Whoops .
De Visee used Corbetta's 'French' tuning ie bourdon on the 4th only. I
suspect other contemorary French players did also (eg Carre, De la
Grange, Grenerin).
If there is any hard evidence for each source I'm sure Monica will be
able to tell us definitively.
M.
On Nov 21, 2010, at 8:25 AM, Roman Turovsky wrote:
By not much, as you cannot do them on double strings.
Why not?
Ed Durbrow
Saitama, Japan
[1]http://www9.plala.or.jp/edurbrow/
[2]http://www.musicianspage.com/musicians/9688/
--
References
1.
Il 20/11/2010 23:07, Nelson, Jocelyn ha scritto:
Hello early guitarists,
I just received a query: “Do you know the earliest publications for lute and/or
guitar in which harmonics were used?”
Any thoughts?
Thanks,
Jocelyn
One of the first works that come to my mind is Mauro Giuliani's
On 21/11/2010 09:45, Lex Eisenhardt wrote:
Even Carre has mentioned the 4th course bourdon, halfway his book.
Some have taken this as an indication that he wanted French tuning for accompani
ment
(compare Sanz). We can't be sure.
I only know the first publication of Carré. At the end of the
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
It is not a published work but one of the pieces in manuscript added
probably in about 1741 to Campion's book uses harmonics. It is the first
fugue. It's on p.117 in the facsimile edition.
Monica
- Original Message -
From: Nelson, Jocelyn nels...@ecu.edu
To: Monica Hall
Here we go again.
The only person who unequivocally states that his music is for the fully
re-entrant tuning is Valdambrini. (And very few people unequivocally state
that their music is for any other specific tuning).
I don't thank that Murcia's Resumen or Matteis is intended for the fully
Dear Stewart,
I think Carre is very doubtful as being fully re-entrant for reasons
given earlier; in short, tunings probably lifted from Mersenne and
possibly garbled. All French guitarists of this period were clearly
heavily influenced by Corbetta (cf. his 'developed' French
Well here for the record are my views on these two.
Carbonchi explicitly says he has published his book in French tablature to
make it accessible to foreign players. Read into that what you like.
and wait for it
Calvi's book is partly a plagiarised version of Corbetta's 1639 book. The
Thanks to everyone
for introducing b-guitar to a theorbist!
While thinking of b-guitar I had to tube some strumming on b-lute, a
Sarabande by Mercure:
http://www.youtube.com/watch?v=DTZKpXIx1Dg
Arto
To get on or off this list see list information at
Lovely Arto. Nice to know that lutenists do it too.
Monica
- Original Message -
From: wikla wi...@cs.helsinki.fi
To: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Sunday, November 21, 2010 1:21 PM
Subject: [VIHUELA] Re: Any b-guitar repertoire in all re-entrant accepted by
all?
Dear Ed,
Yes, although I can't put my hand on the facsimile to check his exact
words. You can see Romulo Vega-Gonzalez playing one of Newsidler's
pieces with Durchstreicher on YouTube:
[1]http://www.youtube.com/watch?v=-PA-b_q0i4Uplaynext=1list=PL62023B2
E6C817318index=56
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