I am studying Corbetta's 1639 book (PDF facsimile available here: http://earlyguitar.ning.com/forum/topics/corbetta-first-book-1639).I am a bit confused by what he means with "I*", as defined in the introduction to this book. It looks like an "A suspended" chord (4th scale degree instead of 3rd).The "Folia sopra l'E" on p. 18 uses this "I*" chord a lot and the suspension is not resolved. Would an "A7" chord make…See More
I have a question about Rhythm in John Playfords "Dancing Master."He seems to use whole notes with black heads in place of half notes, and double whole notes for whole notes. I worked out the rhythm (more or less) for "a health to betty" following this assumption. can anyone give me some insight?A_Health_To_Betty.pdf…See More
"The six course guitar is still a subject we know very little about. We need anything we can find, iconography, literature, whatever.
I simply suggested that we should not disregard extant instruments when they are of the quality of the Romanillos…"
"Thank you for this.
However, I think you may have misunderstood my question: I'm not making a case either for or against fixed metal frets vis a vis tied frets on late eighteenth century Spanish six course guitars; clearly both type of…"
"The trouble with iconography is that it usually represents just one instance, perhaps using staging with an out of date instrument making it arguably equally unreliable. Why would it matter if Sanguino used frets in the late 1750s and beyond on big…"