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Home , Baroque guitar, Vihuela

EASTMAN SCHOOL OF MUSIC University of Rochester Comprehensive Examination Study Guide for Prof. Nicholas Goluses

THE

1. Briefly describe the differences between the vihuela de mano , the vihuela d’arco and the vihuela de peñola. Cite which form endured the longest.

2. List nine (9) sixteenth-century sources of vihuela music. Include author, abbreviated title of work, year of publication.

3. Describe typical vihuela tablature from the sixteenth-century. Are there any exceptions to this ‘rule’? If so, which composer uses a different system, and how is his tablature different?

4. A vihuela treatise which contains the earliest known use of verbal indications of tempo. Which one?

5. A vihuela treatise contains the earliest known appearance of “variations”technique. Which one?

6. Describe Mudarra's method of indicating tempo.

7. Describe Valderrabano's method of indicating tempo.

8. Which vihuela-composer(s) also composed for the ?

9. Which vihuela-composer(s) also composed for the four-course ?

10. Who wrote a treatise which not only contained vihuela music, but also vihuela technique, instruction in music composition and music theory?

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THE FOUR-COURSE GUITAR

1. Please write in the tunings used by four-course guitarists.

Temple Viejos : ______

Courses 1 2 3 4

Temple Nuevos: ______

Courses 1 2 3 4

2. Describe aspects of right hand technique used by both vihuelests and four-course guitarists.

3. Cite representative composers of four-course guitar music from the following countries:

SPAIN - - FRANCE - ENGLAND

4. Describe the tablature system typical of four-course guitarists of the following countries. Include whether numerals or letters were used to represent frets, and whether they used mirror or inverted image.

SPAIN - ITALY - FRANCE - ENGLAND

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5. Name a four-course who also wrote for the lute.

6. Name a four-course guitarist who also wrote for the vihuela.

THE RENAISSANCE LUTE ESSAY Discuss the Renaissance Lute . In your discussion, include detailed information about composers for the instrument, tablature systems used, compositional forms used, physical characteristics of the instrument itself, tuning(s) used, and name the countries and centuries in which the Renaissance lute flourished.

TERMS

Instructions: Describe the following 15 terms as they pertain to the sixteenth-century vihuela and four-course guitar music.

Intabulation Glosa Fantasia Redoublez Romance Fuga Ricercare Soneto Viola Differencias “Il Divino” Galliard

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THE BAROQUE

1. Name two representative composers from the French Baroque-Lute school:

______

______

2. Name two representative composers from the German Baroque-Lute school:

______

______

3. Name two representative composers from the French Baroque-Guitar school:

______

______

4. Name two representative composers from the Italian Baroque-Guitar school:

______

______

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5. Name two representative composers from the Spanish Baroque-Guitar school:

______

______

6. Name two representative composers from the English Baroque-Guitar school:

______

______

7. Write in the tuning of the Nouveau-ton 13-course Baroque Lute for a work to be played in G-minor:

______

______

COURSES: 1 2 3 4 5 6 7 8 9 10 11 12 13

8. Write in the tuning of the 5-course Baroque-guitar used by (INCLUDE PROPER OCTAVE AND UNISION DOUBLINGS):

______

COURSES: 1 2 3 4 5

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9. Write in the tuning of the 5-course Baroque-guitar used by Robert de Visee (INCLUDE PROPER OCTAVE AND UNISION DOUBLINGS):

______

COURSE: 1 2 3 4 5

10. List the names of the four dance movements which formed the core of the Baroque Suite established by Froberger.

______

______

______

______

11. As the lute's range was extended downwards, it became clear that for the best results the very low strings should be longer than the fingered strings. This was achieved by the use of an extension to the neck of the instrument. Existing were sometimes modified by adding a second head fitted for three or four diapason courses and joined to the neck and fingerboard at the bass side (the original bent pegbox also being retained). Although this instrument seems to have originated in Italy, it was soon taken up enthusiastically in France, where the addition of extra bass strings occurred in conjunction with experimental tunings for the fingered strings. The tuning for this instrument during the Renaissance was that of the Renaissance lute, with the extra bass-riders tuned diatonically according to the mode or key of the piece. Some of these instruments eventually adopted single-courses, particularly those which reached 14-courses. The strings were generally made of gut. This instrument was primarily used as a continuo instrument, although some particularly elegant solo music was also written for it.

Name the instrument described above: ______

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12. Please name an instrument current from about 1590 to about 1655 used primarily to accompany solo singing. In a letter dated 1592 Cavalieri wrote that this instrument was invented by Antonio Naldi. The instrument had a greatly extended neck to accommodate the unstopped bass strings, which were about twice the length of the stopped courses. By about 1600 this instrument had become the favorite instrument in Italy for accompanying the voice; some exquisite solo music was also composed for it. This instrument was usually strung with six double-courses over the fingerboard and eight single diapasons or basses; on occasion single strings were used throughout. Usually metal strings were used. The tuning of the stopped courses, like those of a Renaissance lute (as well as the instrument described in question #11), was P4-P4-M3-P4-P4.

Name the instrument described above: ______

13. Realize the following Baroque ornaments according to the principles set forth by in the "Clavier-Buchlein vor Wilhelm Friedemann Bach" (1720).

Realization in notes Ornament name ______

______

______

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14. Name the two scholarly sources (cataloguers) for the music of :

______

______

15. Name the two scholarly sources for the music of Johann Sebastian Bach:

______

______

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CLASSICAL-ROMANTIC PERIOD 1. Discuss the relationship between Sor and Aguado. Compare and contrast their compositions, techniques, aesthetics, and influence. Are there reprints of urtext editions of their compositions? If so, by which publishing companies?

2. Discuss the contributions made by Mauro Giuliani. Cite major compositions, modern urtext reprints, influence, performing achievements.

3. Compare two of the following composers and contrast their influence. Cite major compositions, modern editions of value, influence, performing achievements.

Carcassi Carulli Legniani Pagannini

4. Contrast the careers and compositional styles of Giulio Regondi and Napoleon Coste. In your discussion, please cite specific compositions and provide commentary.

5. Contrast the relationship to the guitar experienced by Hector Berlioz, Franz Schubert, and Luigi Boccherini. In your discussion, please cite specific compositions and provide commentary.

6. Discuss the contributions to the guitar made by Francisco Tarrega. Cite developments in the instrument, technique, specific compositions, as well as his performing career teaching career.

7. What was the status of the guitar in the nineteenth century? Why? Has the situation changed in the twentieth century?

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THE TWENTIETH AND TWENTY-FIRST CENTURIES

1. Trace the development of the Guitar Concerto in the twentieth-century . Include repertoire, performers, composers, as well as stylistic and composition techniques for both the guitar and the orchestra.

2. Discuss the contributions of Andrés Segovia. Include in your discussion his role in developing repertoire, technique, the presence of the guitar on the concert stage, the presence of the guitar in conservatories and universities.

3. Trace the development of the chamber music repertoire for the guitar in the twentieth- century. Include repertoire, performers, composers, as well as stylistic and composition techniques for both the guitar and the ensemble.

4. Trace the development of the solo repertoire for the classic-guitar in the United States. Include repertoire, performers, composers, as well as stylistic and composition techniques.

5. Trace the development of the solo repertoire for the classic-guitar in Great Britain. Include repertoire, performers, composers, as well as stylistic and composition techniques.

6. Trace the development of the solo repertoire for the classic-guitar in Spain . Include repertoire, performers, composers, as well as stylistic and composition techniques.

7. Trace the development of the solo repertoire for the classic-guitar in Latin-America. Include repertoire, performers, composers, as well as stylistic and composition techniques.

8. Trace the development of the twelve tone repertoire for the classic-guitar.

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