Dear Jean Michel, I use a bourdon in the 4th course. The most probable Murcia's stringing includes a thin g placed up in the 3rd course (together with the normal G). I could never use that stringing in my guitar because it is too long and the string would break, but I had to change several fingerings of "campanela" scales to solve the problem. I would suggest you to put the thin g also. I will, no sooner I have my new spanish baroque guitar built (by Sebastian Nuñez).
Hello, Jean Michel, thanks for your comments. I will be playing in Europe again in 2012, in Switzerland, G.B., Germany, and...who knows anywhere else? Maybe Holland, France... the schedule is still open. Best regards
Yes - the problem with Valdambrini - and Foscarini is that they are very badly printed. They may well have engraved their books themselves - and made a mess of it. Also - this may seem strange but they may not have been very musically literate. Like pop musicians today - they could play but were not always sure how to write down what they were playing.
Hello Jean Michel
I do have a microfilm of this from the library in Rome. I wrote to them, heard nothing and then six months later it arrived in the post! A friend has offered to scan it but this will take a few weeks to arrange. I did actually manage to get a photocopy of it as well from the University of Michigan in the USA. I believe Pat O'Brian has a copy of it and he is a member of this group. Try him first and if he can't help then I will organize something.
Dear Jean Michel,
The two Valdambrini books are, indeed, excellent, in my opinion. Unfortunately, there are, to my knowledge, no facsimiles of them available. In doing my research, years ago, I consulted them in Rome and made notes for my guitar music book. I don't know anyone who has a microfilm of them, but I remember that the late Robert Spencer owned a copy of book I in 1995. Possibly, it is now in London at the Royal Academy of Music where he bequeathed his library. You can try contacting the librarian there to see if it is.
Yes - in the introduction to his guitar books of 1620/1622 he describes the tuning of the guitar with octave stringing on the 4th and 5th courses. The interesting thing is that in these books he gives the tuning of the guitar in staff notation which indicates that the first course is tuned to d' rather than e'. However in the songbook the songs are certainly notated with the guitar in e'. As far as the stringing is concerned the kind of accompaniment which he seems to think appropriate is entirely strummed and it is not intended that the bass line should be realized in the same way that it would be on the lute. Really it wouldn't matter which method of stringing was used and I think it is reading too much into these things to insist that one method of stringing is preferable to another.
Dear Jean Michel,
thank you so much for your comment! To be precise, I had studied with Paul Beier very shortly, a couple of years...I've been studying with Massimo Lonardi for 8 years, it's his school...
With the best regards, Elena.
I'm afraid I promised not to hand out copies of the Portuguese pieces (everyone keeps asking me for them!), but they are published in a dissertation by Rugero Budaz, available online from Dissertation Express.
I'm sure you'll enjoy your Batov instrument. He is the best!