> > > > They actually work just as well for the "French" tuning. The 5th course > > is > > > tuned in unison at the upper octave. When it is stopped at the 5th > fret, > > > the thin string of the 4th course - which is next to it - can be tuned > in > > > unison with it. When the 4th course is stopped at the 5th fret, the 3rd > > > course can be tuned in unison with its bourdon - which is also next to > it. > > > This would happen in any case. > > > > With some fantasy that would be possible for French tuning. If some extra > > verbal explication about first using the high string and then the low one. > And how were they to know that there were high octave strings on the 4th and 5th courses - since these are not mentioned at all in the text - even by Foscarini? > > > There is no way to use the tuning charts as an instruction for re-entrant > > tuning. For every book with the usual tuning chart, re-entrant tuning is > not > > too likely. Without any further verbal instruction a novice player would > > never come to that tuning. > Without verbal instructions a novice player wouldn't know how to tune the octave strings either, if he was a dim as you suppose. If you are worried about the novice player, starting with a course tuned in octaves is not the best option. It probably all started with Montesardo, who wasn't a professional guitarist. In Spain, where they really knew how to play the guitar, they advise starting by tuning the 3rd course in unison. With one course firmly established the rest is easy. In any case they probably did have someone to explain to them what to do - whoever they bought their instrument from perhaps. > > > > > > > If this was the traditional Italian tuning check, there is no reason why > > > Corbetta etc. should have used anything else to indicate their > scordatura > > > tunings. > > > > Almost all tuning charts for accords nouveaux from Italy, by Corbetta, > > Granata and Bottazzari, are a comparison in unisono, like the usual > charts. > > To tune step by step (and avoid stringbreak). > Like I said, if this was a traditional tuning check (probably copied from lute practice, and not well suited to the guitar) then of course they would have used it to indicate scordatura. Why should they use any other method? What other method might they have used? It proves nothing about the method of stringing they preferred. In the Gallot book the scordatura is indicated starting with the 1st course and tuning downwards - a hopelssly impractical way of tuning. What method of stringing do you suppose these represent?
If you wanted to avoid string break you wouldn't start with the 5th course at all. If you tune the 5th course too high, when you get to the 1st course - ping - off it goes! > > > Valdambrini found it necessary to instruct his readers by a different > tuning > > chart. > All the sources of tuning instructions which you have included in the list which you gave us at the Lute Society predate Valdambrini apart from reprints, or those simply copied or adapted from earlier sources. He has identified a problem and offered a better method of tuning. Monica > > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html