Thank you Monica.
As you'll know from our earlier exchanges, I agree with the conclusions
about the guitarre theorbee. However there are a couple of significant
points about the chitarra atiorbata which you seem to have overlooked
or ignored and which point to a rather different conclusion than you
(that these instruments had the basses at the low octave):
1. A duplicated bass G is not an objection to the high tuning of the
basses - Granata might have simply wished to have a continuous run of
free basses. For example to allow a fast run on them without having to
play the G away from the these basses and so interrupt the thumb's
stroke. Indeed, a good example of this is in the opening Preludio Bar 1
ie 12 11 X 9 8 7 6 0.....
2. The engraved depictions do not show the bass extensions 'slightly
less' than a theorbos - they are considerably and significantly less! -
this has a real bearing on the sound the basses make. Further, to
suggest that this particular feature has been incorrectly represented
by the engraver and can therefore be ignored is, I think, working
backwards from a presumed conclusion (ie that the basses were at the
low octave and thus needed to be longer than illustrated) rather than
taking the important evidence at its face value.
Martyn
--- On Thu, 27/8/09, Monica Hall <mjlh...@tiscali.co.uk> wrote:
From: Monica Hall <mjlh...@tiscali.co.uk>
Subject: [VIHUELA] Guitarre theorbee
To: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Date: Thursday, 27 August, 2009, 4:59 PM
Just to let you all know that the final version of my thoughts on
the
subject of the Guitarre theorbee is now on my own web page -
[1]www.monicahall.co.uk
It includes a staff notation transcription of all twelve pieces from
the Gallot manuscript.
Monica
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References
1. http://www.monicahall.co.uk/
2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
