Monica Hall escribio:
>The point is (I think) that Murcia's music, and for that matter most other baroque guitar music, isn't intended for one method of stringing rather than >another. Do we know anything about his intensions with regard to tuning? At least we may assume that he used some method of stringing himself. In out time there has been a lot of disagreement about Murcia's tuning, but that does not say that he would not have cared. >It is arranged in such a way that it can be conveniently played on a 5-course instrument and in a way that makes the best use of the limitations which >having only 5 courses imposes. It relies on the ambiguous tone quality of the instrument to create the desired effect. What ambiguous tone quality? >Arguments about whether the music conforms to the rules of music theory, and the idea that you can leave out one string of a course or strike it in such a >way the emphasis falls on one or other string are futile. Why futile? The idea that campanela use of the low courses would point at re-entrant tunings is mere speculation. I think that it grossly underestimates the capacities of the 17th century guitarist. With bourdons you can have it all, bass and treble. Just a matter of an appropriate playing technique. >That's not what it is all about Then what is 'it' all about? The whole concept of implied understanding of the intensions of the composer, even if the bass rises above the treble, smells so 'new-agy' to me. Lex -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
