THE BAROQUE GUITAR IN SPAIN AND THE NEW WORLD, BY FRANK KOONCE. 170 Pages.
LIBRO DI MUSICA BAROCCA .
SPARTITI PER CHITARRA : PENTAGRAMMA .
Nel libro c'è anche una parte di storia sull'origine della chitarra ove troverete molte informazioni sulle accordature della vihuela e delle chitarre antiche a 5 corde doppie (non avevano il Mi basso), una guida per la lettura della Tablature italiana del 1500. La Tablature del 1732 di Santiago de Murcia, e quella di Giovanni Paolo Foscarini del 1629, avevano anche l'indicazione degli accordi per l'accompagnamento, lo strumming in giù e in sù, e gli accordi sono gli stessi che si usano nelle canzoni di oggi di Neil Young e Battioni, e poi i trilli e gli abbellimenti. Dopo 500 anni la Tablature italiana, quella che si usa nei libri di oggi, è ancora un sistema valido e immediato per la lettura della musica. Con 40 pagine di facsimile delle tablature originali.
Music transcribed and adapted for modern guitar, with facsimiles of the original tablatures.
Product Description:
A substantial amount of early music for the guitar remains unknown to modern performers and audiences. In recent years, however, musicologists, scholars and performers on period instruments have provided a wealth of accessible new source materials which players can now begin to interpret in convincing and effective ways. Nevertheless, many still feel intimidated by the prospect of sorting through and learning to use these resources for the first time. For the uninitiated, just knowing where to start can be difficult.
A substantial amount of early music for the guitar remains unknown to modem performers and audiences. In recent years, however, many fine musicologists, scholars, and performers of period instruments have provided a wealth of new materials - reprints of original manuscripts, translations of early treatises, scholarly transcriptions of tablatures, and other resources - with which players now can have access this music and begin to interpret it in convincing and effective ways. Nevertheless, many guitarists still may feel intimidated by the prospect of sorting through and learning to use these resources for the first time. For the uninitiated, just knowing where to start can be difficult. Scholarly transcriptions, for the most part, are not designed for easy use by guitarists. For example, many are in double-staff (keyboard) notation and, with regard to Renaissance vihuela and lute music, are not often transposed to guitar pitches. In other words, the open first string is usually written as G, not E. Guitarists who try to play from these editions essentially are faced with the task of transcribing the transcription! Furthermore, these editions sometimes do not offer realistic solutions - from a player's perspective - for voicing, note duration, and other considerations imposed by the technical limitations of an instrument. My idea to develop an anthology came about through my own need for easily accessible resource materials to teach repertoire or history/literature classes at the university level. I also wanted to help bridge the gap between scholarly editions and performance editions by providing a hands-on introduction to tablature transcription and to issues concerning historically informed performance on the modern guitar. I hope that my efforts may be of assistance to other teachers, as well as being simply an attractive collection of music for all to enjoy. The present collection contains representative selections from the publications and manuscripts of four important Spanish Baroque guitarists: Gaspar Sanz, Antonio de Santa Cruz, Francisco Guerau, and Santiago de Murcia. It must be emphasized, however, that this is only a sampling ofthe rich and varied repertoire from this era. The reader is strongly encouraged to seek out other sources, especially the many fine facsimile editions and other scholarly publications that are cited herein. Acknowledgements I am grateful to my friends, colleagues, and family who assisted in the preparation of this anthology: Michael Macmeeken, of Editions Chanterelle, shared images of original tablatures from Murcia's Resumen and Passacalles y obms; Brian Jeffery, of Tecla Editions, shared images from Guerau's Poema harmonico; Michael Lorimer shared images from his facsimile edition ofMurcia's Saldivar Codex No.4; and Richard Savino shared digital photographs of the unpublished Santa Cruz manuscript. James Tyler, Richard Long, Richard Savino, Kay Norton, Richard Troeger, Anthony Bez, Christopher Dorsey, Richard Brune, and Jan-OlofEriksson provided expertise on matters pertaining to the text and music. Babette Burns, Richard Burns, and Anne Loire assisted in translations and international communications. AlAbrams provided photographic services. Bernard Terlay, ofMusee Granet, provided the image for the cover portrait. Sylvain Lemay, of us Productions d'OZ, prepared the music engraving and text formatting, and patiently accommodated my many revisions. Leanne Koonce, my wife and partner, designed the cover, scanned and formatted all of the facsimile images, and provided her abiding love and support as always. Reading Baroque Guitar Tablature
Tablature and Transcription Anyone today who wishes to perform early music originally written for the guitar and other fretted instruments should learn to read tablature because it provides direct access to the original, unaltered, music. Performers also gain access to the vast majority of Renaissance and Baroque pieces that have not yet been transcribed. Those arguments notwithstanding, there are benefits to having tablature transcribed into modern notation: 1) Transcriptions facilitate the playing of music on instruments other than those for which it was written. 2) Modern notation enables performers to see functional aspects of the music such as pitch relationships, voicing, and harmonic structures. 3) Modern notation also provides an introduction to the performance of early music for those not yet accustomed to reading tablature. Nevertheless, the conversion of tablature into modern notation involves making many subjective choices on matters such as note sustain, voicing, and octave selection. Even the most conscientious transcriber cannot avoid imparting personal preferences into this process. The problem is compounded if a transcriber is also trying to take idiomatic differences between a period instrument and a modern instrument into account. Differences in tuning between a Baroque guitar and a modern guitar, for instance, make certain alterations unavoidable. I also must be understood that editors may have perspectives that fall anywhere between two diametric extremes. At one end, an editor may disregard information provided in the tablatures and try to "improve" the music by revising or even re-composing much of it. The result of such a process is a free arrangement, far removed from the original, not a true transcription. At the other end, an editor may try to represent an imagined ideal of performance that goes beyond the realistic technical capabilities of performance on the intended instrument. This often occurs in scholarly editions b musicologists who sometimes do not share the technical concerns of players. 16 In ummary, one must realize that any editorial solution may represent only one of many interpretative possibilities and may therefore may hinder the reader from exploring alternatives that are equally valid - or even more so. Given all of the ambiguities of tablature notation and the subjectivity associated with the transcription process, players should always consult the tablature for the most direct connection to the original music. 3.2. Punteado Notation Reading Italian Tablature, Baroque guitar music from Spain and Italy is written in "Italian" tablature. A five-line staff represents the five courses ofthe guitar, with the bottom line being the first course (the treble E). In this layout, the tablature projects a mirror image of the strings when the music is placed on a table for reading. Numbers placed on or between the lines indicate the frets that are to be stopped on a particular course. The number 0 represents the open course; 1 is for the first fret; 2 is for the second fret, and so on. The Roman numeral X represents the tenth fret instead of the Arabic 10 to avoid it being misread as two notes. Notes above this fret (although rare) (16 For an excellent article on the methods, philosophies, and evolution of transcription, see Matanya Ophee, "The History of Transcriptions of Lute Tablature - 1679 to the Present)
This anthology contains representative selections from the publications and manuscripts of four important Spanish Baroque guitarists: Gaspar Sanz, Antonio de Santa Cruz, Francisco Guerau, and Santiago de Murcia. In addition to being fun and entertaining music for all to enjoy, this collection is intended to help bridge the gap between scholarly editions and performance editions by providing a hands-on introduction to tablature transcription and to issues concerning historically informed performance on the modern guitar.
Contents:
Preface
Acknowledgements
Dedication
1. Evolution of the Five-Course Guitar
1.1. Transition from the Vihuela and Four-Course Guitar
1.2. Dominance of the Five-Course Guitar
2. Tuning of the Five-Course Guitar
2.1. Terms Pertaining to Stringing and Tuning
2.2. Different Tunings for the Baroque Guitar
2.3. Issues and Opinions on Tuning Practices in Spain
2.4. Relevance of Baroque Tuning Practices to Modern Performers
3. Reading Baroque Guitar Tablature
3.1. Tablature and Transcription
3.2. Punteado Notation
3.3. Rasgueado Notation
3.4. Mixed Tablatures
4. Interpretation and Performance
4.1. Octave Selection and Voice Leading
4.2. Punteado Ornaments
4.3. Campanelas
4.4. Meter and Tempo
4.5. Hemiola and Syncopation
4.6. Rasgueado Techniques
4.7. Rasgueado Ornaments
5. Editorial Procedures
5.1. Philosophy and Intent
5.2. The Voicing and Notation of Strummed Chords
5.3. Editorial Notation
6. Gaspar Sanz
6.1–9. La cavalleria de Napoles con dos clarines, Rujero, Paradetas, Folías, Las Hachas, Zarabanda, La Esfachata de Napoles,La Miñona de Cataluña, Canarios
6.10–14. Pavanas, Españoletas, Matachín, Villanos, Passacalles
7. Antonio de Santa Cruz
7.1–3. Jácaras, Villano, Canario
8. Francisco Guerau
8.1–4. Marionas, Villano, Canario, Passacalles in B minor
9. Santiago de Murcia
9.1. Resumen de acompañar
La Guastala, Menuet, Preludio in D minor
9.2. Códice Saldívar No. 4
Marionas, Fandango, Jácaras, Zangarilleja, Cumbées
9.3. Passacalles y obras
Passacalles in G minor, Suite in G Major, Suite in D minor
10. Facsimiles
Selected Bibliography
Music
Gaspar Sanz
La cavalleria de Napoles con dos clarines
Rujero
Paradetas
Folías
Las Hachas
Zarabanda
La Esfachata de Napoles
La Miñona de Cataluña
Canarios
Pavanas
Españoletas
Matachín
Villanos
Passacalles
Antonio de Santa Cruz
Jácaras
Villano
Canario
Francisco Guerau
Marionas
Villano
Canario
Passacalles in B minor
Santiago de Murcia
La Guastala
Menuet(s)
Preludio in D minor
Marionas
Fandango
Jácaras
Zangarilleja
Cumbées
Passacalles in G minor
Suite in G Major
Suite in D minor
Facsimile Reproductions
Gaspar Sanz
Instruccion de musica
Antonio de Santa Cruz
Libro donde se veran pazacalles
Francisco Guerau
Poema harmonico
Santiago de Murcia
Resumen de acompañar
Códice Saldívar No. 4
Passacalles y obras
Italiano
English
