The problem seems to lie with the previous chord. Both the C and the E
flat fall on the 2nd course so can't be played together. That being the case,
it is logical to place both chords on the 4th and 5th courses. C minor is an
awkward key on the guitar.
I still haven't given a sensibl
I believe that Tess Knighton is preparing a translation of this but as far
as I am aware it has not yet appeared in print.
I am hoping to read it myself when it does.
Monica
- Original Message -
From: Fossum, Arthur <[EMAIL PROTECTED]>
To: Vihuela Net
Sent: Wednesday, September 07, 2005
> > Pesori - he has probably copied Foscarini in Galeria musicale.
>
> The tuning check is not the same. The fact that tuning charts are all
> similar doesn't say they are copied.
Still don't clearly mention octave stringing.
> I took it from 'Recreazioni armoniche' Now I see that it is probably
Monica,
Thank you for this long reply - I am now feeling terribly guilty because I am
very well aware of the historical literature, the various tunings proposed in
modern times (Pinnell et al) and the state of the current debate. My aim in
asking these questions of perhaps the leading autho
> Pesori - he has probably copied Foscarini in Galeria musicale.
The tuning check is not the same. The fact that tuning charts are all
similar doesn't say they are copied.
> I don't
> think he mentions octaves in Lo srigno armonico.
I took it from 'Recreazioni armoniche' Now I see that it is p
Further to the below, grtfl if you cld respond to my earlier message on
precisely this matter: I'm not always convinced by yr procrustean analysis.
I hope I am not trying to enforce uniformity by violent methods - which is
how my dictionary defines procrustean!
It is difficult to expl
> > That is exactly why you can't prove that one method of stringing rather
> than
> > another is intended.
>
> Indeed. That is why I don't see what proves French tuning for Corbetta
1643.
In the end you can't prove anything either way.
> Can you please give more information on exactly that subj
> > If you wanted to avoid string break you wouldn't start with the 5th
course
> > at all. If you tune the 5th course too high, when you get to the 1st
> > course - ping - off it goes!
>
> Still that is what the instructions say: 'tune the fifth course to a
> convenient pitch' or 'the fifth may
Anyone aware of a translation to English of 'El Cortesano' by Milan? I
am interested in reading it.
-Arthur
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Monica,
Grateful if you cld explain on what historic basis you restrict yourself to
just including open courses when playing the triad: harmony of this period had
become much richer with chords of the 7th and 9th and various inversions with
added notes eg simultaneous 5 and 6 on, say, a Gm cho
> But the open courses with Foscarini were serious, and I said it's
certainly
> on the edge. If you allow me, I have another example, that is a bit
similar.
> It's from La Guitarre Royalle (1671) on p. 94, last line bars 1-4. Should
we
> include the 1st course in all the chords?(e.g. second beat
> > As you haven't seen it, other than in two manuscripts copied in the 18th
> > century you can't evaluate it. All that you can say is that you know
> > nothing about it. So much of what you say simply ignores that fact
that
> we
> > have a very incomplete picture of what was really happeni
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