Early Guitars and Vihuela

A network for historic guitars and vihuelas

I downloaded this from the Biblioteca Nacional de Espana a long time ago.

Can't find the link now, so I offer it here as a PDF.

Published in 1819, rather late I think for this kind of music.

Written by : D.J.M.G.y E. whoever that may be?

The only words I understand is the title, so I hope a Spanish speaking member will join here.

The music by D.J.M.G.y E. is very simple. I am always glad when my pupils are on this level.

I made a second PDF of the 6 pieces in the book which can be played as a suite.

A suite by D.J.M.G.y E...

We probably have a picture of D.J.M.G.y E. :

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Hello Hans, that is a very interesting method. It would be nice to have a translation to know more about the technique used :-)

An interesting book. Here just a few comments:

The name D[on]. J.M.G. y E may unfortunately mean a lot. I checked out the newspaper "Diario de Madrid" and unfortunately found no author or guitarist who could be called so. (By the way, I would recommend the following book that lists all the references to musical activities in Madrid from 1758 to 1808, drawn from the newspaper 'Daily Madrid': Música y danza en el «Diario de Madrid», ed. by Yolanda Acker, Madrid 2007. ISBN: 978 8487-7814 4 - 0).

Its also interesting that the "Rudimentos" reflects well the simultaneity of the guitar with single strings and with double courses. The author speaks of "courses", but describes only an instrument with single strings.

Similarly, there is an interesting reference to play without nails (p.4). The author says that nails sound a little bit louder, but without nails the game is sweeter. In addition he adds that long nails were very uncomfortable.

Best,

Thomas

He gives few information on the pinky. Only on page 12, point 11, he states out that the pinky (of the right hand) is the weakest, with less skill. Therefore, he should not be working so much and applied only when this is necessary. But he does not specify when its necessary. This is all about the pinky.

Perhaps even more interesting is the hint that sometimes you can use the thumb of your left hand to press the string  on the fingerboard (page 19, point 5).

A few remarks on tuning and strings we find on page 5: the third string should be neither too high nor too low. The other strings are tuned by octaves. The author mentions that the 4th, 5th and 6th string (entorchados) are wounded.

That’s all.

Thomas

Hello ! I can't find a pdf...

Thank you !!

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