EASTMAN SCHOOL OF MUSIC University of Rochester Comprehensive Examination Study Guide for Guitarists Prof. Nicholas Goluses THE VIHUELA 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 lute? 9. Which vihuela-composer(s) also composed for the four-course guitar? 10. Who wrote a treatise which not only contained vihuela music, but also vihuela technique, instruction in music composition and music theory? continues Comprehensive Study Guide for Guitar, page 2 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 - ITALY - 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 (continues) 2 Comprehensive Study Guide for Guitar, page 3 5. Name a four-course guitarist who also wrote for the Renaissance 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 Tiento Glosa Fantasia Villancico Redoublez Pavane Romance Fuga Ricercare Soneto Viola Differencias “Il Divino” Galliard (continues) 3 Comprehensive Study Guide for Guitar, page 4 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: ______________________________ ______________________________ (continues) 4 Comprehensive Study Guide for Guitar, page 5 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 Gaspar Sanz (INCLUDE PROPER OCTAVE AND UNISION DOUBLINGS): _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ COURSES: 1 2 3 4 5 (continues) 5 Comprehensive Study Guide for Guitar, page 6 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 lutes 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: ________________________________ (continues) 6 Comprehensive Study Guide for Guitar, page 7 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 Johann Sebastian Bach in the "Clavier-Buchlein vor Wilhelm Friedemann Bach" (1720). Realization in notes Ornament name _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________