The Stringing of the 5-Course Guitar
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ALTERED STATES of PERFORMANCE: SCORDATURA in the CLASSICAL GUITAR REPERTOIRE by COREY JAMES FLOWERS (Under the Direction Of
ALTERED STATES OF PERFORMANCE: SCORDATURA IN THE CLASSICAL GUITAR REPERTOIRE by COREY JAMES FLOWERS (Under the Direction of Michael Heald) ABSTRACT Scordatura is commonplace in the guitar repertoire, though there are relatively few resources available that explain the approach to its use, either from a performer’s or a composer’s perspective. Through examination of specific selections in the classical guitar repertoire, this document offers an introduction to various alternate tunings for the guitar, beginning with tunings used to transcribe lute and vihuela music, and progressing to modern experimentations found in the literature. Each piece on the accompanying recording provides insight into the use of these alternate tunings by highlighting specific musical characteristics that are made possible, or are idiomatic, in each tuning, such as extended ranges, open string relationships, unique chord voicings, and the ease of introducing contrasting tonal centers across a program. The CD provides a basis for aural comparison of the tunings and is a resource for performers interested in this repertoire. It also provides examples for composers and arrangers wishing to approach writing for the guitar using non-standard tunings. As additional resources, a glossary of terminology is provided, concerning tunings found in the document, as well as tunings used outside of the classical repertoire that may be useful for experimentation. An index of scordatura repertoire is provided as well, offering a broad overview of additional repertoire for further -
El Estilo Español De Construcción De Guitarras
El estilo español de construcción de guitarras Julio Gimeno García En 1822, el gran guitarrista catalán Fernando Sor (1778-1839) estaba viviendo en Londres, ciudad a la que había llegado en 1815. La estancia londinense de Sor es uno de los periodos de su vida en los que alcanzó mayor fama y reconocimiento. No obstante, a finales de 1822 o más probablemente a principios de 1823, Sor abandona la capital inglesa para no regresar nunca más. El biógrafo de Sor, Brian Jeffery se pregunta el porqué de esta sorprendente decisión del guitarrista, cuyo motivo hay que buscarlo en una jovencísima bailarina llamada Félicité Hullin, de la que Sor se enamoraría y a la que seguiría en su peregrinaje por varias capitales europeas camino de Rusia, donde Félicité lograría el puesto de prima ballerina del Ballet de Moscú.1 Félicité Hullin En Londres, Sor conoció al guitarrero Joseph Panormo (1768-1834),2 uno de los cuatro hijos de Vincenzo Panormo (1734-1813), patriarca de esta familia de constructores de instrumentos musicales. Vincenzo había nacido en la ciudad siciliana de Monreale, estableciéndose con sus hijos en Inglaterra en 1789.3 En Londres, a lo largo del siglo XIX, varios miembros de la familia Panormo abrieron talleres de 1 Jeffery 1994. 2 Sor nombra a Joseph Panormo en su Méthode pour la guitare, donde el guitarrista dice, refiriéndose a un nuevo modelo de puente: “La experiencia la demostré en Londres, donde el señor J. Panormo construyó algunas guitarras bajo mi dirección, al igual que el señor Sroeder en Petersburgo” (Sor 1830: 7). Las traducciones al castellano del Méthode de Sor, son del autor de este artículo. -
A Brief Survey of Plucked Wire-Strung Instruments, 15Th-18Th Centuries - Part Two
The Wire Connection By Andrew Hartig A Brief Survey of Plucked Wire-Strung Instruments, 15th-18th Centuries - Part Two Wire-Strung Instruments in the 16th Century ment and was used in a multitude of countries and regions. Al- Most of the wire-strung instruments from the 15th century though most players today think of the cittern as a single type of discussed in part one — such as the harpsichord, psaltery, and instrument, there were in fact many different types, each signifi- Irish harp — continued to be used on a regular basis throughout cantly different enough from the others so as to constitute separate the 16th century (and they would continue to be used into the 18th). instruments. However, almost all citterns have in common a tuning The major exception to this was the Italian cetra, which disap- characterized by the intervals of a 5th between the third and second peared at the end of the 15th century only to evolve into many dif- courses and a major 2nd between the second and first courses, and ferent forms of citterns. one or more re-entrantly tuned strings. Historically, the 16th century heralds the beginning of ma- jor shifts in thinking that led to experimentation and innovation Diatonic 6- and 7-Course Cittern in many aspects of life. Times were changing: from the discovery This was the earliest form of cittern used, possibly devel- of the “New World” that had begun at the end of the 15th century, oped from the cetra late in the 15th or early in the 16th century, and to the shifts in politics, power, religion, and gender roles that oc- it was definitely still in use into the 17th century. -
Geluit Luthinerie # 61 Maart Mars March
België—Belgique VU / ER : Greet Schamp, Pr. Boudewijnlaan 133, 2650 Edegem 2650 Edegem 1 P8002002 8/4660 GGGeluiteluit----LLLuthinerie Driemaandelijkse uitgave van de Belgische Luitacademie Publication trimestrielle de l'Académie belge du Luth N°61 03/ 2013 sponsor dito Christine Ballman EEE Présidente Voici notre numéro de printemps 2013. Vous y trouverez deux exemples musicaux, du neuf et de l’ancien, l’annonce de la parution prochaine du livre de Godelieve Spiessens sur les musiciens anversois. Le prochain festival européen se profile à l’horizon, il se tiendra à Utrecht les 30 août et 1er septembre prochains. A cette occasion sera publié un magnifique fac-similé des œuvres de Nicolas Vallet ainsi qu’un double CD et encore un livre illustré sur The Lute in the Dutch Golden Age: Musical Culture in the Netherlands ca. 1580-1670. Un rendez- vous à ne pas manquer, de quoi finir les vacances d’été en beauté. an de redactie Greet Schamp Sommaire / Inhoud VVV Vice voorzitster Edito/Van de redactie p. 1 Dit jaar helaas geen luitdag in het ons inmiddels al zo vertrouwde Agenda p. 2 SFL Journées du luth p. 4 kasteel de Renesse, maar waarom zou u de luitdag van onze NLV luitdag 13 april p. 4 Noorderburen eens niet bezoeken in Deventer, op 13 april, of de Antwerpse Speellieden p. 5 Journées du luth van de SFL in Parijs, nog in de paasvakantie? Chitarrone francese p. 6 (info zie agenda) Cd’s p. 4 & 8 Rumeurs Geruchten @ Internet p. 10 Einde mei is er mogelijkheid een luitcursus te volgen bij Alfredo Publicaties NLV Vallet luit Gouden Eeuw p. -
Alternate Tuning Guide
1 Alternate Tuning Guide by Bill Sethares New tunings inspire new musical thoughts. Belew is talented... But playing in alternate Alternate tunings let you play voicings and slide tunings is impossible on stage, retuning is a between chord forms that would normally be nightmare... strings break, wiggle and bend out impossible. They give access to nonstandard of tune, necks warp. And the alternative - carry- open strings. Playing familiar fingerings on an ing around five special guitars for five special unfamiliar fretboard is exciting - you never know tuning tunes - is a hassle. Back to EBGDAE. exactly what to expect. And working out familiar But all these "practical" reasons pale com- riffs on an unfamiliar fretboard often suggests pared to psychological inertia. "I've spent years new sound patterns and variations. This book mastering one tuning, why should I try others?" helps you explore alternative ways of making Because there are musical worlds waiting to be music. exploited. Once you have retuned and explored a Why is the standard guitar tuning standard? single alternate tuning, you'll be hooked by the Where did this strange combination of a major unexpected fingerings, the easy drone strings, 3rd and four perfect 4ths come from? There is a the "new" open chords. New tunings are a way to bit of history (view the guitar as a descendant of recapture the wonder you experienced when first the lute), a bit of technology (strings which are finding your way around the fretboard - but now too high and thin tend to break, those which are you can become proficient in a matter of days too low tend to be too soft), and a bit of chance. -
Xavier Díaz-Latorre, Eorbo and Baroque Guitar Music for Kings And
Indianapolis Foundation, on the occasion of its 100th anniversary, is the presenting sponsor of the IEM 50th Anniversary Season Friday, June 24th, 2016 Xavier Díaz-Latorre, "eorbo and Baroque Guitar Music for Kings and Commoners Suite for "eorbo in A minor La Royalle Robert de Visée (ca. 1655 – Prelude 1732/1733) Allemande Courante Sarabande Masquerade Chaconne Suite for the "eorbo in C Minor Le Plainte Robert de Visée Prélude Allemande pour la mort de Mds. de Visée DIAZ-LATORRE // JUNE 24 JUNE // DIAZ-LATORRE Suite for the "eorbo in G Major Robert de Visée Musette Chaconne From Le Bourgeois Gentilhomme Jean-Baptiste Lully (1632-1687) Suite de dances Intermission Instrucción de música para la guitarra española (1697) Gaspar Sanz (1640-1710) Pavana al ayre español Xácara Passeos por el cuarto tono Tarantella ( improvisation) Poema harmónico (1694) Francisco Guerau (1659-1722) Marionas Instrucción de música para la guitarra española Gaspar Sanz Xácara Paradetas (improvisation) 22 THE 2016 INDIANAPOLIS EARLY MUSIC FESTIVAL Xavier Díaz-Latorre was born in Barcelona, Spain, in 1968. He studied in Basel with Oscar Ghiglia at the Musikakademie and with Hopkinson Smith at the Schola Cantorum. He has given concerts in major venues around the world, including Carnegie Hall (New York), Covent Garden (London), the Palaude la Música Catalana (Barcelona), the Teatro Real (Madrid), the Teatro Colón (Buenos Aires), the Wiener Philharmoniker (Vienna), and the Konzerthaus (Berlin). Díaz-Latorre performs regularly with such world-renowned ensembles as Hesperion XXI, La Capella Reial de Catalunya, and Le 24 JUNE // DIAZ-LATORRE Concert des Nations. He has also performed with Al Ayre Español, the Orquesta Nacional de España, Concerto Vocale, the Akademie für Alte Musik Berlin, and Concerto Köln. -
DADGAD Tuning and Using Partial Capos
2 DADGAD Tuning and Using Partial Capos All four of the guitars I used to record One Size Does Not Fit All (pictured on the recording cover) were tuned to DADGAD intervals, that is the string above the bass string, the 5th string, is a fifth above the bass note, the next string, the 4th, is a fourth above that (an octave above the bass string), the 3rd string is a fourth above the 4th string, the 2nd is a second above the 3rd, and the 1st string is a fourth above the 2nd (or an octave above the 4th string). With the bass note at D, the strings then are tuned D, A, D, G, A and D, but if the bass note is a C then the strings are tuned C, G, C, F, G and C (the 5th string here, G, is a fifth above the bass C, the 4th string is a fourth above that, or an octave above the bass string, and so on.) So, when the bass string is tuned to B♭ applying the same intervals yields a tuning of B♭FB♭E♭FB♭. Shorthand could describe the intervals by the numbers: 54424. DADGAD, also called open Dsus4 tuning, is easier to pronounce than EADGBE, intervals 44434 (which is why everyone calls it “standard tuning”!), but try pronouncing CGCFGC or, worse, B♭FB♭E♭FB♭! Worse yet is the tuning you get when you put a full capo on the second fret of a DADGAD-tuned guitar, EBEABE—try pronouncing that one a few times and the men in the white coats may show up to haul you away! So, I commonly refer to these tunings (you’ll see why in a moment) as “C-gad” or “B♭-gad.” To tune to DADGAD from “standard” tuning, EADGBE, just drop the 1st, 2nd, and 6th string pitches by one whole step, that is tune the bass E down to D, and similarly tune the two high strings down one whole step. -
The Lute Society Microfilm Catalogue Version 2 12/13 the List Is Divided by Instrument. Works for Renaissance Lute with Voice A
The Lute Society Microfilm Catalogue Version 2 12/13 The list is divided by instrument. Works for Renaissance lute with voice and in ensemble are separated because of the size of the main list. The categories are: Renaissance lute Renaissance lute with voice Renaissance lute in ensemble (with other instruments) Lute in transitional tunings (accords nouveaux) Vihuela Baroque lute Renaissance guitar Baroque guitar Bandora Cittern Mandore Orpharion Theorbo Musical scores without plucked instrument tablature Theoretical works without music The 'Other instruments' column shows where there is music in the work for other listed instruments. The work also appears in the other list(s) for ease of reference. The list is sorted by composer or compiler, where known. Anonymous manuscripts are listed at the end of each section, sorted by shelf mark. Date references are to HM Brown Instrumental Music printed before 1600. Where the date is asterisked the work is not in Brown. Tablature style is shown as French (F), German (G), Italian (I), Inverted Italian (II) or Keyboard (K) The Collection and MCN fields identify each reel and the collection to which it belongs. Renaissance Lute Other Composer/ Compiler Title Shelf Mark or HMB Tab Format Coll MCN Duplicates Notes Instrument(s) Intabolatura di Julio Abondante Sopra el Julio Abondante 1546 I Print MP 59 Lauto Libro Primo 1 Julio Abondante Intabolatura di Lauto Libro Secondo 15481 I Print MP 60 GC 195 Intabolatura di liuto . , novamente Julio Abondante ristampati, Libro primo 15631 I Print MP 62 GC 194, -
The Use of Scordatura in Heinrich Biber's Harmonia Artificioso-Ariosa
RICE UNIVERSITY TUE USE OF SCORDATURA IN HEINRICH BIBER'S HARMONIA ARTIFICIOSO-ARIOSA by MARGARET KEHL MITCHELL A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC APPROVED, THESIS COMMITTEE aÆMl Dr. Anne Schnoebelen, Professor of Music Chairman C<c g>'A. Dr. Paul Cooper, Professor of- Music and Composer in Ldence Professor of Music ABSTRACT The Use of Scordatura in Heinrich Biber*s Harmonia Artificioso-Ariosa by Margaret Kehl Mitchell Violin scordatura, the alteration of the normal g-d'-a'-e" tuning of the instrument, originated from the spirit of musical experimentation in the early seventeenth century. Closely tied to the construction and fittings of the baroque violin, scordatura was used to expand the technical and coloristlc resources of the instrument. Each country used scordatura within its own musical style. Al¬ though scordatura was relatively unappreciated in seventeenth-century Italy, the technique was occasionally used to aid chordal playing. Germany and Austria exploited the technical and coloristlc benefits of scordatura to produce chords, Imitative passages, and special effects. England used scordatura primarily to alter the tone color of the violin, while the technique does not appear to have been used in seventeenth- century France. Scordatura was used for possibly the most effective results in the works of Heinrich Ignaz Franz von Biber (1644-1704), a virtuoso violin¬ ist and composer. Scordatura appears in three of Biber*s works—the "Mystery Sonatas", Sonatae violino solo, and Harmonia Artificioso- Ariosa—although the technique was used for fundamentally different reasons in each set. In the "Mystery Sonatas", scordatura was used to produce various tone colors and to facilitate certain technical feats. -
The Renaissance Cittern
The Renaissance Cittern Lord Aaron Drummond, OW [email protected] 1. HISTORY,DEVELOPMENT, CONSTRUC- while chromatic citterns are more associated with Italian TION and English music. [3] As far as the body of the instrument goes, citoles and ear- The Renaissance cittern most likely developed from the lier citterns had the back, ribs and neck carved from a single medieval citole. The citole was a small, flat-backed instru- block of wood with the soundboard and fingerboard being ment with four strings. It was usually depicted as having added. Later citterns were constructed from a flat back, frets and being plucked with a quill or plectrum. The citole bent ribs and separately carved neck, which cut down on in turn may have developed from a kind of ancient lyre called the materials cost. [10] Constructed citterns differ in con- a kithara by adding a fingerboard and then gradually remov- struction from lutes in that in citterns the back is made ing the (now redundant) arms. [1] The cittern may have been from a single flat piece of wood, whereas the lute has a large viewed as a revival of the ancient Greek instrument despite number (typically ten or more) of ribs which must be sep- being quite different in form. The word kithara also evolved arately bent and joined to the achieve the \bowl" shape. into the modern word guitar. This made lutes substantially more difficult to build as well Some modern instruments such as the German waldzither as more delicate than the cittern. Internally there are braces (literally `forest-cittern') and various Iberian instruments to strengthen the back and the soundboard, but like the lute, (Portuguese guitar, bandurria, etc) claim some descent from guitar, viol, etc there is no soundpost or bass bar. -
Who's Afraid of the Diatonic Cittern?
The Wire Connection By Andrew Hartig Who’s Afraid of the Diatonic Cittern? Of all the period wire-strung instruments I play or have F G A B [C]. This is true for any major scale in any key, e.g. F G A played, my favorite by far is the Franco-Flemish 4-course diatonic Bb C D E [F]. Despite the flattening of the “B” in a F-major scale, cittern. However, it is an instrument that very few early music enthu- each note name (A through G) is used only once or in one quality siasts have taken up, and it is met with strange stares by musicians or form (natural, flat, or sharp). Furthermore, one is not limited to and early music enthusiasts alike more times than I care to recount. major keys: one could change the starting note of each scale and, But what can one expect? Even the spell-check on my computer’s using only the natural (white) keys of the piano, still have a diatonic word processor suggests diabolic as a correction for diatonic! scale—which is exactly how jazz gets its various modes. The im- That said, the diatonic cittern’s general neglect by the early portant component here is that the notes of the scale are comprised music community today is decidedly undeserved. Diatonic fretting of only one kind or quality of note per note name—in other words, was not a passing fad or an archaism that was quickly replaced by chromatic fretting. Rather, the diatonic fretting pattern was used on citterns from the earliest decades of the 16th century through the end of the 18th––even though chromatic fretting was used on the Figure 1: Diatonic cittern from Pierre Phalèse and Jean Bellère’s Hortulus Cytharae, 1570. -
Guitar Tunings
Guitar tunings Guitar tunings assign pitches to the open strings of guitars, including acoustic guitars, electric guitars, and classical guitars. Tunings are described by the particular pitches denoted by notes in Western music. By convention, the notes are ordered from lowest-pitched string (i.e., the deepest bass note) to highest-pitched (thickest string to thinnest).[1] Standard tuning defines the string pitches as E, A, D, G, B, and E, from lowest (low E2) to highest (high E4). Standard tuning is used by most guitarists, and The range of a guitar with standard frequently used tunings can be understood as variations on standard tuning. tuning The term guitar tunings may refer to pitch sets other than standard tuning, also called nonstandard, alternative, or alternate. Some tunings are used for 0:00 MENU particular songs, and might be referred to by the song's title. There are Standard tuning (listen) hundreds of such tunings, often minor variants of established tunings. Communities of guitarists who share a musical tradition often use the same or similar tunings. Contents Standard and alternatives Standard Alternative String gauges Dropped tunings Open tunings Major key tunings Open D Open C Open G Creating any kind of open tuning Minor or “cross-note” tunings Other open chordal tunings Modal tunings Lowered (standard) E♭ tuning D tuning Regular tunings Major thirds and perfect fourths All fifths and “new standard tuning” Instrumental tunings Miscellaneous or “special” tunings 1 15 See also Notes Citation references References Further reading External links Standard and alternatives Standard Standard tuning is the tuning most frequently used on a six-string guitar and musicians assume this tuning by default if a specific alternate (or scordatura) is not mentioned.