Dear Martin,
Not strictly relevant to your discussion, but the eighteenth century
six course mandora/gallichon could have octaves up to and including the
fourth course ie c with a c' if a nominal d' (top course) instrument.
How widespread this arrangement was I have been unable, as yet, to
establish.
In practice I find a high octave on the fourth course is highly
intrusive in much of the solo repertoire and so I use octaves only on
the fifth and sixth courses of both my d' and e' gallichons. But this
is, of course, a subjective judgement......
Similarly, I've also been unable to ascertain what arrangement the
eighteenth century Italia liuto used - though from the fingerboard
diagram and 'Scale' of Dalla Casa's 10 course Arcileuto Francese he
seems to have had unison throughout - with, interestingly, a double
first course (as, of course, many archlutes seemed to have employed)
Martyn
__________________________________________________________________
From: Martin Shepherd <mar...@luteshop.co.uk>
To: lute@cs.dartmouth.edu
Sent: Saturday, 17 January 2015, 10:26
Subject: [LUTE] Re: 16th century tuning and stringing
Good question! ;)
On 17/01/2015 10:08, Robert Barto wrote:
Dear Martin,
OK. Great. When were they converted?
Thanks, Robert
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Martin Shepherd [1]<[1]mar...@luteshop.co.uk> wrote:
I think it's likely that Dowland was referring only to the 6th
course,
courses 4 and 5 having been already "converted" to unisons by that
time. He says specifically, "In that place which we call the sixth
string" - when he could easily have said something like "all the
basses". I suspect even when he had his 6th course in unison, he
had
the 7th-9th courses still in octaves (hard to imagine a unison 9th
course in gut).
Martin
On 17/01/2015 01:13, Robert Barto wrote:
> Thank you all for this so far.
> I just checked out Barley (1596) which is apparently a revision
of
the
> previous English translation of le Roys instructions. It clearly
calls
> for octaves on 4, 5 and 6. So this tuning seems to have been
propagated
> in the tutors in late 16th century England. (Matthew Spring in
his
> "Lute in Britain" suggests that this might not have reflected
practice
> at this time (1596) as in 1603 Thomas Robinson already calls for
> unisons.)
> I reread the Dowland comments in the Varietie as well. It sounds
to me
> as if he is at least saying that he prefers unisons, and that
octaves
> were being used more in England at than elsewhere. I cannot
imagine
> that he is only talking about the 6th course. Perhaps the style
had
> already been changing on the continent.
>
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