Thank you Monica.
As you'll know from our earlier exchanges, I agree with the conclusions about the guitarre theorbee. However there are a couple of significant points about the chitarra atiorbata which you seem to have overlooked or ignored and which point to a rather different conclusion than you (that these instruments had the basses at the low octave): 1. A duplicated bass G is not an objection to the high tuning of the basses - Granata might have simply wished to have a continuous run of free basses. For example to allow a fast run on them without having to play the G away from the these basses and so interrupt the thumb's stroke. Indeed, a good example of this is in the opening Preludio Bar 1 ie 12 11 X 9 8 7 6 0..... 2. The engraved depictions do not show the bass extensions 'slightly less' than a theorbos - they are considerably and significantly less! - this has a real bearing on the sound the basses make. Further, to suggest that this particular feature has been incorrectly represented by the engraver and can therefore be ignored is, I think, working backwards from a presumed conclusion (ie that the basses were at the low octave and thus needed to be longer than illustrated) rather than taking the important evidence at its face value. Martyn --- On Thu, 27/8/09, Monica Hall <mjlh...@tiscali.co.uk> wrote: From: Monica Hall <mjlh...@tiscali.co.uk> Subject: [VIHUELA] Guitarre theorbee To: "Vihuelalist" <vihuela@cs.dartmouth.edu> Date: Thursday, 27 August, 2009, 4:59 PM Just to let you all know that the final version of my thoughts on the subject of the Guitarre theorbee is now on my own web page - [1]www.monicahall.co.uk It includes a staff notation transcription of all twelve pieces from the Gallot manuscript. Monica -- References 1. [1]http://www.monicahall.co.uk/ To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.monicahall.co.uk/ 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html