On 07/02/2011 08:50, Martyn Hodgson wrote:
Isn't Corrette's guitar disposed like other second half 18th century French guitars? ie basses on the thumb side like a lute. And the style is now much simpler and with arppegios and the like . M
There's a late 18th century diagram of a guitar fingerboard with the the basses clearly not on the thumb side - and it's somewhere on the early guitar ning site.
Stuart
--- On Sun, 6/2/11, Monica Hall<mjlh...@tiscali.co.uk> wrote: From: Monica Hall<mjlh...@tiscali.co.uk> Subject: [VIHUELA] Re: Ambiguity To: "Martyn Hodgson"<hodgsonmar...@yahoo.co.uk> Cc: "Vihuelalist"<vihuela@cs.dartmouth.edu> Date: Sunday, 6 February, 2011, 16:41 > Incidentally, earlier in this discussion I asked if there was any early > source which mentioned selective plucking of individual strings of an > octave pair - no response so far. No - the only source which mentions it is Corrette in -can't remember the exact date - 1760 or there abouts. I think the fact that Sanz doesn't mention this as an option is of some significance. His solution is to change the stringing. Incidentally when practicing Bartolotti's Ciaccona from Book 1 this morning I noted that there are three trills on the 4th course and one on the 5th but obviously because of the left-hand fingering there are fewer opportunities to fit in ornamentation. Monica > From: Stewart McCoy<[1]lu...@tiscali.co.uk> > Subject: [VIHUELA] Invertible counterpoint > To: "Vihuela List"<[2]vihuela@cs.dartmouth.edu> > Date: Sunday, 6 February, 2011, 12:47 > > Dear Martyn, > Thanks for your message. I agree with what you say about the effect of > reverse stringing, that it causes the upper octave to be more in > evidence than it would be with a more conventional (i.e. lute) > stringing. Yet why should a guitarist have wanted the high octave to > predominate? It must be that he wanted to hear the high octave as a > note > in its own right - a melody note - rather than merely enhance a bass > note on a duff gut string. > There are instances in lute music, where the upper octave of a course > is > used melodically. My favourite example is the opening of Haray tre > amours from Spinacino (Bk 2, 15v) which is notated as > --------------------------|----- > --------------------------|--2-- > --------------------------|----- > --2--4--5--4--5--4--2--4--|----- > --------------------------|----- > --------------------------|----- > but sounds as > --------------------------|----- > --------------------------|--2-- > --------------------------|----- > --2--4--5--4--5--4--2--4--|----- > --------------------------|--0-- > --------------------------|----- > The high octave of the 5th course acts as a bass and a treble at the > same time. > Seventeenth-century guitarists wanted to exploit this possibility, but > unfortunately there were times when they wanted notes to be heard only > at one octave. Either they wanted just the low octave for a bass note, > and had to put up with the high octave interfering with the treble line > (as described recently by Monica), or they wanted just the high octave, > and had to tolerate unwanted bourdons creeping in below. > The various ways of stringing the baroque guitar are attempts to > overcome this basic dilemma. It seems that composers writing serious > pieces for the guitar wanted to exploit the melodic possibilities of > the > upper octave notes, but felt hampered by the bourdons. Reverse > stringing, having no bourdon at the fifth, or at the fourth and fifth > courses, are all attempts to purify the sound. As Monica says, quoting > Sanz, removing the bourdons will sweeten the sound. We cannot tell from > Sanz whether or not it was a new idea, but it certainly implies that at > least some guitarists were using bourdons in the 1670s. > Unfortunately we have little evidence to know what each guitarist did. > I > am grateful to Monica for writing: > "The only reference to reverse stringing is in Ruiz de Ribayaz in 1677 > .. the earliest mention of the "French" tuning is in 1670 ..." > Is that really all we have to go on? Is there nothing written about > stringing before 1670? If that is the case, no wonder there is so much > controversy. Without evidence, we are forced to rely on our intuition, > and to try to glean what we can from the music itself (hence my > question > about trills notated at the 4th and 5th courses, and my mention of high > notes on the 4th and 5th courses in Sanz' Pavanas). > Sometimes the answer is obvious. For example, in his recording of music > by Franc,ois Campion (Arion ARN68483) Michel Amoricis unfortunately has > a > bourdon at the fifth course, which wreaks havoc with the campanellas. > Other times it is less clear what we should do. By coming to different > conclusions, we may be duplicating what actually happened in the 17th > century, when guitarists will have had their own preferences, depending > on what music they were playing. > Best wishes, > Stewart. > -----Original Message----- > From: Martyn Hodgson [mailto:[1][3]hodgsonmar...@yahoo.co.uk] > Sent: 06 February 2011 08:55 > To: Vihuela List; Stewart McCoy > Subject: Re: [VIHUELA] Invertible counterpoint > Dear Stewart, > > I agree with some of what you say (in particular perhaps Sanz was > expressing a desire for the most 'modern' style even if still composing > some pieces with bourdons) but I think you overlook an obvious > possibility when you write 'Why should the lower string of an octave > pair on the baroque guitar be placed on the treble side? This is the > other way round from the lute, and seems counter-intuitive. There must > be a difference in sound, or guitarists would not have strung their > guitars that way. The only reason I can think why it was done, was so > that players could catch just the high octave with their right-hand > thumb, which would be a huge advantage when playing campanellas.' > > The other reason for the disposition of the pair, and one which I think > is more significant, is that the string struck first with the thumb > tends to predominate. So that on the lute, where a more procrustean > adherence to the rules of counterpoint/voice leading might have been > expected, it is the bass (the lower) of the octave pair which > predominates whereas on the guitar with its peculiar tuning, the upper > of the pair tends to be heard primarily thus allowing an ambiguity > which > can deceive the ear. > > I'm really not convinced about selecting which octave of a pair to > pluck, not so much that it can't be done - it clearly can - though with > trouble if the passage is rapid, but on the basis that there seems to > be no evidence that this was early practice. Or have I missed a vital > source? - I'm sure I'll be told if so. > > rgds > > M > To get on or off this list see list information at > [2][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- > > References > > 1. > [5]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co. uk > 2. [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > -- References 1. http://uk.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk 2. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuela@cs.dartmouth.edu 3. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 5. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html