I haven’t done any primary research at all on the 6-course guitar, so all of the following comes from Paul Sparks’ wonderful contribution to: The Guitar and its Music – from the Renaissance to the Classical era, James Tyler and Paul Sparks, Oxford University Press, 2002 – an expensive but excellent book. Sparks concentrates on the origins of the classical guitar, with the following chapter titles: 1750-69: The emergence of the 6c guitar; 1770-89: The first six-string guitars; 1790 to the Early 1800s: The triumph of the six-string guitar; The Guitar 1750-1800: Practical information.
The six-course guitar is mentioned first in Spain where a Madrid newspaper advertisement (1760) mentions a guitar with ‘6 órdenes’ which are ‘good for accompanying’. Accompaniments, especially the emerging arpeggio style, require a strong downbeat and strong bass. Most of these early 6-c instruments were made in Andalusia, Seville and Cádiz (home of the young Páges). The earliest 6c manuscript: Vargas and Guzmán, 1776 – a Mexican who had been in Cádiz in 1773. His ms shows an exclusively punteado style. He recommends three octave courses in the bass, unless accompanying in a large ensemble, then unisons are better. The earliest publication (now lost, and some think it might only have been a manuscript): ‘Obra para guitarra de seis órdenes’ by Antonio Ballasteros (Spain, 1780). An early use of five single strings: Giacomo Merchi, an Italian in Paris (1777): ‘It is easier to find five true strings, than a larger number; single strings are easier to put in tune, and to pluck cleanly, moreover, they render pure, strong and smooth sounds, approaching those of the harp; above all, if one uses slightly thicker strings’. Chitarra francese – six single strings – used in Italy c.1770-80 (Giuliani was born in 1781). There is a guitar by Frabricatore from 1785 which has many of the characteristics of the future classical guitar – six single strings, flat back, wider upper and lower bouts, narrow waist, slightly shorter string length than typical 5c guitar. Sparks: ‘By 1790 the six-course guitar had become the most common form of the instrument in Spain’. (Sor born in 1778). Fernando Fernandiere – ‘Art de tocar la guitarra española por música (Madrid, 1799 – facsimile reprint by Tecla, 1977): 6 courses, first single, 2-5 unison doubles, 6th octave double. Importantly, his teacher was Padre Basilio who also taught Moretti and Aguado, and who played with nails on double courses. He is the inspiration behind Boccherini’s Op.40 No.2. His pupil, Aguado, later promoted the six single strings variety, although the translator of his French edition (Paris, 1826)of his tutor, François de Fossa, states that 6-course guitars are ‘still in use in Spain’. ================ So it seems to me that there were many players of six courses around when Sor and Aguado published their editions, and that many of these pieces would have been played on six-course instruments, despite the composers’ preferences. A brave modern performer could invest in a 6-course guitar and perform music by Fernandiere, Boccherini, Aguado, Sor and many others, with perfect justification. I’d love to hear it! So, who among us will rise to the challenge!? Rob MacKillop To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
