[VIHUELA] Re: de Visee Chaconne in a minor to the guitar?

[Simen Omang]

   Hello,

   I'm looking forA literatureA on the biography and the work of Mateo
   Sellas.
   Anybody that can point me to articles written particularly on him? or
   that deal more generally with the luthiers of 17th century Venice and
   FAA(c)ssen?
   In Italian, German, Spanish and French as well! A  A  A

   Thanks :)

   SImen Omang

   On Thu, Nov 22, 2012 at 10:40 AM, Martyn Hodgson
   [1]hodgsonmar...@yahoo.co.uk wrote:

 A  A Dear Eugene,
 A  A I also find Strizich more complicated than necessary and really
 only
 A  A useful for academics interested in the period guitar who don't
 actually
 A  A play the instrument - are there any?
 A  A And I agree with what you're saying below: ie to transcribe the
 A  A tablature into staff notation by pretending that the 4th and
 5th
 A  A courses have both strings at the lower octave. This way there's
 much
 A  A less room for ambiguity and the music will sound different
 depending on
 A  A which particular tuning arrangement an individual player
 chooses to
 A  A employ - A  in fact, a sort of staff notation tablature
 A  A regards,
 A  A Martyn
 A  A --- On Wed, 21/11/12, Braig, Eugene [2]brai...@osu.edu wrote:
 A  A  A From: Braig, Eugene [3]brai...@osu.edu
 A  A  A Subject: [VIHUELA] Re: de Visee Chaconne in a minor to the
 guitar?
 A  A  A To: Monica Hall [4]mjlh...@tiscali.co.uk
 A  A  A Cc: Vihuelalist [5]vihuela@cs.dartmouth.edu
 A  A  A Date: Wednesday, 21 November, 2012, 21:18
 A  A Indeed. A I'm in the day job office and can't refer directly,
 but I seem
 A  A to remember spots/chords where it's not clear to which
 course/string
 A  A the symbol applied. A Feel free to correct me if this is not
 the case.
 A  A Strizich is a somewhat useful...but also a somewhat odd effort.
 A  A Personally, I feel de Visee is one of those few 5-course
 characters who
 A  A loses almost nothing in use of the low A throughout. A If
 transcribing
 A  A de Visee to modern notation, I'd almost rather assume a typical
 modern
 A  A instrument, with notes along the fifth notated as though they
 are along
 A  A an A, as Grimes did in his guitar transcriptions for good ol'
 Mel Bay,
 A  A de Visee included.
 A  A Best,
 A  A Eugene
 A  A -Original Message-
 A  A From: [1][6]lute-...@cs.dartmouth.edu
 A  A [mailto:[2][7]lute-...@cs.dartmouth.edu] On Behalf Of Monica
 Hall
 A  A Sent: Wednesday, November 21, 2012 3:39 PM
 A  A To: Braig, Eugene
 A  A Cc: Vihuelalist
 A  A Subject: [VIHUELA] Re: de Visee Chaconne in a minor to the
 guitar?
 A  A Well - Strizich does indicate which course the notes are on
 with a
 A  A little figure in a circle below the stave but you need a
 magnifying
 A  A glass to read them. A e.g. in the first bar the c is played on
 the 5th
 A  A course and the a on
 A  A the 3rd. A  He also puts in zeros to indicate open courses e.g.
 on line
 A  A 3 in
 A  A the third bar the zeros over the a and b natural indicate that
 they are
 A  A played on the open 5th and 2nd courses.
 A  A It does highlight how difficult it is to transcribe baroque
 guitar
 A  A music coherantly.
 A  A Monica
 A  A Monica
 A  A - Original Message -
 A  A From: Braig, Eugene [3][8]brai...@osu.edu
 A  A To: Vihuelalist [4][9]vihuela@cs.dartmouth.edu
 A  A Sent: Wednesday, November 21, 2012 7:41 PM
 A  A Subject: [VIHUELA] Re: de Visee Chaconne in a minor to the
 guitar?
 A  A A little late to this chat, but I find the Strizich
 transcription a
 A  A bit
 A  A unwieldy in notating notes along the reentrant a at pitch.
 A It's just
 A  A hard
 A  A to know whether notes in the relevant range belong along the
 a, g, or
 A  A b
 A  A string.
 A  A 
 A  A  Best,
 A  A  Eugene
 A  A 
 A  A 
 A  A  -Original Message-
 A  A  From: [5][10]lute-...@cs.dartmouth.edu
 A  A [mailto:[6][11]lute-...@cs.dartmouth.edu] On
 A  A  Behalf Of Monica Hall
 A  A  Sent: Sunday, November 11, 2012 2:33 PM
 A  A  To: [7][12]ar...@student.matnat.uio.no
 A  A  Cc: Vihuelalist
 A  A  Subject: [VIHUELA] Re: de Visee Chaconne in a minor to the
 guitar?
 A  A 
 A  A  A transcription of it is also included in Robert Strizich's
 edition
 A  A of De
 A  A  Visee's complete works published by Heugel in1969.
 A  A 
 A  A  Monica
 A  A 
 A  A  - Original Message -
 A  A  From: [8][13]ar...@student.matnat.uio.no
 A  A  To: Monica Hall [9][14]mjlh...@tiscali.co.uk
 A  A  Cc: Arto Wikla [10][15]wi...@cs.helsinki.fi;
 Vihuelalist
 A  A  [11][16]vihuela@cs.dartmouth.edu
 A  A  Sent: Sunday, November 11, 2012 5:21 PM

[VIHUELA] Re: Baroque Guitar Neck Woods

[Simen Omang]

Hi,
This the first time I write the list, but i'm following and would like 
to thank you all for sharing interesting points of view.

Harlans question is within my field, so I can say something about that..

It's is an exaggeration to say that maple was standard for necks, 
although f. ex. Stradivari used this. Cypress, walnut, fruitwoods or 
spruce are all common in surviving instruments. Most woods are actually 
suitable as long as properly dried - although they do give different 
character. In modern guitar construction cedar from central-America or 
Brazil has been dominant in the Spanish school. A deterioration in cedar 
quality has made many builders change to mahogany, which is heavier.


Mahogany has been taken back to Europe from Americas as early as the 
16th century, often as ballast, so it's been available to (and part of) 
guitarmaking for a long time.


Fingerboards on baroque guitars does not have the same stiffening 
function as it does on a modern one, and is both thinner and shorter. 
They are often combinations of woods and ivory making visually striking 
patterns or some close-pored hardwood that doesn't get dirty and worn so 
quickly - typically ebony or different kinds of rosewoods.


Greetings from Norway,
Simen Omang


On 01/21/2012 04:12 AM, Harlan wrote:

Hello all

I have recently been thinking about the neck and fingerboard of baroque guitar in 
historical times as well as modern reproductions. I know maple was the 
standard (if we can use such a word) for the neck, but was there any well 
known alternative woods at the time? When did mahogany take over as an equal alternative 
for guitar neck construction? It seems today modern necks are mahogany or maple.

Regarding fingerboards, was there a standard or common material for baroque 
guitars or was it really all over the map?

Harlan



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Luthier Simen Omang
www.s-omang.com