I think we are going round in circles and not really understanding one
another.
Some time ago Timo Peedu did an edition of the Moulinie songs which is on
the Earlyguitar.ning site. We discussed the notation at the
time but I'm not sure whether this was in private or on the list.
There is an article in Lute 1999 by Jonathan Le Cocq in which he explains
Moulinie's notation in some detail as it relates primarily to the lute parts
but the signs and symbols presumably (if I may use that word) have the same
meaning when used in the guitar parts.
The star means that you should hold the note. Le Cocq says "The star
functions as a slash does in conventional tablatures - it indicates that a
note should be sustained."
"Unlike the slash it gives no guidance as to the duration of the held
note...but has the advantage that it can be attached to inner notes of a
chord."
According to Le Cocq the slurs are to co-ordinate the accompaniment with
the voice part. Notes included in a slur or slash are played against a
single sustained note/syllable in the voice part. (Presumably) this is how
they are used in the lute tablature as well as the guitar.
For the rest of it - I am not paraphrasing anything you saying. I said "I
wouldn't assume (not anyone else) that in 1629 that alfabeto notation or
the strummed
style were unknown in France."
Apart from that you queried what I have said in the Bartolotti about
Francois Martin's book being the first in French tablature in which the
note values are placed on the stave with the tails down or up to indicate
the direction of the strummed strokes. Moulinie does not put the note
values on the stave with the tails down and up so it is not relevant to
mention him at all in that context.
My comment 'What you see isn't what you are supposed to do!' refers to the
5-part chords. There is no indication in Moulinie that these are to be
strummed - but I have said at least once in this correspondence that that is
surely how they are meant to be played. It's just my way of saying things.
As far as the alfabeto songs are concerned this is a huge and complex topic.
All I have tried to do in that section is to draw attention to the few
sources that give any indication as to how the accompaniments should be
played - specifically to Sanseverino's written out accompaniments which
nobody else seems to have mentioned and Fasolo's system of indicating how
many time each chord should be played. And a few of the other multitude of
problems.
I don't think Moulinie is relevant in this context. But if and when I ever
get as far as writing about how French guitar notation evolved I promise you
he will have pride of place.
As ever
Monica
