Monica writes: 'Valdambrini's first book was printed in Rome seven
years after Landi died (1646). He not only gives instructions for
re-entrant tuning but clearly
states that the instrument has no basses.' Also of course she might
have added that he very clearly indicates octaves in the Avvertimenti
(both in Italian AND French tablature) thus once again confirming fully
re-entrant for his music.
As a further aside, I like V's penchant for carefully controlled
strumming (ie not 'thrashing') - clearly he had an advanced technique
allowing him to exclude certain courses at will(partial
strumming). Many examples such as second book: bottom of page 29 in the
variatione on a ciaccona. I've previously suggested this was a well
established practice by 1646 - at least for some if not for Colonna and
Sanseverino.
M.
--- On Mon, 15/11/10, Monica Hall <mjlh...@tiscali.co.uk> wrote:
From: Monica Hall <mjlh...@tiscali.co.uk>
Subject: [VIHUELA] Re: Stefano Landi
To: "Lex Eisenhardt" <eisenha...@planet.nl>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Date: Monday, 15 November, 2010, 8:32
> We don't know which tuning predominated in the circles around
Landi,
> for example.
Well - we have some ideas. One of his contemporaries in Rome was
Kapsberger, and it was from Kapsberger that Mersenne obtained his
information about how the guitar was strung - i.e. with a fully
re-entrant
tuning. Kapsberger published two books of guitar music now lost.
Valdambrini's first book was printed in Rome seven years after Landi
died
(1646). He not only gives instructions for re-entrant tuning but
clearly
states that the instrument has no basses.
Kircher gives the re-entrant tuning in Musurgia Universalis printed in
Rome
1650.
And of course rather later Sanz also says that guitarists in Rome used
the
re-entrant tuning.
Just straws in the wind..............
From our XXIc position it is difficult to know exactly who
> used what tuning, or which composer was exposed to one way of
tuning or
> the other. If one way of stringing is very usual among your friends
or
> in your town there would be no reason to say anything about it.
Therein lies the problem. If none of us can be certain a position of
relativity is inevitable. The relativity is ours rather than theirs.
> It supposes that in the 17th century 'they' had a sort of
relativism,
> with respect to the tuning and theoretical issues. The first
attempts
> of Focarini and Corbetta from around 1640, to apply the figures and
> voice-leading of basso continuo on the guitar, give a different
> picture.
In what way? Even if this was so in what way is it relevant to what
players did earlier?
Monica
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References
1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
