless of whether to 
our ears today this creates a satisfactory bass line. It is all a 
matter of how you strike the strings. Having the high string on the 
thumb side enables you to use the high octave string on its own more 
easily as Corrette indicates.

A happy New Year to everyone. 

Monica







Original Message
From: hodgsonmar...@yahoo.co.uk
Date: 04/01/2018 11:33 
To: "mjlh...@tiscali.co.uk", "dshos...@mac.com"

Cc: "VihuelaList", "Baroque Lute List"

Subj: Re: Moravsky Manuscript AND five course guitar stringing

Dear Monica,
Comments on D 189 Moravske zemske muzeum

We briefly discussed this interesting MS some four years ago - partly 
in the context of the placement of the octave strings on the fourth 
(and fifth) course of the five course guitar. I also recall posting 
something on Wayne's baroque guitar list (or was it Early guitar.
ning?) around this time.  I was especially interested in the stated 
link in this MS between (aka mandora) and the guitar and possible 
implications for placement of the high octave strings on the fourth 
(and fifth?) course.
This MS contains pieces for five course guitar, mandora/callichon, and 
the viola di(a) gamb(a). Folio.3 has tunings for a five course 
instrument which the MS calls the 'Calledono' and folio 48 (gamba 
pieces and blanks between) gives elementary instructions for the five 
course guitar ' Fundamenta Chytarra'.
Of special interest is folio 48v headed 'Accorde Chytarra et Mandora' 
which unequivocally relates the two instruments and gives the identical 
tuning in note names for both: a, d, g, h(ie B), e.   Especially note 
that the note names for each course are all given as low case (even the 
extended basses, see below) and there is no octave or octave stringing 
indicated - accordingly from this alone, no conclusive judgements can 
be made whether the source requires re-entrant or low bourdons, or what 
arrangement for bass stringing..
This is followed by instructions for tuning seven addition bass course 
(presumably a theorboed guitar and/or mandora - both instruments not 
entirely unknown of course) from sixth down to twelfth course (notated 
by numbers 6 through to 12):  g,  f or f#, e, d, c or c#, h(B) or b
(Bb), a.  However only the first musical example employs these 
additional low basses - and even then only as an alternative to 
fingered fifth course which is also notated - presumably meant to 
illustrate the practice. 
Playing the music I was struck by how similar they pieces were in 
texture to contemporary works for mandora and also the guitar works 
attributed to Logy and also, and especially, those by Nathanial Diesel. 
It all made me wonder if the high octave on the 'bass' side was as 
general as we all nowadays usually suppose? From the texture of the 
music I'm confident that the Diesel is for a low octave on the bass 
side - it's also not that much later than the attrib Logy pieces. So I 
wonder if in German speaking (and Nordic lands) around this time (ie 
early/mid eighteenth century) the practice may have been closer to the 
5 course mandora where the low octave is certainly on the bass side. 
This paper below discusses some possible sources of Logy's works 

[VIHUELA] Re: Moravsky Manuscript AND five course guitar stringing

2018-01-04 Thread Martyn Hodgson 

   - Forwarded Message -
   From: Martyn Hodgson 
   To: "mjlh...@tiscali.co.uk" ; "dshos...@mac.com"
   
   Cc: VihuelaList ; Baroque Lute List
   
   Sent: Thursday, 4 January 2018, 11:33
   Subject: Re: Moravsky Manuscript AND five course guitar stringing
   Dear Monica,
   Comments on D 189 Moravske zemske muzeum
   We briefly discussed this interesting MS some four years ago - partly
   in the context of the placement of the octave strings on the fourth
   (and fifth) course of the five course guitar. I also recall posting
   something on Wayne's baroque guitar list (or was it Early
   guitar.ning?) around this time.  I was especially interested in the
   stated link in this MS between (aka mandora) and the guitar and
   possible implications for placement of the high octave strings on the
   fourth (and fifth?) course.
   This MS contains pieces for five course guitar, mandora/callichon, and
   the viola di(a) gamb(a). Folio.3 has tunings for a five course
   instrument which the MS calls the 'Calledono' and folio 48 (gamba
   pieces and blanks between) gives elementary instructions for the five
   course guitar ' Fundamenta Chytarra'.
   Of special interest is folio 48v headed 'Accorde Chytarra et Mandora'
   which unequivocally relates the two instruments and gives the identical
   tuning in note names for both: a, d, g, h(ie B), e.   Especially note
   that the note names for each course are all given as low case (even the
   extended basses, see below) and there is no octave or octave stringing
   indicated - accordingly from this alone, no conclusive judgements can
   be made whether the source requires re-entrant or low bourdons, or what
   arrangement for bass stringing..
   This is followed by instructions for tuning seven addition bass course
   (presumably a theorboed guitar and/or mandora - both instruments not
   entirely unknown of course) from sixth down to twelfth course (notated
   by numbers 6 through to 12):  g,  f or f#, e, d, c or c#, h(B) or
   b(Bb), a.  However only the first musical example employs these
   additional low basses - and even then only as an alternative to
   fingered fifth course which is also notated - presumably meant to
   illustrate the practice.
   Playing the music I was struck by how similar they pieces were in
   texture to contemporary works for mandora and also the guitar works
   attributed to Logy and also, and especially, those by Nathanial Diesel.
   It all made me wonder if the high octave on the 'bass' side was as
   general as we all nowadays usually suppose? From the texture of the
   music I'm confident that the Diesel is for a low octave on the bass
   side - it's also not that much later than the attrib Logy pieces. So I
   wonder if in German speaking (and Nordic lands) around this time (ie
   early/mid eighteenth century) the practice may have been closer to the
   5 course mandora where the low octave is certainly on the bass side.
   This paper below discusses some possible sources of Logy's works
   [1]http://bazhum.muzhp.pl/media//files/Musicology_Today/Musicology_Toda
   y-r2004-t1/Musicology_Today-r2004-t1-s77-95/Musicology_Today-r2004-t1-s
   77-95.pdf
   Placement of high octaves on the lower courses of the five course
   guitar
   The sources which clearly indicate the high octave on the 'bass' side
   of the five course are all eighteenth century:  principally
   Stradivari's (c 1710) instructions for stringing a sort of theorboed
   guitar; Diderot in 1757 and Merchi in 1761. A couple of iconographic
   sources may, or may not, indicate the earlier placement continuing into
   the eighteenth century ..
   The placement of the high octave on the 'bass' side in the French (aka
   Corbetta) tuning has nowadays been generally accepted and, in some
   circumstances, may seem to resolve some problems of voice leading etc -
   conversely it can also do exactly the opposite!  My view is that for
   much seventeenth century music, voice leading jumps etc resulting from
   a fully re-entrant or French tuning are simply a part of the
   instrument's novel texture and style, but that in the more treble and
   bass orientated works of the eighteenth century (eg the above) the bass
   string of the fourth (and fifth) course is more suitable if on the
   'bass' side of the guitar
   This is much based on my own experience in playing Diesel, the 'Losy'
   guitar works, D-189 MS and some other late 'guitar' sources on the
   mandora (with its bass strings on the bass side). In my view this
   arrangement gives a much more satisfactory musical result for the style
   and period of this later music. But, of course, this is something of a
   subjective judgement...
   Martyn
 __

   From: "mjlh...@tiscali.co.uk"

[VIHUELA] Re: Moravsky Manuscript

2018-01-04 Thread Ralf Mattes 
 
Am Donnerstag, 04. Januar 2018 10:59 CET, "mjlh...@tiscali.co.uk" 
 schrieb: 
 
> Updating it yet again - I keep getting interrupted - but the tuning 
> chart seems to indicate that the 5th course is tuned in unison with the 
> third course stopped at the 2nd fret which would make it re-entrant.
> Monica

Which tuning chart? The one on pdf page 97 (pencil foliation 96r.)?
That chart (fol. 96r.) doesn't indicate octave disposition at all. It might
only show pitch class (similar to the bass string indications on fol. 48 v.
The 'Accordo Chitarra9 et Mandora' on that page only gives octaves.
BTW, a Mandora with 12 strings? Pretty interesting, IMHO. Of course that
would be an easy reuse for an out-of-fashion baroque lute.
 
BTW, the 'Fundamenta Chitarra9' on fol. 48r. (pdf 49) does show a 6 string, but
only unfretted.

Cheers, Ralf Mattes




To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[VIHUELA] Re: Moravsky Manuscript

2018-01-04 Thread DANIEL SHOSKES 
Thanks for all your insights Monica!

> On Jan 4, 2018, at 4:59 AM, mjlh...@tiscali.co.uk wrote:
> 
> Updating it yet again - I keep getting interrupted - but the tuning 
> chart seems to indicate that the 5th course is tuned in unison with the 
> third course stopped at the 2nd fret which would make it re-entrant.
> Monica
> 
> Original Message
> From: mjlh...@tiscali.co.uk
> Date: 04/01/2018 9:51 
> To: "VihuelaList"
> Subj: Re: [VIHUELA] Re: Moravsky Manuscript
> 
> Updating my previous message - and having looked more carefully at the 
> manuscript I am not sure that all the music in tablature is for 5-
> course guitar. The pieces on p.50-61 seem to require an unstopped 6th 
> course and one piece on p.91 requires 5 open corse. On p.97 there is a 
> table of alfabeto chords and a tuning chart apparently for 5-course 
> guitar.
> 
> Original Message
> From: mjlh...@tiscali.co.uk
> Date: 04/01/2018 9:48 
> To: "VihuelaList"
> Subj: [VIHUELA] Re: Moravsky Manuscript
> 
> 
> 
> I had a bit more time to look at this - I actually have a pdf of it 
> already. It is (or was) in the 
> Moravské zemské muzeum in Brno in the Czech Republic.
> 
> I don't think we can assume that all the music is by Losy or that all 
> of it was originally composed for guitar. I never had time to look at 
> all the pieces - about 50 pages of them.  Maybe one day.
> Monica
> 
> 
> 
> Original Message
> From: dshos...@mac.com
> Date: 04/01/2018 0:17 
> To: 
> Cc: "VihuelaList"
> Subj: [VIHUELA] Re: Moravsky Manuscript
> 
> Sadly the only info is what the pdf file contains. One piece that 
> mentions “Logi”. A couple pieces with lute concordances by other 
> composers.
> 
>> On Jan 3, 2018, at 3:27 PM, mjlh...@tiscali.co.uk wrote:
>> 
>> The music in tablature appears to be for 5-course guitar.  There are 
> a 
>> few 5-part chords which could be strummed but it seems to be mainly 
> in 
>> lute style and perhaps mid 18th century. How do we know that the 
> music 
>> is actually by Losy? Which library owns it today?
>> The rest seems to be for mandora or gallichon.  Martyn may know more 
>> about it if he has read this.
>> 
>> Monica
>> 
>> 
>> 
>> Original Message
>> From: dshos...@mac.com
>> Date: 03/01/2018 19:02 
>> To: "WALSH STUART"
>> Cc: "VihuelaList", "Monica Hall"
>> 
>> Subj: [VIHUELA] Re: Moravsky Manuscript
>> 
>> Sorry, let’s try a dropbox: 
>> https://www.dropbox.com/s/oaqfczqgfio4gao/Losy-GuitareEtMandore.pdf?dl=0
> 
> 
> 
> 
>> 
> 
> 
> 
> 
>> 
>> 
>> 
>>> On Jan 3, 2018, at 1:57 PM, WALSH STUART  
>> wrote:
>>> 
>>> On 1/3/2018 5:07 PM, DANIEL SHOSKES wrote:
 I’ve come across the Moravsky manuscript which is an 
>> interesting mix of bandora, baroque guitar, “6 string/courseâ
> â‚
>> ¬Â guitar and other works in standard notation. Much music of Losy 
>> (Logy).
 
 A link is here: http://www.classicalguitardelcamp.com/viewtopic.php?t=67271
> 
> 
> 
> 
>> 
>>> 
>>> I get the following message:
>>> 
>>> You do not have the required permissions to view the files attached 
>> to this post.
>>> 
>>> 
>>> 
 
 If anyone has info on the Ms, I’d like to ask the following:
 
 1) On page 48 there is a page of tuning for guitar and mandora. 
>> While note values aren't given for the guitar the sixth course for 
> the 
>> mandora is a G and that seems to work for the guitar pieces. Is 
> there 
>> evidence for a 6 course guitar that Losy composed for? I've tried 
> them 
>> on my Romantic guitar just playing the E string stopped at the 3rd 
>> fret.
 
 2) Any sources for the tuning that Losy used? Switching between 
> the 
>> Romatic guitar and my baroque guitar in re-entrant tuning some 
> pieces 
>> seem better suited to one of the other.
 
 3) How clear are the attributions to Losy? I did find one Rondeau 
>> that says Logi but appears in the Haslemere lute MS attributed to 
> Weiss 
>> and in another attributed to von Bohrenfels.
 
 4) None of the guitar works have strumming indications. All 
> plucked 
>> or would the performance practice to be strum away?
 
 Thanks
 
 Danny
 
 
 --
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
>>> 
>>> 
>>> ---
>>> This email has been checked for viruses by Avast antivirus software.
>>> https://www.avast.com/antivirus
>>> 
>> 
>> 
>> --
>> 
>> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
>

[VIHUELA] Re: Moravsky Manuscript

2018-01-04 Thread mjlh...@tiscali.co.uk 
Updating it yet again - I keep getting interrupted - but the tuning 
chart seems to indicate that the 5th course is tuned in unison with the 
third course stopped at the 2nd fret which would make it re-entrant.
Monica

Original Message
From: mjlh...@tiscali.co.uk
Date: 04/01/2018 9:51 
To: "VihuelaList"
Subj: Re: [VIHUELA] Re: Moravsky Manuscript

Updating my previous message - and having looked more carefully at the 
manuscript I am not sure that all the music in tablature is for 5-
course guitar. The pieces on p.50-61 seem to require an unstopped 6th 
course and one piece on p.91 requires 5 open corse. On p.97 there is a 
table of alfabeto chords and a tuning chart apparently for 5-course 
guitar.

Original Message
From: mjlh...@tiscali.co.uk
Date: 04/01/2018 9:48 
To: "VihuelaList"
Subj: [VIHUELA] Re: Moravsky Manuscript



I had a bit more time to look at this - I actually have a pdf of it 
already. It is (or was) in the 
Moravské zemské muzeum in Brno in the Czech Republic.

I don't think we can assume that all the music is by Losy or that all 
of it was originally composed for guitar. I never had time to look at 
all the pieces - about 50 pages of them.  Maybe one day.
Monica



Original Message
From: dshos...@mac.com
Date: 04/01/2018 0:17 
To: 
Cc: "VihuelaList"
Subj: [VIHUELA] Re: Moravsky Manuscript

Sadly the only info is what the pdf file contains. One piece that 
mentions “Logi”. A couple pieces with lute concordances by other 
composers.

> On Jan 3, 2018, at 3:27 PM, mjlh...@tiscali.co.uk wrote:
> 
> The music in tablature appears to be for 5-course guitar.  There are 
a 
> few 5-part chords which could be strummed but it seems to be mainly 
in 
> lute style and perhaps mid 18th century. How do we know that the 
music 
> is actually by Losy? Which library owns it today?
> The rest seems to be for mandora or gallichon.  Martyn may know more 
> about it if he has read this.
> 
> Monica
> 
> 
> 
> Original Message
> From: dshos...@mac.com
> Date: 03/01/2018 19:02 
> To: "WALSH STUART"
> Cc: "VihuelaList", "Monica Hall"
> 
> Subj: [VIHUELA] Re: Moravsky Manuscript
> 
> Sorry, let’s try a dropbox: 
> https://www.dropbox.com/s/oaqfczqgfio4gao/Losy-GuitareEtMandore.pdf?dl=0




> 




> 
> 
> 
>> On Jan 3, 2018, at 1:57 PM, WALSH STUART  
> wrote:
>> 
>> On 1/3/2018 5:07 PM, DANIEL SHOSKES wrote:
>>> I’ve come across the Moravsky manuscript which is an 
> interesting mix of bandora, baroque guitar, “6 string/courseâ
â‚
> ¬Â guitar and other works in standard notation. Much music of Losy 
> (Logy).
>>> 
>>> A link is here: http://www.classicalguitardelcamp.com/viewtopic.php?t=67271




> 
>> 
>> I get the following message:
>> 
>> You do not have the required permissions to view the files attached 
> to this post.
>> 
>> 
>> 
>>> 
>>> If anyone has info on the Ms, I’d like to ask the following:
>>> 
>>> 1) On page 48 there is a page of tuning for guitar and mandora. 
> While note values aren't given for the guitar the sixth course for 
the 
> mandora is a G and that seems to work for the guitar pieces. Is 
there 
> evidence for a 6 course guitar that Losy composed for? I've tried 
them 
> on my Romantic guitar just playing the E string stopped at the 3rd 
> fret.
>>> 
>>> 2) Any sources for the tuning that Losy used? Switching between 
the 
> Romatic guitar and my baroque guitar in re-entrant tuning some 
pieces 
> seem better suited to one of the other.
>>> 
>>> 3) How clear are the attributions to Losy? I did find one Rondeau 
> that says Logi but appears in the Haslemere lute MS attributed to 
Weiss 
> and in another attributed to von Bohrenfels.
>>> 
>>> 4) None of the guitar works have strumming indications. All 
plucked 
> or would the performance practice to be strum away?
>>> 
>>> Thanks
>>> 
>>> Danny
>>> 
>>> 
>>> --
>>> 
>>> To get on or off this list see list information at
>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>> 
>> 
>> 
>> ---
>> This email has been checked for viruses by Avast antivirus software.
>> https://www.avast.com/antivirus
>> 
> 
> 
> --
> 
>

[VIHUELA] Re: Moravsky Manuscript

2018-01-04 Thread mjlh...@tiscali.co.uk 
Updating my previous message - and having looked more carefully at the 
manuscript I am not sure that all the music in tablature is for 5-
course guitar. The pieces on p.50-61 seem to require an unstopped 6th 
course and one piece on p.91 requires 5 open corse. On p.97 there is a 
table of alfabeto chords and a tuning chart apparently for 5-course 
guitar.

Original Message
From: mjlh...@tiscali.co.uk
Date: 04/01/2018 9:48 
To: "VihuelaList"
Subj: [VIHUELA] Re: Moravsky Manuscript



I had a bit more time to look at this - I actually have a pdf of it 
already. It is (or was) in the 
Moravské zemské muzeum in Brno in the Czech Republic.

I don't think we can assume that all the music is by Losy or that all 
of it was originally composed for guitar. I never had time to look at 
all the pieces - about 50 pages of them.  Maybe one day.
Monica



Original Message
From: dshos...@mac.com
Date: 04/01/2018 0:17 
To: 
Cc: "VihuelaList"
Subj: [VIHUELA] Re: Moravsky Manuscript

Sadly the only info is what the pdf file contains. One piece that 
mentions “Logi”. A couple pieces with lute concordances by other 
composers.

> On Jan 3, 2018, at 3:27 PM, mjlh...@tiscali.co.uk wrote:
> 
> The music in tablature appears to be for 5-course guitar.  There are 
a 
> few 5-part chords which could be strummed but it seems to be mainly 
in 
> lute style and perhaps mid 18th century. How do we know that the 
music 
> is actually by Losy? Which library owns it today?
> The rest seems to be for mandora or gallichon.  Martyn may know more 
> about it if he has read this.
> 
> Monica
> 
> 
> 
> Original Message
> From: dshos...@mac.com
> Date: 03/01/2018 19:02 
> To: "WALSH STUART"
> Cc: "VihuelaList", "Monica Hall"
> 
> Subj: [VIHUELA] Re: Moravsky Manuscript
> 
> Sorry, let’s try a dropbox: 
> https://www.dropbox.com/s/oaqfczqgfio4gao/Losy-GuitareEtMandore.pdf?dl=0



> 



> 
> 
> 
>> On Jan 3, 2018, at 1:57 PM, WALSH STUART  
> wrote:
>> 
>> On 1/3/2018 5:07 PM, DANIEL SHOSKES wrote:
>>> I’ve come across the Moravsky manuscript which is an 
> interesting mix of bandora, baroque guitar, “6 string/courseâ
â‚
> ¬Â guitar and other works in standard notation. Much music of Losy 
> (Logy).
>>> 
>>> A link is here: http://www.classicalguitardelcamp.com/viewtopic.php?t=67271



> 
>> 
>> I get the following message:
>> 
>> You do not have the required permissions to view the files attached 
> to this post.
>> 
>> 
>> 
>>> 
>>> If anyone has info on the Ms, I’d like to ask the following:
>>> 
>>> 1) On page 48 there is a page of tuning for guitar and mandora. 
> While note values aren't given for the guitar the sixth course for 
the 
> mandora is a G and that seems to work for the guitar pieces. Is 
there 
> evidence for a 6 course guitar that Losy composed for? I've tried 
them 
> on my Romantic guitar just playing the E string stopped at the 3rd 
> fret.
>>> 
>>> 2) Any sources for the tuning that Losy used? Switching between 
the 
> Romatic guitar and my baroque guitar in re-entrant tuning some 
pieces 
> seem better suited to one of the other.
>>> 
>>> 3) How clear are the attributions to Losy? I did find one Rondeau 
> that says Logi but appears in the Haslemere lute MS attributed to 
Weiss 
> and in another attributed to von Bohrenfels.
>>> 
>>> 4) None of the guitar works have strumming indications. All 
plucked 
> or would the performance practice to be strum away?
>>> 
>>> Thanks
>>> 
>>> Danny
>>> 
>>> 
>>> --
>>> 
>>> To get on or off this list see list information at
>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>> 
>> 
>> 
>> ---
>> This email has been checked for viruses by Avast antivirus software.
>> https://www.avast.com/antivirus
>> 
> 
> 
> --
> 
>

[VIHUELA] Re: Moravsky Manuscript

2018-01-04 Thread mjlh...@tiscali.co.uk 


I had a bit more time to look at this - I actually have a pdf of it 
already. It is (or was) in the 
Moravské zemské muzeum in Brno in the Czech Republic.

I don't think we can assume that all the music is by Losy or that all 
of it was originally composed for guitar. I never had time to look at 
all the pieces - about 50 pages of them.  Maybe one day.
Monica



Original Message
From: dshos...@mac.com
Date: 04/01/2018 0:17 
To: 
Cc: "VihuelaList"
Subj: [VIHUELA] Re: Moravsky Manuscript

Sadly the only info is what the pdf file contains. One piece that 
mentions “Logi”. A couple pieces with lute concordances by other 
composers.

> On Jan 3, 2018, at 3:27 PM, mjlh...@tiscali.co.uk wrote:
> 
> The music in tablature appears to be for 5-course guitar.  There are 
a 
> few 5-part chords which could be strummed but it seems to be mainly 
in 
> lute style and perhaps mid 18th century. How do we know that the 
music 
> is actually by Losy? Which library owns it today?
> The rest seems to be for mandora or gallichon.  Martyn may know more 
> about it if he has read this.
> 
> Monica
> 
> 
> 
> Original Message
> From: dshos...@mac.com
> Date: 03/01/2018 19:02 
> To: "WALSH STUART"
> Cc: "VihuelaList", "Monica Hall"
> 
> Subj: [VIHUELA] Re: Moravsky Manuscript
> 
> Sorry, let’s try a dropbox: 
> https://www.dropbox.com/s/oaqfczqgfio4gao/Losy-GuitareEtMandore.pdf?dl=0


> 


> 
> 
> 
>> On Jan 3, 2018, at 1:57 PM, WALSH STUART  
> wrote:
>> 
>> On 1/3/2018 5:07 PM, DANIEL SHOSKES wrote:
>>> I’ve come across the Moravsky manuscript which is an 
> interesting mix of bandora, baroque guitar, “6 string/courseâ
â‚
> ¬Â guitar and other works in standard notation. Much music of Losy 
> (Logy).
>>> 
>>> A link is here: http://www.classicalguitardelcamp.com/viewtopic.php?t=67271


> 
>> 
>> I get the following message:
>> 
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> to this post.
>> 
>> 
>> 
>>> 
>>> If anyone has info on the Ms, I’d like to ask the following:
>>> 
>>> 1) On page 48 there is a page of tuning for guitar and mandora. 
> While note values aren't given for the guitar the sixth course for 
the 
> mandora is a G and that seems to work for the guitar pieces. Is 
there 
> evidence for a 6 course guitar that Losy composed for? I've tried 
them 
> on my Romantic guitar just playing the E string stopped at the 3rd 
> fret.
>>> 
>>> 2) Any sources for the tuning that Losy used? Switching between 
the 
> Romatic guitar and my baroque guitar in re-entrant tuning some 
pieces 
> seem better suited to one of the other.
>>> 
>>> 3) How clear are the attributions to Losy? I did find one Rondeau 
> that says Logi but appears in the Haslemere lute MS attributed to 
Weiss 
> and in another attributed to von Bohrenfels.
>>> 
>>> 4) None of the guitar works have strumming indications. All 
plucked 
> or would the performance practice to be strum away?
>>> 
>>> Thanks
>>> 
>>> Danny
>>> 
>>> 
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