A network for historic guitars and vihuelas
thanks for chiming in! With all respect for your experience and insight, I would say that Nigel North is "lutenist" in the first place who is the one of the best to know how the lute should sound like. So, if he says that the sound of a 4-course guitar is close to a lute to any extent, there seems to be some points to consider.
That said, the recorded sounds of the vihuela and the renaissance guitar on the same CD by Jacob Heringman and those on the same CD by Hopkinson Smith are not so apart from each other. Yes, "on the same CD" doesn't guarantee that both instruments were recorded in the same condition, but they seem to support your account.
By the way, is there any recorded material in which I can listen to the sound of your four course guitar?
I just joined and maybe you can help me. I am writing a book on carribean folk instruments influenced by the 4,5 course guitars and vihuela, 16c.
I have a tuning for the 4 course in <E>. The third course is <g> an octave above normal <G>. On the 5 course with the spanish stringing its the 4th course. The strings are in unison an octave above. How was this course used on the 4 course and on the 5 course ?
I am familiar with the <campanella> style after 1600 and the re-entrent stringing.
The instrument I am researching is called <vihuela>, has 5 courses, 8 strings, tuned:
a-d-f#-b-e, 54321, inyervals 4-3-4-4 as the first 5 courses of the vihuela.
I would like to know how this 3rd courd in unison octave above was used.
Thanks for your help.