Corrette's book was published in Paris but is undated. It does as Stewart
says include a diagram showing the stringing. In chapter 7 he says:
The Ps which I have placed above the As and the Ds on pages 23, 25, 26, 28
show that these notes are to be played lightly with the thumb on the thinner
strings of the fifth and fourth courses. The best players use this method
in some pieces in order to leave the second and third fingers of the right
hand freer.
Monica
----- Original Message -----
From: Martyn Hodgson
To: Stuart Walsh
Cc: Monica Hall ; Vihuelalist
Sent: Monday, February 07, 2011 12:04 PM
Subject: Re: [VIHUELA] Re: Ambiguity
I was speaking only of French practice, but you may be right - I'll look
at Ning
The French books which I have facsimiles are:
Merchi 1761 - stringing in staff notation seems to show doubled basses -
both low octaves. BUT in discussing pitching to accompany the voice he says
(I think? - better translation required plse) put the small La at the most
favourable pitch - implying an octave on at least the 5th - but nothing
about the high octave being in or out.
Bailleux 1773 - I think the implication here is that the bass of the 4th and
5th octave pair is outside but on reading it again I see he's not actually
quite so specific.
Baillon 1781 - stringing explained in the 'Avertissement'. - octaves on 4th
and 5th but now I look at this again he doesn't (I think) say whether the
high octaves are out or in. My schoolboy French is not up to being certain
of getting what he does say 100% correct - has anyone a trans with which
they are confident?)
Lemoine 1795 - seems to be for single strung 5 course
Sparks says Corrette 1763 shows the high octave on the 4th and 5th on the
outside - but I don't have a copy (is this the diagram perhaps?).
Also other schools certainly seemed to have continued with the thumb
striking the high octave first up to the end of the century (not the reverse
as Sparks says - I think maybe the common confusion of what is meant by 'the
first') Ferandiere's 6 course guitar has octave basses with the highest
outwards. ('The first two bourdons are called sextos, with the different(ce)
that the first is called sextillo, through being thinner than the other, and
it must be an octave higher; but both are called E.' trans Brian Jeffery).
Mandoras (and gallichons if double) had the high octave on the inside (like
a lute in fact sometimes actually called 'demi-luth')
Martyn
