Thanks for the blessing of sorts... discretion being in the eye of the
beholder and all that. Well then, I think it's either put a bordon on
the D string, or sneak the upper octave G into my fingering for those
passages. It's not a technical problem to accomplish either. What
strikes me as so odd is that this is the only Sanz piece I found so far
that causes any serious problems. I did play for a real Baroque
guitarist (as opposed to myself -- an amateur) who suggested I try the
French stringing, and who echoed your statement that Sanz is not
writing anything in stone about stringing the instrument. But in
general I like having the G as the lowest note for this music.
cud
__________________________________________________________________
From: Monica Hall <mjlh...@tiscali.co.uk>
To: Chris Despopoulos <despopoulos_chr...@yahoo.com>
Cc: Vihuelalist <vihuela@cs.dartmouth.edu>
Sent: Mon, November 22, 2010 2:22:36 PM
Subject: Re: [VIHUELA] Re: Any b-guitar repertoire in all re-entrant
accepted by all?
That is why some people do argue that octave stringing on the 3rd
course is intended.
Gordon Ferries plays it on his CD with the re-entrant tuning. It works
after a fashion but it is not the best track.
I think the point is that Sanz doesn't explicitly say that all his
music is intended to be played with the re-entrant tuning. All he
really doing is generally saying which tuning he thinks works best for
which type of music.
I think you can exercise a bit of discretion in these matters.
Monica
----- Original Message -----
From: [1]Chris Despopoulos
To: [2]Monica Hall
Cc: [3]Vihuelalist
Sent: Monday, November 22, 2010 5:18 PM
Subject: Re: [VIHUELA] Re: Any b-guitar repertoire in all re-entrant
accepted by all?
Fuga Primera, por primer Tono al ayre Espanyol, the open G string in
measures (counting from the tablaltura, and not counting the notated
theme):
5
19
23
25
(Note the open G in 24 is not a problem, even though its leading is
very similar)
In these cases, I simply cannot hear a logical leading into the lower
G... to my ear it desperately wants the upper octave G. I can play
that upper octave on the E string, but that's not how it's written.
There are other instances of ambiguous leading in this piece (and many
others) where either octave could make sense. In those cases the lower
octave is not a problem for me, and I find a careful emphasis makes
those notes settle perfectly well into the piece. But these cited
cases just don't work for me, no matter how hard I try to hear it. So
far this is the only piece that troubles me in the Sanz books. But it
really troubles me... I love it and want to fully understand it.
Some people have suggested there's evidence that Sanz approved of and
possibly used an octave-strung G course. I'm not convinced -- Anyway,
that just pushes the whole issue onto another course and really doesn't
help solve this raging argument about stringing/playing the guitar.
Any advice you can offer on this piece is quite welcome!
Cheers cud
__________________________________________________________________
From: Monica Hall <mjlh...@tiscali.co.uk>
To: Chris Despopoulos <despopoulos_chr...@yahoo.com>
Cc: Vihuelalist <vihuela@cs.dartmouth.edu>
Sent: Mon, November 22, 2010 11:29:50 AM
Subject: [VIHUELA] Re: Any b-guitar repertoire in all re-entrant
accepted by all?
Which fugue is it?
Monica
----- Original Message -----
From: "Chris Despopoulos" <[4]despopoulos_chr...@yahoo.com>
To: "wikla" <[5]wi...@cs.helsinki.fi>
Cc: <[6]vihu...@cs.dartmouth.edu>
Sent: Monday, November 22, 2010 3:54 PM
Subject: [VIHUELA] Re: Any b-guitar repertoire in all re-entrant
accepted by
all?
> In my experience, I would say nearly all Sanz definitely *works*
with
> fully re-entrant tuning. I find only one fugue that gives me any
> problems... Every other piece I have tried so far sounds absolutely
> great, and makes perfect sense in a fully re-entrant tuning. It
takes
> a little getting used to... Probably the most difficult pieces to
play
> are the ones you have played previously on a modern guitar. The
logic
> of the pieces may prove to be different than you initially thought.
> But for all that, the logic is generally consistent... Except that
one
> darned fugue!
> cud
> __________________________________________________________________
>
> From: Stuart Walsh <[7]s.wa...@ntlworld.com>
> To: wikla <[8]wi...@cs.helsinki.fi>
> Cc: [9]vihu...@cs.dartmouth.edu
> Sent: Sat, November 20, 2010 5:29:16 PM
> Subject: [VIHUELA] Re: Any b-guitar repertoire in all re-entrant
> accepted by all?
> > Dear flat-back lutenists,
> >
> > is there any repertoire/composer of baroque guitar that/who
without
> any
> > modern disagreement definitely used the "double re-entrant" tuning
-
> the
> > 5th and 4th having only in the upper octaves? De Visee perhaps?
> An interesting question. I'd like to see a list too. And a more
> contested list of what may well be music for this tuning, but not
> actually specified.
> I think these are definitely for the fully re-entrant tuning:
> Valdambrini
> Carre
> some (?) Sanz
> and?....
> Stuart
> > To a theorbist with two top strings lowered an octave that setting
> sounds
> > really interesting - the opposite way of putting the fingerboard
> strings
> > sound a lot in the same octave! In a therbo in a from A to b, in
> b-guitar
> > in e from g to e'.
> >
> > In this interesting light just considering of getting a
b-guitar...
> :)
> >
> > Arto
> >
> >
> >
> > To get on or off this list see list information at
> > [1][10]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
> >
>
> --
>
> References
>
> 1. [11]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
>
--
References
1. mailto:despopoulos_chr...@yahoo.com
2. mailto:mjlh...@tiscali.co.uk
3. mailto:vihuela@cs.dartmouth.edu
4. mailto:despopoulos_chr...@yahoo.com
5. mailto:wi...@cs.helsinki.fi
6. mailto:vihuela@cs.dartmouth.edu
7. mailto:s.wa...@ntlworld.com
8. mailto:wi...@cs.helsinki.fi
9. mailto:vihuela@cs.dartmouth.edu
10. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
11. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
