Very good!
Lex
-Oorspronkelijk bericht-
Van: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Namens
mjlh...@cs.dartmouth.edu
Verzonden: vrijdag 9 november 2018 11:35
Aan: VihuelaList
Onderwerp: [VIHUELA] Corbetta
Just for the record - I am revising my web pages devoted to
Slightly changed, hopefully improvedâ¦
[1]http://www.lexeisenhardt.com/file/Campanelle.pdf
Van: Lex Eisenhardt [mailto:lex.eisenha...@gmail.com]
Verzonden: woensdag 24 januari 2018 22:01
Aan: Vihuelalist (vihuela@cs.dartmouth.edu)
Onderwerp: Campanelle
Today I uploaded
Thanks. I'll take a look.
Lex
-Oorspronkelijk bericht-
Van: mjlh...@tiscali.co.uk [mailto:mjlh...@tiscali.co.uk]
Verzonden: donderdag 25 januari 2018 10:27
Aan: lex.eisenha...@gmail.com; Vihuelalist
Onderwerp: Re: [VIHUELA] Campanelle
Thank you - Lex - that's all very interesting.
Today I uploaded a new paper:
[1]http://www.lexeisenhardt.com/file/Campanelle.pdf
Lex
--
References
1. http://www.lexeisenhardt.com/file/Campanelle.pdf
To get on or off this list see list information at
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Thanks, Monica. This is very interesting!
Best wishes, Lex
-Oorspronkelijk bericht-
Van: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Namens
mjlh...@tiscali.co.uk
Verzonden: donderdag 26 oktober 2017 09:49
Aan: VihuelaList
Onderwerp: [VIHUELA] Corbetta manuscripts
Just
Look here for an example: https://www.youtube.com/watch?v=nowK9J1A_MU
Lex
-Oorspronkelijk bericht-
Van: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Namens
Martyn Hodgson
Verzonden: zondag 9 juli 2017 17:04
Aan: Lute List; Vihuela Dmth
Onderwerp: [VIHUELA] Vihuela
I've had enough of this. No comment.
Lex
-Oorspronkelijk bericht-
Van: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Namens M
Hall
Verzonden: donderdag 21 januari 2016 11:37
Aan: 'Lex Eisenhardt'
CC: Vihuela List
Onderwerp: [VIHUELA] Re: Corbetta's dissonance
Lex wrote
I was very pleased with Bill Carter's review
http://earlymusicreview.com/lex-eisenhardt-italian-guitar-music-of-the-seven
teenth-century/ even if I do not completely agree with everything in it.
Of course I'm aware that the issue of Corbetta's dissonance is contentious.
But as a player you
bericht-
Van: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Namens M
Hall
Verzonden: woensdag 20 januari 2016 12:44
Aan: 'Lex Eisenhardt'
CC: Vihuela List
Onderwerp: [VIHUELA] Re: Corbetta's dissonance
I have read it and I am very disturbed by some of the foolish things you
have
Especially the biography is very interesting!
You may consider correcting one point: in the 1916 Worp edition of Huygens
letter of letter of May 7, 1660, the title was mistakenly transcribed as
sig.orita.
http://resources.huygens.knaw.nl/retroboeken/huygens/#page=364accessor=toc;
.
Lex
-Oorspronkelijk bericht-
Van: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Namens
Monica Hall
Verzonden: vrijdag 27 juni 2014 9:42
Aan: Lex Eisenhardt
CC: Vihuelalist
Onderwerp: [VIHUELA] Re: Guitar Summit
To be honest - even if these articles are read by outside
as downloads? Were they peer reviewed?
regards
Martyn
__
From: Jelma van Amersfoort [7]jel...@gmail.com
To: Lex Eisenhardt [8]eisenha...@planet.nl
Cc: Vihuela Dmth [9]vihuela@cs.dartmouth.edu
Sent
]jel...@gmail.com
To: Lex Eisenhardt [8][12]eisenha...@planet.nl
Cc: Vihuela Dmth [9][13]vihuela@cs.dartmouth.edu
Sent: Tuesday, 24 June 2014, 11:31
Subject: [VIHUELA] Re: Guitar Summit
Dear all,
A
Lake Konstanz is a bi-annual
Some of you may have seen the 'guitar issues' of Early Music (41/4 and
42/1). Some of the authors lectured at the 'Lake Konstanz' (Summit)
meetings.
-Oorspronkelijk bericht-
Van: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Namens
WALSH STUART
Verzonden: dinsdag 24 juni
The corpus of original guitars (not vihuelas) is often 'very large'. And low
octaves A and d seem to be an educated choice for Murcia, taking into
account the composers' work (1714) on basso continuo.
-Oorspronkelijk bericht-
Van: lute-...@cs.dartmouth.edu
-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Namens
Martyn Hodgson
Verzonden: dinsdag 13 mei 2014 14:27
Aan: Lex Eisenhardt; 'Vihuelalist'
Onderwerp: [VIHUELA] Re: Lorimer's bibliography? (ISBN 0-9618527-1-2
I agree with you about sizes of 5 course guitars but not about your
preferred tuning
I think the Guitar-Summit List is still alive. There seem to be no archives
that can be accessed by non-members.
http://lists.topica.com/lists/guitar-summit
I did not see your message there, Monica.
Best, L
-Oorspronkelijk bericht-
Van: lute-...@cs.dartmouth.edu
:43
Aan: Lex Eisenhardt; 'Monica Hall'; 'WALSH STUART'
CC: 'Vihuelalist'
Onderwerp: Re: [VIHUELA] Re: Matteis
Thank you for this Lex.
Of course here Jackson is speaking about continuo practice where the
harmonic clash is already there in other vocal and/or instrumental
lines
Not purely instrumental, but there is the ritornello in 'Tu vedi alato' from
Stefano Landi's Quinto Libro D'Arie (1637), with only a bass line in staff
and alfabeto. However, there seem to be different options for performance (I
recorded it with guitar only).
Lex
-Oorspronkelijk
Whilst we are on the subject of Corbetta's biography I wonder if anyone has
seen a copy of Heinrich Sievers Die Musick in Hannover which has a reference
to Corbetta's employment in Hannover on ps.46, 134. It seems that Cambridge
University does have a copy of this but I haven't managed to
: Monica Hall [mailto:mjlh...@tiscali.co.uk]
Verzonden: vrijdag 4 januari 2013 8:43
Aan: Lex Eisenhardt
CC: Vihuelalist
Onderwerp: Re: [VIHUELA] Re: Adam Ebert
I scrolled through the whole of the section on Italy until he got to Sicily.
Part of the text relating to Corbetta seems to have been
This is a link to Adam Ebert's (Aulus Apronius) 'Reise-Beschreibung'.
http://vd18.de/de-slub-vd18/content/pageview/39885297
On p 251 I found the story about a cancelled performance of Corbetta, because
of a broken nail.
In Pinnell's 1976 dissertation there is an English translation,
Hi,
The first line is almost the same as the beginning of the passacaille (in e
minor) on p. 42 of his 1686 book.
Rgds, Lex
-Oorspronkelijk bericht-
Van: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Namens
Arto Wikla
Verzonden: zaterdag 10 november 2012 22:22
Aan:
I suppose Lex may now reply at length
On the contrary, I have nothing to add. I made my point in my previous
message
Lex.
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Dear Stewart,
We all seem to think that the printed bass line is what should be played
ideally. And probably it was played like it is on the keyboard (which
Caccini was master of). In practice (on his beloved theorbo?) adaptations
would have to be made regarding octaves, and, as an exception,
Dear Martyn,
I understand that there is a problem with the theorbo in A, in Caccini's
'Reggami.'
According to Alessandro Striggio the elder Caccini could accompany from a
bass on the lute and harpsichord. So, what would be the right
instrument/tuning for this song?
Lex
Other types of
have been simplified, and thus some of the problems
could be avoided. Occasional voice crossings with the bass perhaps were
sometimes accepted (but probably not by everyone).
L
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Lex Eisenhardt eisenha...@planet.nl
You yourself have quoted Campion in your article -
it is not necessary to be preoccupied by the jumping of the bass from
low to high register. It is sufficient that the note is there . Even
on the harpsichord etc
But what Campion doesn't say is whether the bass would rise
But this isn't the problem at all! There's nothing wrong with
voice crossings per se, only if the voices involved form a fifth, which
would change into a (frowned upon) forth. I have yet to find one example
where this would happen with a theorbo ...
Cheers, Ralf Mattes
Crossings with the
Thanks Stewart.
It is not that I can't believe that accompanists ever played notes above the
line of solo singers or solo instruments; but I rather doubt if Caccini
would have written bass lines which he could not play as they are, on his
own instrument. Therefore I tried to suggest that he
Agazzari was working in Rome and Siena, and probably the chitarra
spagnuola was more widely known there around 1600.
But Agazzari's 'Del sonare sopra il basso' is really about figured bass
and counterpoint, and from how he describes the use of the 'ornamental'
instruments it appears that the
Dear Martyn
But before getting too bogged down, the earlier question was whether
the chitarra spagnola might be included as a continuo instrument, even
by Agazzari. You'll know 'Le stravaganze d'amore' of Corradi (Venice
1616). This is an early 17thcentury source from a Northern
The first of these is that in Millioni's 1631 book the 4-course
instrument is referred to as
il Chitarrino, overo Chitarra Italiana which suggests that it was a
small lute rather than a 4-course guitar.
But then it would be a small lute tuned like a 4 course guitar in 'temple
il Chitarrino, overo Chitarra Italiana which suggests that it was a
small lute rather than a 4-course guitar.
But then it would be a small lute tuned like a 4 course guitar in 'temple
nuevo'.
That's what it is. That is what Cerreto's instrument is and it has a
re-entrant tuning.
I don't think groups these recordings really have any insight into the
sensibilities of 17th century players.
Perhaps you know Agostino Agazzari article 'Del sonare sopra il basso',
published in 1607? It among other interesting matters makes it very clear
that the orchestration could be _very_
I suppose it could be said that the guitar would be covered by his
etc...
Also note he only mentions the 'chitarrino' (small 4 course
instrument?) in his list of embellishing instruments and omits
the larger (5 course) guitar. This, I suggest, implies that the guitar
does indeed
- Original Message -
From: wikla wi...@cs.helsinki.fi
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu; Lex Eisenhardt
eisenha...@planet.nl
Sent: Sunday, December 11, 2011 4:03 PM
Subject: [VIHUELA] Re: Agazzari guitar [was Re: Capona?]
Well
Hi Martyn,
I agree with Chris: thumb-out does not inhibite playing through both
strings of a double course.
It makes it more difficult to go deeper into the low octave string than the
high octave. What I said is that if thumb and fingers are close (at adjacent
courses) there is the
I'm not sure I'm getting this business of the thumb plucking up - I've
presumed you mean away from the belly - but have I got this wrong? If
it is as I've been thinking you meant (ie plucking the string upwards -
away from the belly) doesn't this lead to much slapping of strings onto
Subject: Re: [VIHUELA] Re: Guitar bridges
That may be the case with the lute - but it is not true that the thumb has
an entirely separate function from the fingers on the guitar.
Campanellas
are the obvious example but it goes much further than that. I don't want
to
get endlessly involved
But if we pluck THROUGH the course, (ie parallel to the plane of the
belly) one can achieve a much greater amplitude without the string
slapping rattleing on the fingerboard/belly and thus will have a strong
bass (as well as its octave) - as I think, the Old Ones would have
generally
Normally the fingers and the thumb stay in their own domain, on lower and
higher courses. Also on the guitar.
I don't think so. Certainly not in guitar music. Use of alternating
finger and thumb over different courses is a feature of the music in
Bartolotti's first book and elsewhere.
- Original Message -
From: Chris Despopoulos despopoulos_chr...@yahoo.com
I have to take issue with the idea that thumb-out will tend toward an
upward stroke (if I understand what you mean by thumb-out). Indeed,
I've always played thumb-out, coming to Baroque guitar from the
Given that the bourdon in any case will
be slightly higher the the treble string as it is thicker it is not
difficult to give it prominence where necessary. A plain gut
bourdon on the
fifth is so thick that it is hard to miss!
Ed Durbrow
That may seem so, but making use
To those who have bourdons and slots, perhaps you could (at a convenient
time) tie your high octaves with a double loop and try for some weeks. It
would be interesting to hear what you think.
Lex
To get on or off this list see list information at
Dear Martyn,
Hmm again how can lowering the position of the high octave string
of an octave pair (so that it lies significantly below the general
string datum) not have an influence on the ease of playing just this
string?
Of course this requires to play a little more precise
I referred my question to the collective wisdom of the
www.earlyguitar.ning.com and two people replied - one a distinguished
maker - and both suggested that the slots were to enable you to adjust the
spaces between the two strings of a course and also to some extent between
courses. The maker
Thanks for this Lex.
One of my guitars does have bourdons on both the 5th and 4th course -
but I mostly use this instrument for continuo and do, indeed, find the
basses are pretty strong ('booming') - as I would wish in this context.
Good! But I suppose you can still play campanelas on
Most Italian guitars I have seen are from a rather early date.
How early? And did they have slots or holes?
The problem is that I have not made any notes. I don't think I have seen
many slots. I remenber I saw several Sellases, and other Italian guitars in
Paris, mostly built before 1640.
Of course, it'll make plucking just the high octave a bit trickier if
playing close(ish) to the bridge but, conversely, will make playing
just the bass of the pair a bit easier...
Even a whole lot,
Lex
To get on or off this list see list information at
Of course, it'll make plucking just the high octave a bit trickier if
playing close(ish) to the bridge but, conversely, will make playing
just the bass of the pair a bit easier...
or actually not 'just' the bass, but it will be really easier to give more
emphasis on the lower string
Hmmm .. we agree that it makes plucking just the lower of the
octave
pair easier if one wishes to do this (eg possibly in scalic passages
from the third to the 4th course),
...and of course in polyphony (or, as some say in Britain,
counterpoint).
But it makes
One explanation has been that slotted bridges allow more adjustment of
string height at the bridge but, in my experience, there is no very
significant difference whether tied from the top or bottom of the slot
since static forces will always tend to pull the point where the string
It's safe now to exhale...
I think Lex is trying to argue that the French tuning originated with
Carre and Corbetta just copied it because he thought this would make his
music more acceptable to French players although it wasn't the tuning he
used himself.
Almost. I try to argue that
There was a market for publishing guitar music in mixed style in Italy,
from 1630 on. Not in France.
How do you know? It may be that due to the economic situation in
France -
especially during the Fronde - that it wasn't practical to print music but
that
doesn't prove that players were
Carre first book is not dedicated to Elizabeth Charlotte. I suggested
this in my introduction after consulting someone in France and
considering the
options.
However subsequently I realized that the Princesse Palatine must
actually
be
Anna Gonzaga, the sister of the Duke of Mantua who
As I have
pointed out music printed in Italy would have been readily available
elsewhere and some Italian books specifically include helpful information
for French and other players. People from England and France regularly
travelled abroad and studied with Italian lutenists/guitarists.
Who
Dear list
Monica's discussion of Corbetta's Italian preface has drawn my
attention to
the Italian word 'anche', which she has left out.
I would translate: 'Take care to put a thin octave string [i.e.
bourdon] on
the second string [i.e. fourth course] which is D sol re, because
Re reading what I wrote this morning, in a hurry and struggling with a
recalcitrant mail programme, I see that the message was perhaps not entirely
clear. Again, in short, I wonder if Corbetta would have known what was in
Carré's 1671 book, before he had his own printed. And if he could have
1.The reference to the law suit between Carre and Corbetta and the
printer Bonneuil which isn't widely known and does indicate that Corbetta
and Carre were aware of one another's work and probably knew one another.
2.Details of sources from which Castillion has copied information.
interesting for the present discussion,
because he was of a later generation. I almost regret that I mentioned him
at all, last week.
Lex
- Original Message -
From: Monica Hall mjlh...@tiscali.co.uk
To: Vihuelalist vihuela@cs.dartmouth.edu
Cc: Lex Eisenhardt eisenha...@planet.nl
Sent
I just received The Lute 48, and I was surprised to see that there
is again a reaction by committee member Monica Hall, dealing with my
article 'Bourdons as usual' from issue 47.
Allow me to make some remarks (which can only be understood if you have
nr 47 at hand):
What
Incidentally, I'm not suggesting bowed bass for the songs if the
theorbo is present - only if the guitar is used without the theorbo.
And if the guitar and theorbo were both present then the theorbo need
only play the bass line - a mode which is documented. Indeed to avoid
too much
Dear Martyn
My observations were withing the context of songs with an independent
basso part in addition to the guitar alfabeto, such as the Marini 1622
collection. Clearly, if only the alfabeto were present then I'd
generally expect only the guitar. I'd be very grateful if you'd read
When you've time and the personnel to hand (mezzo and a bowed bass)
might I suggest you try the piece exactly as written.
I thought you were suggesting voice, guitar and theorbo.
Do you think the combination of guitar and bowed bass would be a better
option in this repertoire?
best,
On the face of it chitarrone/theorbo might seem appropriate for M's
songs (since, of course, it is mentioned on the title page either with
guitar or as the [preferred?] alternative)
I was thinking of the theorbo playing a harmony on G while the guitar would
be doing an F major at the
Dear Martyn,
thanks for your patience
Your response seemed, to me, to say that you did indeed think that an
alfabeto asequence was created to which tunes (and bass) were later
added. If I now understand you, yopu do not think this was the case and
agree with me that in these light airs
This message is long. If you don't like tedious messages, please press
'delete' immediately
Even if you had not found a single source which specifically
mentioned the guitar as one of the possible instruments to use for the
accompaniment you still can't prove that the guitar was never used
I was under the impression that it was protocol on this list to reply to
person sending the message with a copy to the list, - not just to reply to
the list.
I would plead that it is a minor crime; I was not aware of any protocols.
But it would of course be good if we all conformed here to what
Dear Martyn,
Sorry if that wasn't clear. I think Marini's alfabeto to his songs is really
better than the chords to his op. 22 from 1655. In Il Verno there is a very
interesting example of what I would consider as 'chordal variation' with an
extra L chord in bar 14.
Wouldn't the guitar have
You seem to be saying that because he doesn't say that the bass viol could
be used instead of the theorbo when playing these pieces - which is true -
the viol was never used to
re-enforce the guitar in any other source. Drawing a sweeping conclusion
from very little evidence.
No, I think
As far as unambiguous (17th c) references
to the guitar playing basso continuo together with other bass
instruments
is concerned - is there any unamibiguous evidence that it didn't.
Why
should it not do so? We don't really have any evidence one way or the
other. There
Granata could even have thought of the chitarra atiorbata for the continuo.
Grenerin is very interesting. In his preface we read something like:
'In this book you'll find some curious French and Italian airs in three or
four parts, with the accompaniment of the guitar. You can use the treble
As far as unambiguous (17th c) references
to the guitar playing basso continuo together with other bass instruments
is concerned - is there any unamibiguous evidence that it didn't. Why
should it not do so? We don't really have any evidence one way or the
other. There seem to me to be
Grove 1980 vol 15:71 speaks of English usage.
As a non-English speaker I see different options:
- Usage in England
- In the English language, not limited only to places where English is
spoken.
From the context I understand that the first option is intended.
Could anyone with better skills
Why make it more complicated than it is? Bartolotti wrote polyphonic
music.
It is inaccurate and misleading to refer to it in this way. As I have
already said Bartolotti's music is to some extent contrapuntal but not
consistently so.
Some works (a number of gigues) are consistently
What I have said is that it is polyphony that has a narrower specific
meaning, not counterpoint. It is better to use the term counterpoint
because it refers to part writing in a much wider context.
In the historical survey of the term polyphony, in my paper 1980 Grove
(page71) it reads that
Stuart Walsh wrote:
what do you mean by elaborate treble dominated style? Is it this: a
predominantly melodic line interspersed with occasional chords? Which
composers are you thinking of?
The small amount of fancier music for the English guitar/guittar in the
18th century actually,
situations in the works of Granata and Roncalli, the music would be rather
awkward without.
Lex
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Lex Eisenhardt eisenha...@planet.nl
Cc: Vihuelalist vihuela@cs.dartmouth.edu; Monica Hall
mjlh...@tiscali.co.uk
Actually, I don't feel like starting this over again. If anyone is
interested, my ideas on the dominance of the bourdon tuning in Italy can
be read in the article in 'The Lute' 47.
The problem with your article is that much of it is little more than
speculation unsupported by any real
Bartolotti's music is not polyphonic. I suggest you read the whole of
the entry in Grove and the entry for counterpoint and familiarize yourself
with the correct terminology.
The concise Oxford dictionary defines polyphony as ...
Music in which several simultaneous instrumental or vocal
Like the Red Queen in Alice in Wonderland you think that you can use
words to mean what you say they mean, not what other people think they
mean. Bartolotti's music is to some extent contrapuntal but not
consistently so. When we analyse it we analyse the counterpoint not the
polyphony.
What you believe and what we know are two different things. We are not
discussing religion here.
Most theories are based on interpretation of historical data. If enough
people believe in a theory, it apparently has a certain credibility. Many
people today seem to adhere to a doctrine of
The other reason for the disposition of the pair, and one which I think
is more significant, is that the string struck first with the thumb
tends to predominate. So that on the lute, where a more procrustean
adherence to the rules of counterpoint/voice leading might have been
expected, it is
You have no evidence that that was what they did. What they don't say in
their books you just think you can make up! Rafael Andia on his recording
of de Visee's music has the bordon on the thumb side and this doesn't seem
to have an appreciable effect on the music.
You have a very
As a matter of interest have you discovered a source of reference that
describes how Scaramouche strung his guitar? If you haven't in what way
is the fact that he was in Paris relevant to this topic?
Did I mention Scaramouche (in relation to any topic) here?
I feel this needs a bit of
It is not completely pointless to randomly invert the parts and the music
work perfectly well if you do. In practice some of Foscarini's 3-part
writing actually works better in that way e.g. the passage in the toccata
on p.105 which starts in the middle of the seventh line down.
I was not
The point which you consistently ignore is that the bass will always be
above the treble as you like to put it because the high octave strings on
the 4th and 5th courses overlap with the 1st, 2nd and 3rd.
I don't ignore the point, but, as David says, lutenists tend to ignore the
high octaves.
What you seem to be unaware of is that the music is intabulated in a very
different way from lute music with the emphasis on the 5th course being
used as a treble string rather than a bass string - and not just in
campanellas.
Which can of course be realized with an octave strung course.
Monica Hall escribio:
The point is (I think) that Murcia's music, and for that matter most
other baroque guitar music, isn't intended for one method of stringing
rather than another.
Do we know anything about his intensions with regard to tuning?
At least we may assume
What ambiguous tone quality?
How often do you listen to other people playing this music?
Quite often. The sound of the the instrument itself is not ambiguous; I get
the impression that different players make different choices. To put it like
this, some are better at presenting the
is in two distinct parts - but isn't this
simply
because the pieces were often conceived for theorbo (or keyboard?)
as
the staff notation versions?
--- On Fri, 4/2/11, Lex Eisenhardt eisenha...@planet.nl wrote
--
To get on or off this list see list information at
http
I don't think there is very much polyphony in the true sense of the word
i.e.continuous 2 or 3-part writing in Foscarini or Bartolotti (or Corbetta
for that matter). And where there is it doesn't work very effectively.
I take polyphony as different of Renaissance counterpoint. As a
That is stretching the definition of counterpoint to suit your own
purposes.
Actually I spoke of polyphony. The definition in Grove Online is a bit
longer.
What matters is that the voices can be heard (and
brought out) as independent lines.
Not by you anyway!
With all the flaws it
The first book with
campanelas (Bartolotti) is from 1640.
Actually the first person to have a go is Foscarini. The Passacaglio
variato
on
p.100 in scordatura has two short passages on the 4th line. The second
group is a straightforward little scale passage. The first group I
But - as usual - the Baroque guitar seems to be different from other
plucked instruments of the time in that the low string and the octave
above it are positioned in reverse from the norm. On lutes (etc) , on
the lower courses with octaves, the thumb hits the low note first
Dear Arto,
is there any repertoire/composer of baroque guitar that/who without
any
modern disagreement definitely used the double re-entrant tuning -
the
5th and 4th having only in the upper octaves? De Visee perhaps?
The tuning chart in Visee's first book, to which
The shift had taken place by then. I don't know if you have seen the 1622
edition of Sanseverino's guitar book
but it includes six songs with what are in effect written out guitar
accompaniments. It gives you a clear idea of how he expected the songs
to
be accompanied.
Sanseverino's six
To answer Martyn's question I can only summarize my position:
I think that it is possible that players ('amateurs' or not) have left out
the fifth course in certain occasions.
No more no less
To which I should add however:
that I suppose there have individually different approaches and
Dear Stewart
To this I would ask, why is that guitarists in the 17th century chose
to
string their guitars without bourdons? By doing that, they
drastically
reduce the overall range of the instrument, and different courses end
up
duplicating each other by sounding
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