Baroque Guitar - Vihuela - Renaissance Guitar - Early mandolin - Gittern etc
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Juan Pablo Pira
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Juan Pablo Pira's Discussions
A collection of alfabeto pieces
Started Nov 29
Does anyone know where I can find this site???
Started Nov 2
Tablature editors... which one do you use for baroque guitar?
13 Replies
Started this discussion. Last reply by James Tyler Sep 17.
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A few instrumental pieces as well as accompaniments to what must have been popular songs in the early 17th century.... check
http://bibliotecadigitaleitaliana.internetculturale.it/generaRicerca.jsp?s=116&m=1&l=it
and then make a ricerca libera for...
Check for "La Gavotte de Vestris" it has an interesting set of Folia variations. Curiously, you do not need the low E string for these variations. How old are these supposed to be???
If you are thinking about retyping the whole thing..., maybe a version in Italian or French tab might help... modern guitar tab is OK; but you knowyou are playing a transcription the very moment you start reading.
This is the URL that works for me:
http://web.archive.org/web/20070816170352/http://www.baroqueguitar.net/
Maybe we should try to get in contact with the site's owner.
A few weeks ago I found a great site on the internet that had a large manuscript with many alfabeto works for baroque guitar. I was looking for something in the Magliabecchiana library in Florence... however, I am unable to find it again. Any idea...
I am not sure if this luthier is in your price range, but he is clearly a good option. Juan Carlos Soto in Costa Rica is a great luthier... I have tried a lute, a renaissance guitar and a vihuela made by him and all were great instruments. You can...
My Music
1. Clarines suaves (Manuel José de Quiroz) A Christmas piece for two tiples and continuo.
clarines SOH.pdf
2. Two pieces from "regla de entrastar". Two beginner pieces from an 18th century guitar instruction book for absolute beginners. Baile inglés is a very simple piece used to explain tablature. Minueto por Alamire Mayor is a short minuet for guitar. My very special thanks to Luis Antonio Rodríguez Torselli who gave me access to these pieces.
Baile ingles.pdf
alamire3.pdf
3. A passacaglia for four-string guitar tuned in fourths DGcf. This tuning was used in Guatemala in the early 18th century. I thought about transcribing Biber's passacaglia for solo violin, but changed my mind before I reached the fifth bar. (Top line is highest string)
PASACAGLIA.pdf
4. Canario by Guatemalan baroque composer Manuel Alvarez. Very similar to pieces with the same name by Sanz and Guerau. This piece is set for a four-string guitar tuned DGcf. (Bottom line is highest string). UPDATE: Probably, this was not written for a guitar but for a bandurria or a mandola. Both instruments are quite different from the modern instruments with the same name).
Canario.pdf
5. Fantasmas. Another piece by Manuel Alvarez. UPDATE: Probably, this was not written for a guitar but for a bandurria or a mandola. Both instruments are quite different from the modern instruments with the same name).
Fantasmas.pdf
6. Fantasmas del Sueño. Another theme and variations by the same composer. UPDATE: Probably, this was not written for a guitar but for a bandurria or a mandola. Both instruments are quite different from the modern instruments with the same name). Suenho.pdf
7. Gavotte I and II from J.S. Bach's Suite VI for cello solo. Gavotte I y II FR.pdf
clarines SOH.pdf
2. Two pieces from "regla de entrastar". Two beginner pieces from an 18th century guitar instruction book for absolute beginners. Baile inglés is a very simple piece used to explain tablature. Minueto por Alamire Mayor is a short minuet for guitar. My very special thanks to Luis Antonio Rodríguez Torselli who gave me access to these pieces.
Baile ingles.pdf
alamire3.pdf
3. A passacaglia for four-string guitar tuned in fourths DGcf. This tuning was used in Guatemala in the early 18th century. I thought about transcribing Biber's passacaglia for solo violin, but changed my mind before I reached the fifth bar. (Top line is highest string)
PASACAGLIA.pdf
4. Canario by Guatemalan baroque composer Manuel Alvarez. Very similar to pieces with the same name by Sanz and Guerau. This piece is set for a four-string guitar tuned DGcf. (Bottom line is highest string). UPDATE: Probably, this was not written for a guitar but for a bandurria or a mandola. Both instruments are quite different from the modern instruments with the same name).
Canario.pdf
5. Fantasmas. Another piece by Manuel Alvarez. UPDATE: Probably, this was not written for a guitar but for a bandurria or a mandola. Both instruments are quite different from the modern instruments with the same name).
Fantasmas.pdf
6. Fantasmas del Sueño. Another theme and variations by the same composer. UPDATE: Probably, this was not written for a guitar but for a bandurria or a mandola. Both instruments are quite different from the modern instruments with the same name). Suenho.pdf
7. Gavotte I and II from J.S. Bach's Suite VI for cello solo. Gavotte I y II FR.pdf
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- About Me:
- I play baroque guitar for fun!!!
Juan Pablo Pira's Photos
Comment Wall (28 comments)
- At 8:49pm on October 21, 2009,
Jean-Marie Poirier said… - handel_beginning.pdf
- At 8:48pm on October 20, 2009,
Jean-Marie Poirier said…
- I have miraculously put my hands on the work score I had made up at the time of the recording (1995...). I will try to post the two opening pages (1st movement) as 2 jpg files in My Photo album. It will give you a more precise idea of how I proceeded to adapt the original music by Handel.
- At 8:25pm on October 20, 2009,
Jean-Marie Poirier said…
- Indeed, I moved everything up an octave and then it becomes appropriate for a guitar !
- At 7:43pm on October 20, 2009,
Jean-Marie Poirier said…
- Juan Pablo, I have just added the Tombeau de Charles de Gallot to my music list on my page. It is played by Thierry Meunier, my duet partner in "A Due Liuti". He plays exactly the same guitar as the one I use in the Hanendel Cantata. Tell me what you think. I would play it very much the same way...
- At 7:18pm on October 20, 2009,
Jean-Marie Poirier said…
- Thank you Juan Pablo for your invitation, which I am glad to accept of course, and for you comments about the Cantata Sagnuola. I used a baroque guitar, originally made by Sanchis Carpio in Valencia (Spain) in 1977 and restored by Charles Besnainou (Paris) in 1983. Not a very glamorous instrument, but I would not change it for most of the instruments I have come across ! It sounds quite well to my taste and is very comfortable to play. Excellent value for money ;-)
Gracias otra vez y hasta luego,
Jean-Marie
PS / by the way I did not find the reference to Haendel's Cantata in the dissertation by Mr RodriguezTorselli. Do you remember what page it is on ? exactly ?
- At 5:24pm on October 1, 2009,
Chris Despopoulos said… - Hola Juan Pablo...
Thanks much for clarifying Delasolre. It's now incumbent on me to figure out hexachords and keep them in mind as I play. I heard an explanation of this once before in Spain, but it was fast and my Spanish isn't that good. I see lots of good reading on the web. So... I have much to learn!
Un abrazo... cud
- At 9:00am on August 24, 2009,
Andreae, Siegfried said… - Hi Juan Pablo,
thank´s for your kind comment to my video, i recognized at the first attempts, that this instrument fitspretty good the idea of this piece. this "early" instrument by de Witte has also something of the character of a baroque guitar and the perfect acoustic properties of this small church were also very helpful, here you can play music in an expression, not possible in an ordinary living room...
--- > but, already for some time i highly estimate your publications about early music in your country, some dayi´ll try it.
please, if you find at your excarvations anything with a cello or a sonata for a cello and b.c., you could make Dorothy and me very happy. to understand this, i kindly invite you to explore and comment my transcriptions of virtuoso violin and vocal music for baroque cello and theorbo, posted at our page in Daniel´s Lute community....kindest regards from a great lover of the iberoamerican people, music and nature - Siegfried
- At 1:11am on July 23, 2009,
Jose Verdi said… - Hola, Juan Pablo:
En verdad, la intensión de conseguir un temperamento igual es muy antigua y no son pocos los laudistas que han procurado procedimientos adecuados mucho antes que Don Juan Sebastián Bach. En realidad el sistema de temperamento igual es una solucion de compromiso que no es ni és.
Cuando has tocado bastante con instrumentos de trastes móviles y regresas a la guitarra la encuentras desafinada. El temperamento igual es un "mal hábito" que nos termina acostumbrando.
Al realizar los cálculos en función de los armónicos terminamos teniendo una afinación natural que no encaja "naturalmente" con el sistema actual.
Todo esto lo sabés , estoy seguro, solo que lo coloco para los "lectores de comentarios" a quienes mando un gran saludo.
Cuando construí una reproducción de una guitarra Terzina original de Gaetano Guadagnini intenté utilizar el método de dividir por 19 y desistí al comparar los resultados.
En una oportunidad llegó a mis manos un cuatro venezolano y pude ver a simple vista que el entrastado estaba terriblemente mal. Daba para notar al solo observarlo que las distancias estaban erradas y no debieran coincidir con la afinación normal. La altura de las cuerdas era ridiculamente alta a mi entender y todo parecia un desastre. Cuando afiné el instrumento y comencé a tocar me di cuenta de que afinaba y que al razguear no trasteaba ni exigiéndole mucho. Evidentemente el constructor utilizó un método de medición ( probablemente guiandose por el oido) que difiere con los nuestros. El instrumento sonaba bien.
La verdad , según mi entender , es que la única manera de afinar satisfactoriamente para nosotros es por medio del sistema natural y con un instrumento de trastes móviles. El resto es aproximación.
Basta de lata.
Saludos cordiales.
José
- At 12:10pm on July 22, 2009,
Jose Verdi said…
- Gracias por tu respuesta y por tu gesto de amistad. Perdona mi voracidad, pero luego de escribirte encontré el link de la tesis y la estuve leyendo. En realidad es curiosa la coincidencia de esta manera de medir las distancias del diapasón con la que indica en sus ediciones de los Métodos Dionisio
Aguado. este dice tomar el tiro de cuerda y dividirlo en 18, lo que es igual a tomar la mitad y dividirla en 9. Si tengo tiempo voy ha escribir un comentario en base a la experiencia personal sobre estas medidas.
Gracias , nuevo amigo.
José
- At 1:31am on July 22, 2009,
Jose Verdi said…
- Hola, Juan Pablo:
He visto y descargado las dos piezas de "regla de entrastar". No entiendo a que se refiere el título. ¿Me puedes informar?
Muchas gracias, desde ya.
José Verdi
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