The Renaissance Guitar 1500-1650 Author(s): James Tyler Source: Early Music, Vol. 3, No. 4 (Oct., 1975), pp.

341-347 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3125401 . Accessed: 25/10/2013 20:23
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The

renaissance

guitar

1500-1650

JAMES TYLER

four-course on thetitlepageof guitarillustrated Typical LePremier Livre ... 1552. G. Morlaye's

Despite the revival of interest in the lute during the last twenty years and the popularity of the classical guitar for the last forty, neither lutenists nor guitarists seem aware yet of the treasure of music which still survivesfor the early guitar. Equally unexplored is the background of the instrument itself. This is not necessarily the fault of the modern player, however, for it is almost impossible to acquire accurate information friomtoday's standard reference works; and although some modern transcriptionsof early guitar music have been published, the editors concerned, without explanation, have not only produced results that are misleading, but have often entirely rewritten the pieces themselves! Thanks to recent articles by musicologists such as Sylvia Murphy,1 this situation may be changing, although of three recent books on the guitar in English, only that of Harvey Turnbull2 is a serious work. In this article I shall try to help dispel some of the confusion which surrounds the early guitar, and to indicate something of the wealth of its music. The best way to do so is to go directly to the original theoretical writings and the original music sources. This is not as wild and impossible as it may sound. Lutenists are obliged to as a matter of course. So why not guitarists? First, an important distinction must be made between the guitar and the vihuela (da mano). The latter can generally be regarded as a guitar-shapedinstrument with eleven or twelve strings arranged in six courses, which was probably at least as large as a modern guitar and might sometimes have been even larger, as is indicated by the only vihuela known to have

A general description of the early guitar

survived."This instrument, in its original state, had an enormously long string length of eighty centimetres. The early guitar, on the other hand, tended to be rather small; the two known 16th-century survivals,4both have string lengths of just over fiftyfive centimetres. The 16th-century guitar was a four-coursed instrument,"although five-coursed guitars existed, also we find that its small size is indicated not only in pictorial sources, but also in the music written for it, some of which requires great stretches of the left hand fingers, extremely difficult to achieve on a larger instrument. Very few construction details are known about either the vihuela or the early guitar due to the meagre number of instruments which survive. Common to both, however, is a thin bar of wood for the bridge, similar to that of a lute, as is the use of moveable gut frets tied around the neck. Again, like the lute, the early guitar and vihuela never used stationary inlaid frets. Even today, practical experience shows that moveable frets give the utmost advantage for fine tuning and adjustment. Both instruments used plain gut strings for all the courses. Wound or overspun basses were known only from the late 17th century,5 so the sound of the early guitar must have been quite different from that of today. On guitars and lutes, the thicker basses were matched with thinner octave strings in order to avoid too dull a sound. The visual arts provide no clues as to the construction of the back of either the guitar or vihuela, but the one surviving vihuela has a flat back with extraordinarily shallow sides, proportionately about half the depth of a modern guitar. The Diaz guitar of 1581,6 on the other hand, has a vaulted back construction, and also has quite shallow sides. This was 341

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guitar designates it as 'vihuela'. And yet, judging by the music which survives, the term 'vihuela' implied a fairly large instrument, while the terms 'guitarra', 'guiterne', etc., implied a small one, generally having only four courses."

Tablature
It is important to note that all guitar music up to the 19th century was written in tablature. Although many guitarists today tend to regard it as an obscure, difficult, and arcane system (never having tried it), tablature is, in fact, a beautifully clear method of notation for plucked instruments-so simple and efficient that one can be playing from it within half an hour.'2 Tablature reading is absolutely essential for the study and performance of early guitar music, enabling one to play a vast amount of material unavailable in modern editions. In addition, it brings one considerably closer to the style and feeling of the music as well as to the composer, whose music is as it was written, untampered with, as in most modern transcriptions.

Mantua of theDucal ona wall intarsia Late Palace, 15th-century d'Isabella). (Camerini to become quite common in the 17th century, more so than the flat-backed style if we can judge by surviving instruments. Contemporary visual evidence, a good selection of which can be found reproduced in Turnbull's book, verifies the shallow ribs of both instruments, but, again, does not reveal their backs. We can, however, assume that both flat and vaulted construction existed simultaneously throughout this period. The confusion in terminology arises not only from the sheer profusion of names for the guitar, but also from the number of instruments referred to as guitars but which were not. In the 16th century the Italian term 'chitarra', the Spanish 'guitarra', and the French 'guiterne' are the most common names one is likely to come across. The English used the Frenchterm, but Anglicized it to 'gittern'.' The Italian 'viola da mano' and the Spanish 'vihuela (da mano)' are often merely generic terms for a plucked instrument, but have gradually come to be used as names for the large six course, guitar-shaped instrumentdescribed above. Nor were these terms very clearly defined in the 16th century. Fuenllanal gave music for afive as well as six course 'vihuela'; the Santa Cruz manuscript9 refers to the five course guitar as a 'biguela hordinaria'; another Mexican manuscript'o for five course 342

Tunings and Music

Confusion in terminology

The guitar had a long history before the 16th century, especially in Italy and Spain. But it is only from the 16th century and later that accurate tuning details and a specific guitar repertoire are available to us. Juan Bermudo, in his Declaracionde instrumentos musicales... (1555), provides a wealth of information, not only about six and seven course vihuelas, but about the guitar.'" He describes the guitar as being smaller than the vihuela (mas corto), and as usually having only four courses, the interval arrangement resembling the second through the fifth courses of a vihuela. For specific tuning, he gives the following (Roman numerals designate the courses):'4
Ex. 1
'Temple uevos' 'Templcvicos'

7_IVr I ll !

it_ I _IV

A - -t III

II

Bermudo also wrote that, for purposes of putting vocal music into tablature, one could 'imagine' the guitar, as well as the vihuela, at any other convenient pitch one might prefer. Hence, for a modern guitarist wishing to try out 16th-century music, it would be quite in order simply to keep the guitar in the usual e' tuning and play on only the top four strings. Solo music is in tablature and for practice it does not matterwhat specific pitch it is played in.

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PADVANL

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" IJ .
. ni" 'I French guitar tablature from G. Morlaye's Livre... 1552 f.19v. Quatriesme

The earliest surviving guitar music is for a four course instrument, six pieces appearing in Alonso Mudarra's vihuela book, Tres LibrosDe Musica... (1546). They comprise one Fantasia in 'temple viejo', three more in 'temple nuovo', a Pavana, and a setting of 'O guardame las vacas' using the old Romanesca ground. Although these are a modest offering, they are of the same high quality as Mudarra'sother pieces for the six course vihuela. In Italy, Melchior Barberiis's lute book, Opera ... LibroDecimo(1549), contains four IntitolataContina 'Fantasias' for guitar. Actually, they are light dance pieces; one of them was later reprinted in Paris as a 'branle'. Barberiis called his instrument the 'Chitara da sette corde', referring to the seven strings arranged in four courses, the first being single as on a lute. But it was in France that the four course guitar received the most attention. Starting in 1550 with the publications of Guillame Morlaye, Simon Gorlier, Gregoire Brayssing (actually an expatriate German), and Adrian Le Roy, we are provided with a delightful repertoire of excellent fantasias, dances, and chansons for solo guitar, or, possibly, as with the dances, for guitar as the lead instrument in a consort, and, with chansons, for voice with guitar accompaniment. The guitar seems to have been favoured by King Henri II himself, who probably became acquainted with it during his four years as a Spanish hostage. But French court music was primarily influenced by Italy and many Italian musicians were employed by Henri. Further, many of the guitar pieces in the first French books originated in Italy; the dances, for example, and the exquisite guitar fantasias by Henri's court

lutenist, Alberto da Rippa.'~ Eventually though, the native French music came to predominate, with intabulations of chansons by Sermisy, Certon, et al, and with numerous branles(French country dances). This material later spread throughout Europe with the help of the Flemish reprints of Phalkse, published in 1570. Five course instruments were in use from at least the beginning of the 16th century. In Raimondi's engraving of the poet Achillini, c.1510 (see the reproduction in this article), the number of pegs indicate five courses, the body appears large, and the instrument case on the ground indicates the vaulted back which can be found on many later guitars. This instrument might be called an Italian 'viola da mano'. Remember that 'viola' or 'vihuela' is often a generic, not a specific, term. Bermudo (Cap. LXV) in discussing a point mentions 'el Laud, o vihuela de Flandes' (the lute, or vihuela of Flanders). A Neapolitan print, c.1536, of Francesco da Milano's lute music reads: in talking about gentlemanly pursuits in his famous book, The Courtier(1528), mentions singing to the 'viola', meaning, most likely, an instrument like the one in Raimondi's engraving and not, as is often thought today, a viol. Sir Thomas Hoby, in his 1561 translation of Castiglione's book translates 'viola' as 'lute'. The first music for a five course instrument appeared in Fuenllana's book of 1554 in which he included pieces for a 'vihuela de cinco ordenes'. The tablature called for an instrument with a bottom fifth course tuned a fourth below the fourth course. No 343
Intavolatura de Viola overa Lauto. ... .6 And Castiglione,

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indication is given as to pitch or octave stringing, but a likely arrangement is the one by Juan Carlos y Amat described below. This instrument could very well be the same type as Raimondi's large 'viola da mano'. Intabulated for it are two sections of a mass by Morales, a villancicoby Vasquez, and six excellent fantasias. These are followed by intabulations and fantasiasfor the four course 'guitarra'. Bermudo frequently mentioned the 'guitarra de cinco ordenes' (five course guitar) and said that one could be made by adding to the four course guitar a string a fourth above the present first course (Libro Segundo, Cap. XXXII). He also described new and improved tunings such as: c,g,c',e',g'. (Libro Segundo, Cap.LXVII. This pitch I assume from context.) He further mentioned a 'guitarra grande' of six courses! (Libroquarto, Cap. LX.) And he gave more unusual tunings for the four course guitar. No music survives for any of these tuning arrangements. The only other five course music from the 16th century is by Juan Carlos y Amat, Guitarra Espahiola, ... (1586). Although this is now lost, we y Vandola know about it from several 17th-century reprints."' With Amat, we are introduced to some important new ideas, for Amat was the first to specify the pitch:
Ex. 2

foreshadows the chord symbol system that guitarists still use in popular music today. Amat's system was changed in certain details by the 17th-century Italians, who called it 'alfabeto'. The strummed 'rasgado' playing can be quite rhythmically exciting and deserves serious investigation. The 'chitarra spagnola' gained such great popularity from the early 17th century as to leave the lute, cittern, and the small guitar in a position of dwindling importance. However, the small guitar was not entirely superseded. Scipione Cerreto in his Della Prattica Musica(1601) gave unusually precise instructions for tuning the small four course guitar. In staff notation and verbal description he gave the following:
Ex. 3

IV

III

IV

III

II

The instrument it applies to is called the 'Guitarra Espafiola', and, ignoring the octave stringing, tuning is, of course, the same as the top five strings of our modern guitar. Amat was also the first to devise a system of notation for strummed music, which, in Spanish, is called 'rasgueado'. This style of playing is described as oldfashioned by Bermudo in 1555, but by the beginning of the 17th century it was the major and almost exclusive style for the immensely popular guitar. The idea of 'rasgueado' notation is to assign a separate letter of the alphabet (or symbol) to each chord to be found on the fingerboard. The chords employ all five courses. Under the letters, a series of vertical lines are placed, either below or above one horizontal line to indicate, respectively, a down or an up stroke of the right hand. More exact rhythm and metre is sometimes supplied above the letters by ordinary notes in the manner of other tablatures. Although the letters do not correspond to the actual names of the chords as we now know them, this system
344

The fourth course is in unison and the tuning is reentrant, as with a cittern, and similar to that indicated in certain five course guitar sources which will be discussed later. Despite this, Cerreto's tuning is like Bermudo's 'old tuning', but a tone higher. This tuning and its high pitch is corroborated in an anonymous collection, published in 1645, entitled Conserto Vago, which contains trios for 'tiorba', 'liuto' and 'chitarrino'. The normal Italian a' tuning of the lute and theorbo means that the chitarrino is pitched just as Cerreto described. Michael Praetorius, a strong advocate of ItalianMusicum (vol. II, style music, in his famous Syntagma 1619), provides a wealth of information. For instance: 'The Quinterna or Chiterna is an instrument with four courses which are tuned like the very earliest of lutes' (p. 53). 'This tuning is c,f,a,d' with double strings' (chapter 24). 'It has, however, not a rounded back, but is completely flat, quite like a bandora, and hardly two or three fingers in depth. .... Some have five courses, and in Italy, the charlatans and mountebanks (Ziarlatini und Salt' in banco), who are like our comedians and clowns, strum them, singing their and other foolish songs. Nevertheless, good villanellas can singers sing fine and lovely songs with it.' made Praetorius no mention of the details of stringing, but gave the following two tunings:
Ex. 4

IV

III

IV

III"

II

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The four course guitar also adopted the Spanish guitar's alfabeto system and was played in the rasgado style as well as in the 'punteado', or lute style. Pietro Millioni's Corona Del Primo... Libro. . . (1627) described a four course alfabeto for the chitarrino as well

as one for the Spanish guitar.

The last publication for the small guitar seems to have been John Playford's A Booke of New Lessons for the Cittern and Gittern (1652), which contains only punteado-style music. The re-entrant tuning for the small guitar which was mentioned above, was sometimes adopted for the Spanish guitar as well. Luis de Bri;eiio in his Metodo muifacilissimo of 1626 specified the following in which the third course is the lowest note on the guitar:
Ex. 5

IV

III

II

Merscieni' gave this saine tuning in 1636, and, later in the century, the well-known music of Gaspar Sanz2o

required it as well. Bripeiio gave only strummed

music, so the above need not necessarily be adhered to, although Sanz's music was idiomatically written for it. It is quite difficult to represent Sanz's sound and effects in modern notation, but with a properly tuned

guitar and the player reading from the original

Five-course 'violada mnano', c.1510.Engraving by Marcantonio

Raimondi.

tablature, we can at last hear what Sanz really intended his music to sound like. This is one important reason why no early guitar music should be published without also reprinting the tablature beside it. It should be noted, however, that before 1650 most of the tablatures required the type of tuning given by Amat, and it was rare to find the more unusual one

described above. See, however, Donald Gill's article on Baroque GuitarTunings in this issue.

In 1629, Giovanni Paolo Foscarini published his Intavolatura di chitarra spagnola libro secondo, one of a series produced by him. Foscarini, known as 'L'Academico Caliginoso detto il Furioso' (the obscure academic called Il Furioso), used not only the popular 'alfabeto' style, but also reintroduced the punteado style for the guitar with pieces notated solely for one or the other and also a new mixed tablature combining both. This mixed tablature became more and more common as the century progressed. Foscarini stands out as a very individual and quite exceptional composer for the guitar. His music is often daring and very original, and he rates, in my estimation, with Corbetta and later Roncalli. Yet almost none of his music is available in a satisfactory

edition, and, for that reason, only the ambitious guitarist willing to study his original tablatures can benefit fiom his work. Other important writers for the five course guitar before 1650 include Angiolo Michele Bartolotti, Carlo Calvi, Antonio Carbonchi, Giovanni Battista Granata, and Stefano Pesori. The works of these and many others are listed in a useful bibliography by Peter Danner.2'

Other members of the guitar family before 1650

BANDURRIA A small plucked instrument derived from the guitar. Next to nothing is known about its physical appearance in the 16th century, but we do know from Bermudo's discourse (Libro Quarto,cap. XCVII and XCVIII) that it was a small treble instrument with three strings (gut?), tuned in fifths. (He doesn't give pitches.) Sometimes one could tune the three strings to a fourth and a fifth, or vice versa. According to Bermudo, players may have developed the bandurria by shortening the guitar and reducing the number of strings. Some players used no frets, some used six or seven, but it was difficult to fret because of the short string length. He goes on to say that a fourth string could 345

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be added and that he had seen five string bandurrias from America. Later, in the 17th and 18th centuries, the bandurria acquired six double courses and was mostly played with a plectrum as the treble in an ensemble. This is how the bandurria is still played today. CHITARRIGLIA A small five course guitar tuned like the Spanish guitar but at a higher pitch for the first course (for example g' or a'). A significant number of 17th-century music books specify the use of this instrument, including some by Calvi, Granata, and Pesori. The guitar by Diaz, mentioned earlier, is probably a chitarriglia. CHITARRINO The 17th-century name for the small four course guitar. Agostino Agazzari, in his Del Sonaresoprail
basso ... 1607,22 said '[like ornament instruments] are those

because it had a guitar shape and frets. No specific music for the chitarra battente has survived, but Pesori's I Concerti ... c.1645 includes a few 'Scherzi di Penna', which Armonici may well be intended for this instrument. MANDOLA Possibly, in some cases, the smallest member of the guitar family. The term is rarely met with in the 16th century and should not necessarily be used for 'mandora', the very small treble lute of the period. The French term for the mandora was 'mandore' and the Italian, 'pandora' or 'pandurina'. In the 1589 wedding intermedii for Ferdinand I mentioned above,24a 'mandola' was used and from the context, it seems to be a treble instrument. Unfortunately, nothing further is known. A late source,
Bonanni's Gabinetto Armonico... 1716, illustrated the

which, in a playful and contrapuntal fashion, make the harmony more agreeable and sonorous, namely, the lute, theorbo, harp, lirone, cittern, spinet, chitarrino, violin, pandora[mandora] and the like'. The chitarrino part in the previously mentioned ConsertoVago fits this description perfectly. In the sixth intermedio for the wedding in Florence of Ferdinand I de' Medici and Christine of Lorraine, 1589, a 'chitaralla Spagnola' and 'chitarrini . . . alla Napolettana' are mentioned.23 Nothing is known about the physical differences between the two instruments. Millioni's alfabeto for chitarrino (which he also called Chitarra Italiana) is reprinted in J. Wolf's Handbuchder
Notationskunde, II, p. 173.

mandola as a tiny four course guitar the size of a modern ukelele. In 1677, Ricci, in his guitar book Scuola D'Intovolatura ..., printed in treble clef staff notation, a 'Balletto' for mandola. The term, of course, later came to mean a larger member of the mandolin family. (See also,
Vandola.)

CHITARRA BATTENTE A five course guitar, of varying size, which is designed for wire strings of brass and lowtempered steel. The strings were not always arranged in pairs; sometimes, as later examples show, they were arranged in threes. The instrument had a moveable bridge, held in place by the pressure of the strings stretching over it to the lower end of the body, and had a bend in the top starting below the bridge which counteracted.the pressure of the strings. This feature is similar on the neapolitan mandolin. Unlike any of the other members of the guitar family, the chitarra battente had inlaid bone or metal frets to accommodate the wire strings. Its back was usually vaulted, like many ordinary guitars of the time, but its sides tended to be rather deep. It was played with a quill plectrumi and was probably confined to alfabeto music. It would be a good idea if the term 'chitarrabattente' was used only for the instruments described above instead of, as is now done in reference books, sales catalogues and the like, to use it for any guitar which happens to have a vaulted back. These latter guitars with their flat table and glued-on bridge were clearly designed for gut strings and not, like a true chitarra battente, for wire strings. In general, classifying instruments by shape of back, shape of peg head, or even general body shape, is rapidly becoming an unacceptable method. Function and dependent, pertinent design features should be the main considerations. No one, after all, would call a 16th-century figure-eight shaped viol a guitar simply 346

VANDOLA Again, a term which cannot be defined with certainty until we learn much more about original source material. Juan Carlos y Amat's vandola, mentioned in his 1586 title page, could very well be the small five course guitar which the Italians called 'chitarriglia'. On the other hand, a very late source, Pablo Minguet y Yrol's Reglasy Advertencias ... c.1752, implied that the vandola was an altosized five or six course mandolin (see mandola). The tangled meanings of vandola, bandola, mandola and the like are, as yet, far from clear, and with over 150 years separating these two references, they could conceivably be two different instruments.

A bibliography of music for the four course guitar

This list includes music which is known to have existed but which is now lost; shown by the use of brackets. For detailed information on the earlier printed books and the location
of copies, see Howard M. Brown's Instrumental Music Printed

Before1600, HarvardUniversityPress, 1965. PRINTED BOOKS

MUDARRA, Alonso, TresLibrosde Musica ... BARBERIIS, Melchiore de, Opera Intitolata Contina ... [1550] MORLAYE, Guillaume, Tabulaturede guiterne ... 1551 GORLIER, Simon, Le Troysieme Livre... De Guiterne... 1551 LE ROY, Adrian, Premier Livre de Tabulature de Guiterre. . [1551] LE ROY, Adrian, Briefve et facile instruction pour apprendre la tabulature a bien accorder, conduire et disposerla main sur la guiterne 1552 LE ROY, Adrian, TiersLivre ... De Guiterre. . 1552 MORLAYE, Guillaume, Le Premier Livre... De Guiterne. .. 1552 MORLAYE, Guillaume, Quatriesme Livre... . . . De la Cistre . .. Guyterne&r De 1546 1549

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MSS., century.) NEW HAVEN, CONNECTICUT, Manuscript ('Braye Lute Book') belonging to James M. Osborn. (Contains a few pieces for guitar, mid- 16th century.)

in France almost entirely from Heartz's article (see footnote 18). He accepts Heartz's impossible tuning at the octave below.On p. 40, Turnbull perpetuates the old theory that the medieval gittern survivesas such into the 16th century (see footnote 7). 3 The instrument is in Paris, Musee Jacquemart-Andre, and is described by Michael Prynne, 'A SurvivingVihuela de Mano', Galpin Journal, XVI, 1963; and by Anthony Baines, Europeanand Society American Musical Instruments, London, 1966, p. 47. 4 One is in London, Royal College of Music, Donaldson Collection no. 171. It is by Belchior Diaz and dated 1581. (See Baines instruction to lerne to play on the gyttron and also the op. cit. p. 47.) The other is by Josef Dbrfler and is described in cetterne An Exhibition Musical Instruments, of European Edinburgh, 1968, p. 82. de Guiterne [156 ?] GORLIER, Simon, Livrede Tabulature 5 See Djilda Abbott and Ephraim Segerman, 'Strings in the 16th and 17th Centuries', Galpin XXVII, 1974. SocietyJournal, 1570 PHALESE, P. and Jean Belleire(pubs.), Selectissima ... 6See Baines, op. cit., p. 47. in Guiterna Ludenda Carmina... 7 Most modern writers seem to think that the 16th-century term [1573] PHALEISE AND BELLERE (pubs.), Selectissima gittern refers to the medieval instrument of the same name. They carmina ludendain Quinterna ... would have us believe that the old English gittern somehow, instruction.. sur la miraculously, survived even to the time of John Playford in 1652! [1578] LE ROY, Adrian, Briefve&dfacile The musical sources, pictorial sources, and a dash of common sense Guiterne shows us that in the renaissance and baroque periods the gittern de Chitara [158 ?] GIULIANI, Girolamo, Intavolatura ... is simply the guitar. 1627 MILLIONI, Pietro, Coronadel primo, secondoe terzo 8 Libro de Musica ... 1554. para Vihuela libro d'intavolatura di chitarraspagnola ... (Copy in 9 Madrid, Biblioteca Nacional, MsM.2209, mid- 17th cent. 10 MS in the possession of Dr Saldivar, Colonia Roma Sur, Mexico. Bologna, Civico Museo) It is an indigenous manuscript for four course cittern, but fols. 1631 MILLIONI, Pietro, Coronadel primo, secondoe terzo 31-37 are for guitar ('vihuela de cinquo ordenes') c.1650. (See libro d'intavolatura di chitarraspagnola ... (Copy in R. M. Stevenson, Music in Aztecand Inca Territory, Berkeley, 1968, Paris, Thibault Library; another Roman edition of pp. 234-5. " the same year is in Washington, Library of In the late 16th century and later, however, the term 'Chitarra Spagnola' came to mean a larger, deeper bodied, five course guitar Congress, and a 1635 edition is listed by Danner.) with a deeper pitch, usually at e' for the first course like the modern 1645 (Anonymous), Conserto Vago... per sonare con Liuto, guitar. 'a quatro corde alla Napolitana Tiorba,et Chitarrino 12 One can learn all the basics of tablature from Diana Poulton's insieme ... (Copy in Bologna, Civico Museo.) An Introduction to Lute Playing, Schott, London, 1961, or, if not available, resort to the music dictionaries and encyclopedias. 1652 PLAYFORD, John, A Booke of New Lessons for the 13 I am indebted to Diana Poulton for helping me with the Cithern and Gittern... (Copy in Glasgow, Euing Bermudo information. Library.) LXV. Quarto. Capitulo 14 Libro The fantasias are published in modern edition with tablature '5 MANUSCRIPTS under Appendix II of Oevresd'Albertde Rippe I, Centre National de la Recherche Scientifique, Paris, 1972. BRUSSELS,BIBLIOTHEQUE DU CONSERVATOIRE,Ms. da Milano,1970, p. 11. '" See A. J. Ness, TheLuteMusicofFrancesco 24.135 (early 17th cent.) 17 See article 'Amat' in MGGI, cols. 401-402. FLORENCE, BIBLOTECANAZIONALE CENTRALE, Ms. 18 Daniel Heartz, in his article 'An Elizabethan Tutor for the MAGL. XIX 28 (mid- 17th cent.) Guitar', GalpinSociety XVI, 1963, concludes from Phalmse's FLORENCE, BIBLOTECANAZIONALE CENTRALE, MS. guitar instructions ofJournal, 1570 that the small guitar, tuned like the MAGL. XIX 29 (mid- 17th cent.) second example of Praetorius, has the third and fourth courses doubled at the octave below. Not only does this not agree with LONDON, BRITISH LIBRARY,Add. MS.30513 (Mulliner contemporary evidence, but his stringing would be virtually Book, contains pieces for cittern and gittern c. 1570) impossible without special modern strings. And furthermore, the LONDON, BRITISH LIBRARY,Stowe 389 (Raphe Bowle's Phalkse guitar instructions in fact turn out actually to be garbled MS.,dated 1558, contains one piece for guitar) citterninstructions. (See J. C. Dobson, et al., 'The Tunings of the Four Course French Cittern and of the Four Course Guitar in the LONDON, in the private library of Robert Spencer. (Italian, Sixteenth Century',LuteSocietyJournal, Vol. XVI, 1974. similar to the Florence mid- 17th
'9 Harmonie Universelle ...

1553 BRAYSSING,Gregoire, QuartLivre.. . De Guiterre ... 1553 MORLAYE, Guillaume, Le Second Livre. .. De Guiterne ... 1554 FUENLLANA, Miguel de, Libro de Musica Para Vihuela ... 1554 LE ROY, Adrian, Cinquiesme Livrede Guiterre ... 1556 LE ROY, Adrian, Second Livrede Guiterre ... [1568] ROWBOTHAM, James (pub.), The breffeand playne

1636.

Instruccion de Musica... 1674. 21 'Bibliography of Guitar Tablatures, 1546-1764', Journal of the LuteSociety Vol. V, 1972, pp. 40-51, and 'An Update to of America,
20

PARIS, BIBLIOTHEQUE MAZARINE, RES. 44.108(6) (early 17th cent.) FOOTNOTES 1 'Seventeenth Century Guitar Music: Notes on Rasgueado Performance', GalpinSocietyJournal, XXI, 1968; 'The Tuning of the Five Course Guitar', Galpin XXIII, 1970. SocietyJournal, to the PresentDay, London, 1974. 2 The Guitar from the Renaissance It contains, however, some misleading information. On p. 36, for instance, Turnbull seems to get his facts for the four course guitar

the Bibliography of Guitar Tablatures', the same Vol. VI, journal, 1973, pp. 33-36. Danner's list is extremely useful; he gives over 240 entries. This covers about 80 per cent of the surviving sources, so one should check the various volumes of RISM under individual composers and under collections. 22 A complete translation is found in O. Strunk, Source Readings in Music History, 1952, pp. 424-431. H. M. Brown, Sixteenth Century Instrumentation, 1973, 23 See pp. 131-132. 24 Ibid., p. 109 and p. 128.

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