Dear Valéry, As for your initial question, the rondeau on fol. 51v is listed by Peter Steur with ten concordances:
1. A-ETgoëssV / 28v | 2. CZ-Bm189 / 108 (mandora) | 3. D-Gs84k / 40 | 4. GB-HAB2 / 181 (Sm 505) | 5. PL-Wn396 / 15v | 6. S-Klm 4a / 4v (keyboard) | 7. S-Klm21072 / 77v | 8. S-L G37 / 21 | 9. US-NHubBittX / 32 | 10. Washington Leeds / 36 (archlute) So, one may conclude that it probably was penned by Losy. Mathias > Thanks again for all precisions. > Alas I don't have a mandora. I tried to play some pieces with the gutiar, nice > music, quite easy. > All the best > Valéry > > > -----Message d'origine----- > De : Mathias Rösel [mailto:mathias.roe...@t-online.de] > Envoyé : mardi 27 mars 2012 17:49 > À : 'Valéry Sauvage' > Cc : Lute List > Objet : Re: Tablature Mandore Guitare > > > So I wonder why, from folio 48r to 60 the tab use a low course, some > > notes below the fifth line of the tab, often (if not all time ? I have > > to look > > again) open string, and it is not used any more from folio 61 to the > > end > of tab ? > > For me this last part of tab is perhaps intended for guitar as the > > title > named both > > instrument, guitar and mandora. (seems the scribe is not the same...) > > You are right, the open 6th course is exclusively used on fol. 4860r. And there > may be two distinct scribes (discernible by their respective capital M). > > Furthermore, you may distinguish three portions. The pieces on fol. 4860 have > no numbers or other order. Fol. 60v 76r contain eight "parties" with numbers, > followed by a long row of 56 numbered pieces on fol. 76v96r. > > That doesn't allow, however, for the conclusion that the portion on fol. > 60v96r is intended for the guitar, as there is a duet for two mandoras in the > 5th partita on fol. 70v 71r. > > Mathias > > > > > > > Indeed I noticed the gallichon tuning, and wrote: "Interestingly > > > > one tuning on fol 6 is given as for the 'Calledono' which I > > > > presume refers to the gallichon thus once again showing an > > > > interchange in usage between the mandora and gallichon - though > > > > the tuning given is not one I recognise from other sources". > > > > Apologies, now I see what you mean. That's on fol. 3r (= p. 5). The > > word > actually > > reads "Callezono". There are three tunings. The first two of them are > intended > > for the 5c callichon, whereas the third tuning is for the 6string > > viol, as > indicated > > above the system ("Accord pro sex chordis / Aliter Viola di Gamb[a]"). > > > > The first tuning is a - e - c - G - D. That is a standard callichon > > tuning > IIRC what > > Pietro Prosser wrote about it. The second tuning is somewhat faulty in > that the > > names do not match the pitches. There is a bass clef prescribed. The > > notes > are b > > - f - c - F - C. Yet the names written besides the upper three notes > > are > g, d, a. > > They would match in the treble clef, but not with the bass clef. Wrong > notes and > > correct names? I don't think so. I should think that the correct > alternative > > callichon tuning is bb - f - c - F > > - C. > > > > The third tuning is that of a standard bass viol (in D). That might > > give a > clue as for > > the solo music for the viol (fol. 33v 47v). > > > > Fol. 5r 33r is a bass part for the accompaniment of arias to be sung. > > Among them, I stumbled upon the air Sommes nous pas trop heureux by > > Lully (9v). > > > > Fol. 48 96 contain solo music for the mandora, closing with a long > > set > of > > variations on Les Folies d'Espagne. > > > > On fol. 96 is a chart with alfabeto, followed by an air for the guitar > ("Man weiß > > bey dießer zeit von keinem Freund" = no friends around, these days). > > > > The rest consists of duets for the viol as treble (betrayed by some > > dyads) > and > > possibly the callichon as bass instruments, including a set of > arrangements of > > tunes from Lully's opera Belloferon. > > > > Apparently, the guitar and the mandora were considered different not > > only regarding their respective shapes, but also in terms of playing > > technique > and its > > notation. There is no alfabeto (and, inferentially, no strumming) in > > the > mandora > > parts of the ms. > > > > Mathias > > > > > > > > > Hm, on fol. 6r I see a gavotte and a somewhat strange scale with > > > wrong > > pitch > > > names (suppose its a tool for transposing from sight). And on fol. > > > 6v I > > see a > > > Schmidt Courent. No charts on fol. 16, 26, 36, 46, 56, 66, 76, 86. > > > There are alfabeto and tuning instructions on fol. 96, but they are > > intended for > > > the guitar, and the tuning is not a new one but a different way of > > > tuning, > > i.e. in > > > octaves and fifths (with a mistake in measure 1, as 1a + 3f equals a > > > major > > third). > > > > > > On p. 24v seq, the headline that I can see reads Fundamentales > > > Concentus > > in > > > Callizon, i.e. either chords in root position or basic chords > > > on the > > Callichon. > > > Considering fol. 25r, I prefer the latter. > > > > > > > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > >
