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 he added 'usissons',
   suggests indeed that he had some connection to re-entrant.



   > To a theorbist with two top strings lowered an octave that setting
   sounds
   > really interesting - the opposite way of putting the fingerboard
   strings
   > sound a lot in the same octave! In a therbo in a from A to b, in
   b-guitar
   > in e from g to e'.
   We (the eight-shape gang) call this campanelas...



   It is an interesting question though. Many of us would probably feel a
   bit uneasy with re-entrant for the works of Corbetta, Granata,
   Bartolotti, Pellegrini etc. This is probably the main reason why it is
   often tacitly assumed that also at that time 'French' tuning would have
   been used, in Italy.



   I agree with Stuart when he says 'the whole situation could have been
   very fluid,varying from place to
   place and time to time.' But I would add that this doesn't say that no
   composer or player had a clear preference for one tuning or the other.
   If, as a composer, you think that re-entrant tuning is not good enough
   for your music, you might consider giving the advise to add a bourdon.
   Remarks referring to 'French' tuning are mostly from after c 1670, from
   France mainly (not from Italy, from before that time), which could be
   seen as an indication that in France there was a strong tradition of
   re-entrant tuning.



   Lex







   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Reply via email to