Thanks Lex.
Yes, these sources are fairly well known - I'm just not sure
terminoligy was sufficiently standardised at the time to draw
unequivocal conclusions and the question as to whether Agazzari
had Millioni's four-course guitar, 'chitarrino' in mind or the
instrument
Thanks Lex
Maybe, but plucking to perform basso continuo on the guitar was not
unknown if that's what Agazzi really meant (and I'm not convinced we
can interpret his description as excluding BC using full chords only -
eg strummed). Indeed, there are even some, allbeit later,
On Mon, 12 Dec 2011 10:28:52 + (GMT), Martyn Hodgson wrote
Thanks Lex
Maybe, but plucking to perform basso continuo on the guitar was
not unknown if that's what Agazzi really meant (and I'm not
convinced we can interpret his description as excluding BC using
full chords only -
Thank you for this - you must have missed my qualifying rider: 'albeit
later sources' expressing that I am well aware these sources are not
contemporary with Agazzari. And of course you're quite right they do
not constitute evidence of what Agazzari was aware. The point is that
We seem to have got a bit at cross purposes here - at least I have.
Agazzari's book was printed in 1607 as far as I am aware. Only one year
after Montesardo. Foscarini's book in mixed style was printed in about
1630 and the version of which includes the continuo instructions was printed
in
Dear Monica,
I'm not sure we are at cross purposes since we all seem to agree that
nothing is certain about what precise instrument Agazzari had in mind
and whether he might have come accross the chitarra spagnuola (and
implied it in his 'etcetera').
Of course Foscarini's
Indeed - this supplements what I wrote below - thank you.
Presumably after 1589 the guitar (5 course alla spagnola) became better
known in the North.
MH
From: Eloy Cruz eloyc...@gmail.com
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar
Having a quick look at Meucci's article again there are a few other
things which I think need to be clarified.
The first of these is that in Millioni's 1631 book the 4-course
instrument is referred to as
il Chitarrino, overo Chitarra Italiana which suggests that it was a
On 12/12/2011 17:24, Monica Hall wrote:
Having a quick look at Meucci's article again there are a few other
things which I think need to be clarified.
The first of these is that in Millioni's 1631 book the 4-course
instrument is referred to as
il Chitarrino, overo
The first of these is that in Millioni's 1631 book the 4-course
instrument is referred to as
il Chitarrino, overo Chitarra Italiana which suggests that it was a
small lute rather than a 4-course guitar.
But then it would be a small lute tuned like a 4 course guitar in 'temple
Subject: Re: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
il Chitarrino, overo Chitarra Italiana which suggests that it was a
small lute rather than a 4-course guitar.
But then it would be a small lute tuned like a 4 course guitar in 'temple
Sent: Monday, December 12, 2011 7:58 PM
Subject: Re: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
Very interesting, Monica. Is Meucci's article readily available anywhere?
More to the point, is it in in English? And better still is there a good
summary
il Chitarrino, overo Chitarra Italiana which suggests that it was a
small lute rather than a 4-course guitar.
But then it would be a small lute tuned like a 4 course guitar in 'temple
nuevo'.
That's what it is. That is what Cerreto's instrument is and it has a
re-entrant tuning.
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