Guitar History

strings that are not fretted

Vihuela
(his own French/Italian tablature)
· wrote collection called ” El Maestro”
· Born in court
· 1500s in Valencia Spain, “El Maestro” 1536 was first book of Vihuela tablature
o 6 pavanes
o 40 Fantasias
o 22 Songs
· First to use tempo words (vs. tempo markings)

Vihuela
Published his books divided in 6 parts in 1538
Vihuela Maestro for Philip the 2nd (King of spain)
First signs for tempo
Fantasias, entabulations, songs with voice, several variation sets
Variations were differencias: Early variations were developed there. 1st to write down variations.
Diferencias on Conde Claros: Famos variations
Guardame las Vacas: other famos variations
Wrote in Italian tablature

Vihuela
· 1546 Book published
· made first guitar music
· raised in royal family
· talks about different pluckings and tempo
· first to indicate how long notes should be held
· * wrote 6 pieces for four course guitar
o arrangement vocal+instrumental for just vihuela
Italian tab

Vihuela
Orphenica Lyra (1554)
included earliest discussion of 5 course guitar
Blind, also in the court of Philip II
Wrote the hardest music to play (counterpoint)
Wrote 50 Fantasias (mostly 6 course, same 5 vihuela and some 4 course guitar)
Entabluations sacred music and motets
Discuss Split Courses
Italian tab

Vihuela
From spain. Wrote, Libro de música de vihuela intitulado Silva de Sirenas (1547)
Variety of pieces, including Fantasia’s

(1576) )-no L in his name, the one with the L is a lutenist
Last composer to write for vihuela
Fantasias mostly
Used

o Dos Deros= p and i
o De Dillo= i finger as a pick
o Castellan method= m and i

· the only instrument to explain ANY tempo in renaissance music

typically 6 courses with f# tuning.

Renaissance Lute
(Transylvania 1526-30; d Padua, 22 Aug 1576).
Worked primarily in Hungary
Made Very good money.
Was knighted in Polish Court
High quality compositions, harder to play

Renaissance Lute
(1470’s – 1540’s)
Attaingnant collection (1517) First written dynamics, ornaments, and fermatas

Renaissance lute
Paris 1552 French printer and publisher

Renaissance lute
born in Paris circa 1575, died after 1649
his father’s partner Adrian Le Roy was most likely his first lute teacher
published his first lutebook in 1611

Renaissance Lute
(1497 – 1543)
“il divino”
worked in the papal court

Renaissance Lute
(1563-1626)
1588-Christ church of oxford
1612 – appointed lutenist to James IV
Had a BM in Music
Highest expression of late renaissance
Very cosmopolitan composer, he was introduced to many different styles of music in many different countries in Europe.

Courses 6 – 1 = G c f a d g

varied between 7 and 10 course lutes.

Folia Strumms are very characteristic of the baroque guitar.
Lots of accented dissonance, suspensions, arpeggiations, less exclusively chords.
divisions between consonances are becoming accented dissonances.
independent voices in stile brise.
another clean break between vocal music Much more linear.

4 course baroque guitar
1596
Wrote treatise Guitarra española on 4 course guitar that briefly mentions 5 course guitar.

1550
4 course baroque guitar
Wrote 3 books of tab for 4 course Guitar
1552 he obtained from Henri II a ten-year privilege to print, or have printed, music by his teacher, Alberto da Ripa

(1640 – ~1710)
Spanish guitarist, composer
Uses 5 string guitar with tuning A
Coins the term Campanella in his book. Campanella: ringing over notes. An expressive device used in the baroque era
Re entrant tuning
Instruction book (Generic Title) 1674
contains 90 pieces written for the 5 course guitar

Italy early 1600s (flourished 1600 ~ 1649(?))
Played Lute and Guitar, not just one
Instruction on the music of the spanish Guitar, he means the 5 course guitar with stringing C, used alphabeto and Italian Notation

1615-1681
Italian, but worked in Paris
Taught at University of Bologna, taught there and began writing in the 1640’s to 1670’s
Appeared in a piece directed by Lully. Went to england but mainly worked in paris (Even though he was italian)
Stringing B reentrant tuning

1655-1732
most likely a pupil of Corbetta,
important composer in the court of Louis the 14th and for guitar and theorbo
Guitar teacher to the king
His son succeeded him in 1721
Formalized core dance suites: allemande, courante, sarabande, gigue, etc. with other things interspersed
Visee included a tombeau to Corbetta
tombeau – elegy to someone who’s died

Theorbo: reentrant pitched in “a” or “g”
Archlute: tuned like the lute but 13 courses
Baroque lute :13 courses with D minor tuning

(1687-1750)
Greatest Baroque Lutenist
knew Bach and shared material with him
most of his pieces are suite like but called sonatas
LOTS OF MUSIC:
60 sonatas (suites)
35 more (questionable authenticity)
4 concertos (all lost or incomplete)
7 fantasias
5 preludes & capriccios
2 tombeaus
50 more individual pieces

(1697-1754)
Student of Weiss
Tuning
May have arranged the 995 lute suite

(1580 – 1651)
“Il tedesco”
Born in Venice worked in Italy, but had German Heritage
Wrote madrigals, considered heir to monteverdi
1st virtuoso of Theorbo (Chitarrone)
Toccata = Fantasia
8 Books of Theorbo Music
Direct contemporary of Frescobaldi
Has a piece for the instrument Calascione which is a lute like instrument tuned in 5ths

(1566-1638)
Italian (b Bologna, 30 Dec 1566; d probably at Bologna, c1638)
Wrote two volumes of music for lute and theorbo, talked about using nails in these books.

Couperin and Ramo are a great deal to FR Lutenists