Yes: Zamboni in tablature., but indeed you know that!. I consider that most of the arciliuto music is written in staff notation, may be this is a particularity of the instrument, and there is no doubt that tuning is not re-entrant (just have a look to Hasse's Cleofide, for arciliuto and compare with obligato parts for tiorba in Conti's Davide: ambitus and tessiture). . In staff notation, you mat consult, as I said, obligato parts in Hasse's and Haendel's operas (and many others it seems, I'm trying to list them), and the "concerti" from Harrach collection. It is not impossible that Zamboni was the composer of the solo sonata for arciliuto and the two aconcertinos' for arciliuto with two violins and organ (all anonymous and in staff notation) from the Harrach library formerly owned by Robert Spencer and now at the Royal Academy of Music, London; another similar anonymous concerto for arciliuto is among the newly-discovered items of chamber music at Rohrau. Concerning Mersenne, it is quite clear in french that while renaming the picture untitled "tuorbe" in "archiluth", he corrects a mistake he has previously done (and he says explicitly that): and he gives quite clearly the tuning for thA(c)orbe (re-entrant, in A) and the two tunings for archiluth in G and A. Concerning the use of archiluth in France (this is not our subject, but...): at first 2 points, I don't know any tablature evidence of the use of vieil ton after ca1640. If this type of lute would be used, it's very strange that there is no written music for it (not a note). The only strange book of Delair gives the impression that the tuning could be not re-entrant: but it's a quite basic book, which only gives solution for chords, not to play a B.C., and also dedicated to the harpsichord (did Delair even play the theorbo?). The others (Grenerin, Fleury,...) work with re-entrant tuning, even if the solutions could be strange for us (but what about the guitar?). I think the discontinuity you quote about the lines, with wide laps, is inherent to the theorbo. In very clear solo theorbo pieces, with no doubt on tuning as Saizenay, you find those strange laps, even in de VisA(c)e. It is also very common in guitar pieces, (have a look to Monica Hall's site). And even changing the tuning doesn't solve the problem: you allways find those dicontinuities. This begins with Piccinini from place to place, but the campanella parts prove that his tuning was completely re-entrant. Le Mardi 28 janvier 2014 18h26, R. Mattes <r...@mh-freiburg.de> a A(c)crit : On Tue, 28 Jan 2014 17:10:18 +0000 (GMT), Martyn Hodgson wrote > > > I'm sorry you find Bob Spencer's paper so very poor. No need to be sorry, esp. since I don't find Spencer's paper "very poor" (where did I write that?). I only tied to say that it a) shows it's age b) seems to be an "overview"-type of publication and hence tends to over-generalize c) seems to often prove my points more than yours. > My point about the tablatures (rather than staff notation) is that > it is with these that we find an unequivocal indication of the > tuning required for a particular named instrument. And my point is that a lot of the tablatures I kow of and played are much less unequivocal in indicating the required tuning - just as an example there seem to be some rather equivocal places in the Pittoni on my music stand ... > I'm not aware of > any tablature sources which require, for example, a re-entrant > tuning for an archlute (or various cognates). Do you? No, but there are hardly any archlute tablatures from the Corelli time I know of. Please provide some - I'm really interested in this topic. And of course there is the case of "inverse" reentrantness (read: excessive use of octave stringing) in the recently mentioned Basso Continuo/Partimento manuscipt from Rome. Cheers, Ralf Mattes To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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