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Old is Gold
This is a translation from Swedish into English of the first 12 pages of the text in the Book ”Altgitarren” by Per-lof !ohnson" The translation is not a#thori$ed b#t has been done spontaneo#sly by me% Sten Edeb&'k% for the benefit of the web 'omm#nity Alto(#itar"'om" Alto(#itar"'om" ) ha*e not in'l#ded the ill#strations in this translation" The reader sho#ld ha*e the book ”Altgitarren” a*ailable to see these ill#strations and #se this translation as an aid" The book ”Altgitarren” 'an be ordered from The +alm, A'ademy of +#si'% telephone ./ 0. 324.4% website www"mhm"l#"se www"mhm"l#"se
The Alto Guitar abo#t the origin of the alto g#itar% te'hni'al playing instr#'tions% short instr#ment history and
trans'riptions and arrangements for alto g#itar by
Per-Olof Johnson Pl#s f#rther arrangements and trans'riptions for alto g#itar by Anders +iolin B,r5e Sand6#ist (#nnar 7ansson (#nnar Sp5#th (,ran S,lls'her
+#si'al notation8 B,r5e Sand6#ist
The Malmö Academy Academy of Music 1998
1. On the origin of the alto guitar Sin'e the end of the 194:s% when ) ordered my first Bolin g#itar% ) had a *ery stim#lating time of 'ooperation with the m#si' instr#ment designer (eorg Bolin 1" (eorg possessed an extreme dexterity in 'raftsmanship% a great knowledge of materials% and an #n#s#ally well-de*eloped feeling for so#nd and a keen ear for the 6#ality of the tone" 7e was not afraid of #n'on*entional sol#tions of problems% and so his design had a 'hara'teristi' feat#re of ingenio#s simpli'ity" (eorg had not only a keen ear for the 6#ality of the tone% he listened readily to the wishes of the instr#mentalists% and so he always worked in a prod#'ti*e way together with performing m#si'ians of different kinds" ;or me this 'ooperation was mostly% for nat#ral reasons% abo#t his design of *ario#s types of g#itars like bass% 'o#nter% prime% alto% treble% and o'ta*e g#itar" d1 > a > f > ' > ("
) 1 2 3
Born ;ebr#ary 2.% 1912% and de'eased April 21% 1993 ?o#ble 'o#rse @ ea'h string 'o#rse 'onsists of two strings% stret'hed 'losely together" )s also 'alled do#ble string" ih#ela @ Spanish g#itar-like instr#ment t#ned like a renaissan'e l#te% #sed in the 1/th 'ent#ry"
)t is to be noted that the t#ning of the renaissan'e l#te and that of the *ih#ela are relati*e% so it is impossible to determine an absol#te pit'h" ;or instan'e% #ys +ilCn writes in El Maestro 0143/8 ”Take the highest string 'o#rse and tighten it as m#'h as it 'an stand" Then yo# t#ne the other string 'o#rses after it”" The si$es of renaissan'e l#tes and *ih#elas *aried% and so did the t#ning that was dependant of the s'ale length% of the string 6#ality% and to a 'ertain extent of the temperat#re and air h#midity on the o''asion of the t#ning" As ) 'ame home from Basel in 19/1 ) borrowed from (eorg a so 'alled De6#into g#itar that was t#ned a1 > e1 > h > g > d > A" ) ret#ned it g1 > d1 > a > f > ' > (% and so ) got the same t#ning as the renaissan'e l#te and the *ih#ela" Then ) did not need to make the deto#r *ia trans'riptions of m#si' for renaissan'e l#te and *ih#ela% b#t ) 'o#ld play this m#si' dire'tly from the original so#r'e" =hen ) be'ame more and more absorbed in the l#te litterat#re% ) en'o#ntered new problems already in the Eli$abethan l#te% whi'h had one or two extra bass strings" ) asked (eorg to b#ild a ”ter$” g#itar e6#ipped with single strings and extra bass strings" The first spe'imen of a ter$ g#itar t#ned as a l#te was b#ilt in 19/2 and it had nine strings% whi'h means that it had six main strings g1 > d1 > a > f > ' > (% and three extra bass strings t#ned diatoni'ally down from the sixth string8 0( @ ; > E flat > ?" These bass strings 'o#ld also be t#ned differently" n this instr#ment ) 'o#ld play the entire Eli$abethan repertoire witho#t trans'ription% and e*en other l#te m#si' written for l#tes with / > 9 'o#rses" 7owe*er% new problems arose when ) ta'kled the early )talian baro6#e m#si' written for the ”ar'hili#to”% that is a bass l#te 0theorbo with 11 > 13 string 'o#rses in renaissan'e t#ning" )t was th#s e6#ipped with 4 > extra bass 'o#rses" )n 19/4 (eorg b#ilt a ten string g#itar t#ned g1 > d1 > a > f > ' > (F; > E flat > ? > <" At that point of time the 'onstr#'tion had gone so far away from the original form 0the ter$ g#itar that we renamed it ”alto g#itar” 'onsidering the t#ning of the six main strings 0 g1 > d1 > a > f > ' > (% whi'h is the same as that of the most 'ommon renaissan'e l#te whi'h is 'alled ”alto l#te”" )n 19// (eorg b#ilt a prime g#itar with fi*e extra bass strings t#ned e1 > b > g > d > A > EF? > < > B1 > A1 > (1" Then we fo#nd that its larger body ga*e it a deeper and more mellow so#nd% e*en if it was t#ned like an alto g#itar with a 'apotasto behind the third fret8 g1 > d1 > a > f > ' > (F; > E flat > ? > < > B1 flat" The same year (eorg b#ilt% among other things% an alto g#itar with 11 strings and larger body and longer s'ale 04 'm" )t was then he made the '#taway on the treble side of the body to impro*e the playability in higher positions" That year (eorg also b#ilt a 13 string alto g#itar t#ned g1 > d1 > a > f > ' > (F; > E flat > ? > < > B1 flat > A1 > (1" Go g#itar had had so many strings before" f 'o#rse it bro#ght abo#t new problems% and (eorg experimented with with different bra'ing of tops and different s'ale lengths et'" Gow there are alto g#itars with H% 9% 1% 11 and 13 strings" The most 'ommon one has 11 strings 019//" (#itars with more than / strings are 'ertainly no no*elty" They existed d#ring the 19 th 'ent#ry when Gapoleon 1HH3 played a string g#itar and !ohan Iasper +ert$ 01H/ > 1H4/ a 1 string g#itar"
))
The p#rpose of the alto g#itar is primarily that g#itarists% witho#t ha*ing to 'hange their pl#'king te'hni6#e% shall be able to play m#si' for *ih#ela% renaissan'e l#te% and renaissan'e t#ned theorbo 0ar'hili#to witho#t trans'ription and in a way that is more tr#e to the original" +oreo*er it is possible% owing to the extra bass strings% to play m#si' for baro6#e t#ned l#te 0f1 > d1 > a > f > d > A > ( > ; > E > ? > < > B1 > A1 tr#e to the original" The alto g#itar has not only affe'ted my own 'hoi'e of repertoire > it has had a far-rea'hing effe't on my pedagogi'al a'ti*ity" Jo# 'an more easily a''ess the l#te literat#re when yo# a*oid the time 'ons#ming work with trans'ription" Jo# 'an e*en play dire'tly from the original tablat#res if yo# like" Jo# go to the well . and drink fresh water" This has meant% at least to me% great benefits" Gowadays ) always start from the original% with few ex'eptions" This has% in its t#rn% meant that many of my p#pils ha*e payed more attention to the older epo'hs than they wo#ld ha*e done otherwise" An example of s#'h a p#pil is (,ran S,lls'her% who has pa*ed the way for the pop#larity of the alto g#itar in the whole world% with his brilliant Ba'h interpretations on alto g#itar" Three more of my many talented p#pils ha*e made *al#able 'ontrib#tions% for instan'e (#nnar Sp5#th and (#nnar 7ansson ha*e #sed the alto g#itar and made many fine trans'riptions for the instr#ment" Another one is Anders +iolin who has made 0alto g#itar arrangements of piano m#si' by Eri' Satie 01H/9 > 1924" Jet another of my p#pils is B,r5e Sand6#ist who has made many fine arrangements for alto g#itar" E*en 'omposers ha*e taken an interest in the alto g#itar% among them ?aniel B,rt$ who has 'omposed a ballade for alto g#itar" The 'ooperation between (eorg and myself has 'on'erned not only the alto g#itar% b#t the alto g#itar is the inno*ation that has drawn most attention in the world" ther inno*ations whi'h ) ha*e 'ontrib#ted to are the prime g#itar with 11 strings% the treble g#itar 019H2 with H strings t#ned b1 > f1 sharp > d1 > a > e > B - A > (% and the / string bass g#itar t#ned g > d > A > ; > < > (1" ) also followed (eorg:s work with the ”tonbord” 4 whi'h gi*es low *ol#me instr#ments a nat#ral amplifi'ation" ”Ton*&ggar” and ”tontak” / are de*elopments from the ”tonbord” whi'h aim at impro*ing the a'o#sti's of the room itself" These in*entions are o#tside my pro*in'e% b#t ) am happy that ) parti'ipated when they were implemented"
.1 Technical !laying instructions There are differents s'hools of playing te'hni6#e" The te'hni6#e that is des'ribed in the most 'ommon g#itar s'hools 'an generally% regarding play on the six main strings% be #sed on alto g#itar" ;or playing on the extra bass strings and damping them% there is howe*er need for extra exer'ise 0see item 2"2 below" 7ere ) wo#ld like to des'ribe how ) regard 'lassi'al g#itar te'hni6#e broadly% and more spe'ifi'ally the spe'ial te'hni6#e needed to play alto g#itar" ) belie*e in an ed#'ation with high 6#ality demands b#ilding an interpretatory te'hni6#e% that is an instr#mental te'hni6#e that always p#ts priority to the m#si'al expression" There is need for a 'lear idea of how to interprete before the instr#mental te'hni'al st#dying is started% and this is a 'ondition of s#'h an interpretatory te'hni6#e" The 'onne'tion between idea and exe'#tion m#st be de*eloped so that the so#nding res#lt f#lly 'orresponds to the idea" That is why te'hni6#e 'an ne*er be separated from interpretation in m#si'al st#dies"
))) . 4
/
”=ell” and ”so#r'e” are the same word in Swedish 0”k&lla” - translator:s note" ”Tonbord” @ ”tone board”% an amplifierFlo#dspeaker where a g#itar top like wooden 'onstr#'tion emits the so#nd translator:s note" ”Ton*&ggar” and ”tontak” @ ”tone walls” and ”tone 'eilings” - translator:s note"
)t sho#ld be a matter of 'o#rse that st#dents of m#si' are to ta#ght to ha*e a greater m#si'al and artisti' awareness% and not only to be 'ompetent instr#mentalists" ;ast and lo#d play is easily meas#red% and therefore often gi*en pre'eden'e" To shape m#si' with artisti' awareness% with a te'hni6#e that manifests itself only in the perfe't 'larity of the exe'#tion% is more diffi'#lt b#t makes #s happier" To get a 'lear idea of how yo# want to interprete% yo# need% among other things% knowledge of the notation and exe'#tion pra'ti'e of the different epo'hs% pl#s a mat#re #nderstanding of m#si'" )n his or her interpretation a m#si'ian m#st present a 'aref#lly prepared and 'omplete form" )n order to attain impa't% this form m#st be deeply rooted in the artisti' 'on*i'tion of the indi*id#al" Desear'h within the repertoire in 6#estion is therefore a means of attaining this form% ne*er a goal in itself" The 'olle'tion of ”ob5e'ti*e” fa'ts is not eno#ghK The appli'ation of all knowledge m#st be done with ad5#stment to the the indi*id#al:s will of expression% s#b5e'ti*e m#si'al way of thinking% and te'hni'al 'ompeten'e" This is abo#t resear'h with artisti' o*ertones% a sear'h for bea#ty rather than ”ob5e'ti*e” tr#th"
. Technical !laying instructions "itting !osition
"tri#ing the strings Jo# sei$e the string with the nail% p#ll it% and release it" The lo#dness of the tone depends on how hard yo# ha*e p#lled the string" The term ”striking” is misleading" Jo# do not a't#ally strike the string > yo# sei$e it% p#ll it% and release it witho#t 'hanging the tension of the string when yo# release it 0do not 5erk the string" )f yo# 'hange the tension of the string when yo# release it% then there is a 'onfli't between two in'ompatible for'es% namely the ”own will” of the tense string to ret#rn to its original position% and the power of the striking finger whi'h% thro#gh an extra 5erk% in'orre'tly for'es the string in the opposite dire'tion" To a'hie*e a good tone 6#ality it is th#s important to p#ll the string only to a 'ertain point 0yo# p#ll it more if yo# want a lo#d tone and less if yo# want a 6#iet tone and then release it witho#t 'hanging the tension of the string at the moment yo# lea*e the string" Demember the r#le8 the least possible movement, the greatest possible relaxation. This pl#'king te'hni6#e makes it possible to emphasi$e any part yo# want in a polyphoni' mo*ement" Jo# p#ll the string on whi'h the part in 6#estion is played more than the other strings" This des'ription is in prin'iple *alid for both free stroke 0tirando and rest stroke 0apoyando"
)
Rest stroke: P#ll the string with the finger nail towards the nearest lower string" =itho#t 'hanging the tension of the string when the fingernail lea*es the string% the finger falls and rests against the nearest #nderlying string" =ith th#mb rest stroke% the th#mb nail slides towards the nearest o*erlying string and rests there" Free stroke: =ith free stroke the finger goes free from the #nderlying string% and with th#mb rest stroke free from the o*erlying string" Timbre (striking points): S#lla tastiera8 the string is str#'k at the fretboard% whi'h gi*es a soft 0dol'e tone" S#l ponti'ello8 the string is str#'k at the bridge whi'h gi*es a nasal tone" Striking angles: The string 'an be str#'k in different dire'tions" Lpwards from the g#itar top gi*es a more nasal so#nd 0#sed with ponti'ello playing% and downwards towards the #nderlying string gi*es a softer so#nd 0#sed with s#lla tastiera playing" =ith free stroke yo# sho#ld try to attain a downwards strike% b#t witho#t to#'hing the #nderlying string" The two types of timbre% s#lla tastiera and s#l ponti'ello% 'an th#s be emphasi$ed thro#gh striking angles"
Articulation $tone stri#ing% and the connection of tones& a) Legato @ bo#nd8 for g#itar this is is a te'hni'al term for tones prod#'ed by the left hand only% an attempt to imitate the gen#ine legato where the tones are 'onne'ted to ea'h other witho#t a new atta'k% whi'h is impossible on g#itar" Lpgoing legato8 for instan'e 0)ll#stration )n this example ' is str#'k as #s#al% and d is prod#'ed with the third finger of the left hand% whi'h is hammered down between the se'ond and the third fret so that the tone d rings" ?owngoing legato8 for instan'e 0)ll#stration )n this example d is str#'k as #s#al% and after that the third finger of the left hand p#lls the string sideways and releases it so that ' rings" b) ortato @ 'arried% softly str#'k tones% only slightly separated !) "on legato @ a little more sharply str#'k tones% slightly separated d) Sta!!ato # short% separated tones with intermediate pa#ses e) Sta!!atissimo @ *ery short tones% separated by longer pa#ses
$) i%%i!ato 0bow term @ with pi$$i'ato the bow m#si'ian pl#'ks the string with a finger instead of #sing the bow" n g#itar pi$$i'ato means that the string is damped with the little finger side of the right hand o*er the bridge% and the string is 0most often str#'k with the pad of the th#mb% then the so#nd resembles the pi$$i'ato of the bow m#si'ians" The different types of arti'#lation are noted in the following way" 0)ll#stration +ore terms 'on'erning arti'#lation exist% e g martellato @ hammering% ten#to @ s#stained% mar'ato @ refers to both arti'#lation and 'hara'ter notation"
'haracter notations
Play on the e(tra )ass strings and dam!ing these strings ?#e to the great n#mber of strings of the alto g#itar% damping gets more 'ompli'ated than with an ordinary / string g#itar" This 'on'erns not only the dire't damping of str#'k strings% b#t also damping of o*ertones ringing in resonan'e% from the great n#mber of strings" To be able to damp effe'ti*ely% yo# need to know the o*ertone series of ea'h string% so yo# 'an damp #ndesired lingering notes 6#i'kly" 7owe*er% lingering o*ertones whi'h are harmoni'ally a''eptable do not always need to be damped"
S3 @ ma5or third 4 @ perfe't fifth @ minor se*enth H @ o'ta*e 9 @ ninth
0)ll#stration
The o*ertone series of the strings of the alto g#itar 0GTEK Transposed t#ning
)
&ing te!hni'e: Total damping8 The th#mb side of the right hand is p#t o*er all the strings" The left hand 'an also be #sed for damping" Partial damping8 =ith mo*ement step by step on loose bass strings% for instan'e 0)ll#stration The tones are damped with the side of the right th#mb at the same time as the th#mb nail sei$es the string abo*e to prepare the next tone"
=ith downgoing mo*ement step by step on loose bass strings% for instan'e 0)ll#stration M is damped with the right th#mb whi'h damps afterwards by striking the tone B and falling towards the string abo*e 0rest stroke and thereby damping the pre*io#s tone et'" All bass strings whi'h *ibrate freely% that is the strings n#mber % H% 9% 1% and 11% 'an be damped with the th#mb side of the right hand" Be 'aref#l to 'hange the hand position as little as possible"
*earn to inter!rete the score of the music )t is of 'o#rse important to #nderstand all the information that a m#si' s'ore 'an gi*e% both te'hni'ally and% most important% m#si'ally" )n parallell with instr#mental st#dies% yo# sho#ld st#dy m#si' theory% harmony% form theory% notation% and exe'#tion pra'ti'e% pl#s m#si'al terminology" Inowledge is not art% b#t it is ne'essary for a 'ons#mmate artisti' interpretation" The repertoire of the alto g#itarist is primarily renaissan'e and baro6#e m#si'% b#t also later m#si' in trans'ription or arrangement" As a basis for the 'hoi'e of repertoire% the following repertoire plan 'an be #sed"
+.1 "hort history of instruments ?#ring the 1/ th and 1th 'ent#ries% the l#te was one of the most 'ommon instr#ments% and it was #sed as a solo% a''ompaniment% and ensemble instr#ment" ) addition to the ordinary l#te% shaped as a half pear% the m#si'ians of Spain and )taly #sed the g#itar-like *ih#ela% whi'h was t#ned in the same way" ?#ring the latter half of the 1/th 'ent#ry and the former half of the 1 th 'ent#ry% there were also theorbo l#tes%
))
that is l#tes whi'h in addition to the six main strings were e6#ipped with 1 > freely *ibrating 'o#rses of bass strings" ?ifferent l#tes and *ih#elas 'o#ld 'ertainly be t#ned with different pit'h% b#t in prin'iple the t#ning was the same% that is a fo#rthFthird t#ning with the third in the middle8 perfe't .% perfe't .% ma5or 3% perfe't .% perfe't ." n the early E#ropean l#te the first 0highest and sometimes also the se'ond string were single% while the others were do#ble" The se'ond and third string 'o#rses were t#ned in #nison% while the fo#rth% fifth% and sixth 'o#rses were t#ned in o'ta*e" n the Elisabethan l#te and on the *ih#ela all strings 'o#rses were t#ned in #nison" The alto g#itar was implemented to make it possible to play m#si' for renaissan'e t#ned l#tes and *ih#elas% and theorbos% more a#thenti'ally" That m#si' is noted in )talian% Spanish% (erman% and ;ren'h tablat#re from the period 14 to 1/4" The earliest tablat#re we know is 'ta*ian#s Petr#''i:s ntablatra de Lato rimo, Se!ndo, Terso and *arto% eni'e 14 > 1411" The latest known tablat#re p#bli'ation for renaissan'e l#te is l Lito di +ernardo ianon!elli detto il +ernardello, eni'e 1/4" ?ifferent l#te t#nings taken from8 S-ntagma Msi!m 01/14F29 by +i'hael Praetori#s 0141F3 N 1/21" Gote8 the pit'h is relati*e and do#ble 'o#rses were #sed"
0)ll#stration
@ Small o'ta*e l#te"
0)ll#stration
@ Small treble l#te"
0)ll#stration
@ Treble l#te"
0)ll#stration
@ Alto l#te 0'f" ter$ and alto g#itars"
0)ll#stration
@ Tenor l#te 0'f" prime g#itar"
0)ll#stration
@ Bass l#te"
0)ll#stration
@ arge bass l#te"
)))
?#ring the late renaissan'e and the baro6#e there were many types of theorbo l#tes with different t#ning and n#mber of strings" The most 'ommon solo l#te with extra bass strings was the ”li#to atiorbato” or ”ar'hili#to”" )t was t#ned like this8
0)ll#stration
S'ordat#ra t#nings 0ret#nings existed both 'on'erning the main strings and in parti'#lar the extra bass strings" This t#ning has been the prototype of the t#ning of the alto g#itar" The only differen'e is that the alto g#itar has single strings all the way 0'f" baro6#e l#te t#ning"
+. ,ihuela tunings #ys +ilCn writes in the prefa'e of El Maestro 0alen'ia 14348 ”)f the *ih#ela is large% take the first 0string 'o#rse more thi'k than thin% and if it is small then take the first more thin than thi'kO and when this is done% raise the first as high as it 'an stand% and then t#ne the other string 'o#rses in relation to the first one”" ;rom this it may be 'on'l#ded that the *ih#ela existed in *ario#s si$es% and that the tning as relative. Go absol#te pit'h 'an be determined" This means that the absol#te pit'h was dependant of the dimensions and 6#ality of the strings% of the s'ale length of the instr#ment% and to some extent of the temperat#re and the air h#midity on the o''asion of the t#ning" This is also *alid for all l#te t#nings d#ring the renaissan'e" 7owe*er% the m#si'ians worked with relati*e t#nings" !#an Berm#do% fran'is'an monk and m#si' theorist% states in his &e!lara!i/n de instrmentos msi!ales that his 'ontemporary *ih#ela players often imagined 0imaginan the sixth string 'o#rse as ”gama#t”% whi'h means that the (-t#ning was% besides the A-t#ning% the most 'ommon relati*e t#ning with the *ih#elists 0see relati*e t#nings" =ith +ilCn% +#darra% and ;#enllana there are no dire't t#ning instr#'tions for relati*e pit'h% b#t alderrCbano and ?a$a des'ribe H different t#nings% Gar*Ce$ /% and Pisador ." )t is hardly probable that H *ih#elas with different t#nings were #sed" The t#nings were relati*e and worked rather like a tonal orientation% where 'lefs% p#t at the beginning of ea'h pie'e of m#si'% were part of the tonal information"
)
elatie ihuela tunings
0Table with ill#strations
The only dire't information on how *ih#elas of different si$es 'o#ld be t#ned in relation to ea'h other we find in alderrCbanoQs Silva de Sirenas, Libro 0. )n that book there are d#ets for differently t#ned *ih#elas% that is for two *ih#elas t#ned in #nison or for two *ih#elas t#ned at a distan'e of a third% fo#rth or fifth" )f we start with alderrCbanoQs eight different t#nings% we ha*e two alternati*es" Either we start from ? 0@ n#mber or from E 0@ n#mber /" )f we start from ? we get the t#nings ? > ; > ( > A 0@ the t#nings % 4% 3% and 2" Sin'e we g#itarists are #sed to E-t#ned instr#ments% ) ha*e 'hosen to start from E" Then we get the following t#nings% whi'h may well ha*e been the most 'ommon absol#te *ih#ela t#nings8
The n#mbers in this paragraph refer to the table abo*e > translator:s remark"
0)ll#stration
0)ll#stration
0)ll#stration
0)ll#stration
At trans'ription of tablat#re it is 'on*enient to start from E-t#ning% sin'e this t#ning differs from ordinary g#itar t#ning only by the third string being t#ned to f sharp instead of g" The symmetri' fo#rth-third-t#ning - perfe't .% perfe't .% ma5or 3% perfe't .% perfe't . > was 'alled ”temple 'omRn” 0@ ordinary t#ning by the Spaniards" ;#enllana and Pisador also #sed ”destemple” 0@ ret#ning whi'h means lowering the sixth string by a tone8 perfe't .% perfe't .% ma5or 3% perfe't .% perfe't 4" )n addition to / 'o#rse *ih#elas Berm#do also des'ribes a 'o#rse *ih#ela8 ”*ih#ela de siepte rdenes”" +oreo*er there were two different t#nings for . 'o#rse g#itar and one t#ning for 4 'o#rse g#itar" #otation from &e!lara!i/n de instrmentos msi!ales 0s#na 1444 by !#an Berm#do8 ”)f yo# wish to alter a *ih#ela to a :(#itarra a los G#e*os:% then remo*e the highest and the lowest string 'o#rse" The fo#r remaining string 'o#rses are the same as on a :(#itarra a los G#e*os:" )f yo# want to make a *ih#ela from a g#itarra% then add a sixth and a first string 'o#rse”" A''ordingly% a (#itarra a los G#e*os had the same inter*als between the string 'o#rses as the fo#r inner 'o#rses of a *ih#ela - perfe't .% ma5or 3% perfe't ." The other t#ning for . 'o#rse g#itar was perfe't 4% ma5or 3% perfe't . @ ”g#itarra al temple *ie5o” 0 temple *ie5o @ old t#ning% temple n#e*o @ new t#ning" Before the first pie'e for ”(#itarra al temple *ie5o” in Tres libros de m1si!a en !i$ra para vihela, Alonso +#darra re'ommends ”BordRn en la 6#arta” 0@the fo#rth string 'o#rse in o'ta*e" This re'ommendation is not repeated before the pie'es for ”(#itarra a los G#e*os” whi'h follow immediately in the book% b#t probably the re'ommendation is *alid also for them" n the 'ontrary% ;#enllana does not re'ommend bordRn en la 6#arta" The 4 'o#rse g#itar @ ”g#itarra de 'in6o rdenes” or ”*ih#ela de 'in6o rdenes” was t#ned perfe't .% perfe't .% ma5or 3% perfe't ."
)
"ummary of renaissance tunings for / and 0 course guitars
0)ll#stration
@ ”(#itarra a los G#e*os”
0)ll#stration
@ ”(#itarra al temple *ie5o”
0)ll#stration
@ ”(#itarra de 'in6o rdenes”
These t#nings are 'hosen to fa'ilitate trans'ription to ordinary g#itar" The renaissan'e g#itar probably had a higher pit'h% b#t what is of interest here is the inter*al relation between the string 'o#rses" =ith a 'apotasto yo# 'an then *ary the pit'h 0'f" baro6#e g#itar t#ning"