"Only Luis Milan's tablature is "upside down" or "downside up". All the others are in standard Italian tab. The lowest line of the stave is the highest sounding course.
I agree with you - if you want to play the…"
"The point is = the vihuela is usually smaller than the guitar. The highest course is tuned to a' or g' rather than e'; the 3rd is between the 4th and 5th courses rather than the 2nd and 3rd, A vihuela with the first course tuned…"
"Personally I would question this idea that the baroque guitar is similar to flamenco. It is a popular misconception. The original sources do not support the idea that that the instrument was strummed in an aggressive and strident manner - on…"
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