"Thanks for this. I was able to open the files and save them for further reference. I don't have a 6-course guitar but your realization looks very convincing. Thanks for the link to Zincke as well. I enjoyed listening to it. The mandora is quite…"
"How funny that you should have raised this again at this point. Having time on my hands I have been going through my files deleting things I don't need any more. The one about this manuscript with your original message is one I decided to keep.…"
I have been interested in the vihuela and baroque guitar since I was a teenager in the 1950s. I play the baroque guitar and have written numerous articles etc. about the instrument and its music. My current interests are the music of Corbetta and the development of baroque guitar notation.
I perform on vihuela and lute and have recently bought a baroque guitar.
I have a query concerning left hand slurs which I understand were considered as ornamentation. These are notated extensively in French baroque music but are rarely notated in the music of Gaspar Sanz which I am studying at the moment. Of course, the absence of slurs in the tablature doesn't mean that they weren't played in practise. I would be interested in hearing your views on this subject.
I have noticed that in recordings of Sanz that I have heard, performers seem reluctant to add left hand slurs except in the few places where Sanz notates them.
Thank you so much - can't wait to get playing these.
The instrument is guitar-shaped and sounds wonderful- we worked off the image on the Granata frontispiece, the Strad stringing information and the dimensions of existing Strad five-course instruments.
I'll post a photo on my page.
I wonder if you could help me? I have just had a Strad/Granata-style theorboed guitar built for me by Ivo Magherini (and your article was a great help in the planning of the project!). I find that the Minkoff edition of Granata's Book 4 is out of print and I can find no other facsimile. Would you be able to point me in the direction of a copy. The possible repertoire is a little compromised without it!
I am writing concerning a musical example from your illuminating article on Millione. Therein you included a citation of Millione's "Aria di Forenza", p 47 from the Quarto Libro.
I am currently finishing work on a book for Bärenreiter Press and would like to reproduce this musical example as well in order to demonstrate the battente style. May I kindly ask whether you could make this photo - or tiff file - available to me for reproduction? My co-author, Ming Tsao, and I would be most grateful to you.
Thank you kindly for your troubles in advance. My personal email address is: firstname.lastname@example.org