10 R adical iImovations) social revolution,
10 Radical
andiImovations)
the baroquesocial
guitarrevolution,
and the baroque guitar
CRAIG H. RUSSELL
CRAIG H. RUSSELL
Guitar chords with a flurry of strummed strings - sonorities we now re­
Guitar gard
chords
with a flurry of
strummed strings
- sonorities
weatnow
re­ of the
- revolutionized
as commonplace
the sound
of music
the end
commonplace
revolutionized
the
sound
of
music
at
the
end
of
the
gard as 1500s
and opened up a new universe of musical thought in Western culture.
1500s and
opened
a new universe
musical
thoughtthroughout
in Westernthe
culture.
Renaissance
andup
counterpoint
hadof
reigned
supreme
Melody
counterpoint
had
reigned
supreme
throughout
the
Renaissance
Melodyasand
the principal musical aspects of a composition, but around 1600 their
as the principal
musical aspects
of a composition,
but -around
1600\J\fhereas
their pre­
role was challenged
by a startling
new concept
harmony.
role was
challenged
by
a
startling
new
concept
harmony.
\J\fhereas
pre­ into a
viously music consisted of horizontal melodic threads interwoven
music
consistedfabric
of horizontal
threads
intoincidental
a
viouslylush
polyphonic
(in whichmelodic
harmonies
aroseinterwoven
merely as an
fabric
(in
which
harmonies
arose
merely
as
an
incidental
lush polyphonic
byproduct), a new school of thought in the seventeenth century held that a
byproduct),
new school
of thought
theoutset
seventeenth
century held
that were
a
work acould
be governed
from inthe
by its harmony.
Chords
the
work could
be
governed
from
the
outset
by
its
harmony.
Chords
were
the
starting point of a composition, not an afterthought. The vertical alignment
startingofpoint
of aas
composition,
nothorizontal,
an afterthought.
The
vertical alignment
sounds,
opposed to the
became
paramount.
No instrument
of sounds,
as
opposed
to
the
horizontal,
became
paramount.
No
instrument
better represents this radical transformation than the guitar, which was at
better represents
thisofradical
transformation
than
thethe
guitar,
whichtowas
the forefront
this aesthetic
revolution
from
horizontal
theatvertical.
the forefront
of
this
aesthetic
revolution
from
the
horizontal
to
the
vertical.
This shift is born out in the guitar's early notational systems, performance
This shift
is born out
in therepertoire,
guitar's early
andnotational
functionalsystems,
roles in performance
society.
techniques,
musical
techniques,Equally
musicalimportantly,
repertoire, and
functional
roles
in
the guitar found itself society.
in the center of the social
Equally
importantly,
the guitar
itself inand
theeighteenth
center of the
social In the
turmoil
and upheavals
of thefound
seventeenth
centuries.
turmoil1500s,
and upheavals
of
the
seventeenth
and
eighteenth
centuries.
In
the by the
the guitar was a lowbrow instrument that was overshadowed
1500s, the
guitar
was a lowbrow
that
overshadowed
theelevated
more
sophisticated
vihuelainstrument
and lute. But
in was
the 1600s,
the guitarby
was
more sophisticated
vihuela
and
lute.
But
in
the
1600s,
the
guitar
was
elevated
from the culture of the street to that of the royal courts. No longer confined
from the
of theasstreet
to that of the
royalshops
courts.
No longer
to culture
such venues
neighborhood
barber
or gypsy
campconfined
fires, the guitar
to such now
venues
as
neighborhood
barber
shops
or
gypsy
camp
fires,
found itself equally at home on the operatic stage orthe
in guitar
the hands of
now found
itself
equally
at
home
on
the
operatic
stage
or
in
the
hands
of were
kings and queens. In the 1700s, traditional European class systems
kings and
queens.
In
the
1700s,
traditional
European
class
systems
were
turned topsy-turvy by scientific advances, a transformed economy based on
turned industrial
topsy-turvy
by scientificasadvances,
a transformed
economy based
on
technologies
opposed to
agricultural production,
a burgeoning
industrial
technologies
opposed
to agricultural
a burgeoning
middle
class, andasworld
explorations
that production,
opened the door
for the ensuing
middle interactions
class, and world
explorations
that
opened
the
door
for
the
ensuingguitar­
of continents and cultures. Once again, the mercurial
interactions
continents
and cultures.
again,
theatmercurial
guitar­
to new
situationsOnce
- found
itself
the center
of this newly
alwaysofadapting
always transformed
adapting to new
situations
found
itself
at
the
center
of
this
newly
society with its middle-class values and multifarious ethnic
transformed
society with its middle-class values and multifarious ethnic
identities.
identities. Nothing better illustrates the shift from the horizontal perspective to
Nothing
better around
illustrates
thethan
shiftguitar
fromnotiltion
the horizontal
perspective
the vertical
1600
and guitar
treatises. to
The first
[153 ]the vertical around 1600 than guitar notiltion and guitar treatises. The first
[ 153]
154 Craig H. Russell
154 Craig H. Russell
publication
the five-course
guitar,
Joan
Carles Ama
publication dedicated
to the dedicated
five-coursetoguitar,
Joan Carles
Amat's
Guitarra
espafiola
y vandola
(1586),
theharmony
dominance
espanola y vandola
(1586),
underscores
the underscores
dominance of
overof ha
melody,
since
his
treatise
delves
into
tHe
chord
fingerings
melody, since his treatise delves into the chord fingerings and harmonic an
progressions
- the
plucking
of individual
progressions - the
plucking of
individual
notes
is never annotes
issue.isl never
Amat an i
compares
the
harmonies
of
a
piece
to
the
colors
of
a paintin
compares the harmonies of a piece to the colors of a painting and then
makesthat
the anyone
bold claim
can
play
along
onOrany
makes the bold claim
can that
play anyone
along on
any
piece
if he
she piece
understands
the
harmonic
structure:
understands the harmonic structure:
Thepainter
good and
painter
has ready
at the
his disposal
all of the co
The good and expert
hasexpert
ready at
his disposal
all of
colors that
are necessary
they
available
at hisifwhim
and fanc
are necessary for painting;
they for
are painting;
available at
hisare
whim
and fancy
he
wants
to
paint
a
man,
or
a
lion,
or
an
ox.
In
the
same
way,
we hav
wants to paint a man, or a lion, or an ox. In the same way, we have
equipped
ourselves
with
all
of
the
chord
fingerings,
that
are
like r
equipped ourselves with all of the chord fingerings, that are like raw
ev
material
and
like
the
painter's
colors,
from
which
one
can
form
material and like the painter's colors, from which one can form every kind
of
tonality
and
key
by
leaping
from
one
[chord]
to
the
next.
With
of tonality and key by leaping from one I chord] to the next. With these
one can
play the
vacas, gallardas,
villanos, -italianas,
pava
fingerings one canfingerings
play the vacas,
gallardas,
villanos,
italianas, pavanas
and
other
similar
ones
in
all
twelve
keys.
And
that
which
makes
one
other similar ones - in all twelve keys. And that which makes one marvel
(and
to
many
will
seem
impossible!),
is
that
with
these
chord
fing
(and to many will seem impossible!), is that with these chord fingerings,
anybody
at
all
can
play
along
with
any
musical
instrument
on
wh
anybody at all can play along with any musical instrument on whatever
piece
one
might
play
or
might
be
able
to
play.2
piece one might play or might be able to play.2
The too,
notation
itself, harmonic
too, highlights
harmonic
thinking. Am
The notation itself,
highlights
thinking.
Amat indicates
full
chords
with
a
single
numeral.
His
number"
1"
results
his in
full chords with a single numeral. His number" I" results in E major,
"2" is
is 0
A major,
major, and
in this mann
"2" is A major, "3"
major, "3"
and isheDcontinues
in he
thiscontinues
manner through
the
circle
offifths
until
he
ultimately
reaches
number
"12" whic
the circle of fifths until he ultimately reaches number" 12" which completes
the cycle
on B major. He minor
accommodates
by addin
the cycle on B major.
He accommodates
chords byminor
addingchords
the suffix
"b"
for
bemolado
(meaning
"flat")
to
the
numerals,
and
"b" for bemolado (meaning "flat") to the numerals, and similarly wanderssimila
through
twelve minor
b" is
E minor,
through aJI twelve
minor alJ
harmonies;
"1 b"harmonies;
is E minor, "1
"2b"
is A
minor, "2b"
"3b" is A
clarifies
D minor,
Thus, Amat's
orthography
splendidly
is D minor, etc. is
Thus,
Amat'setc.
orthography
splendidly
clarifies
each chord,
this melody
notationtoleaves
melody
itself.
In one
stroke,
but this notationbut
leaves
fend for
itself.toInfend
one for
stroke,
Amat
COlll­
pletely
reverses
the
priorities
of
lute
and
vihuela
tablature
pletely reverses the priorities of lute and vihuela tablature notation of the not
1500s in points
which are
melodic
points
depicted but
withharmonies
precision, bu
1500s in which melodic
depicted
withare
precision,
occur
only
as
the
incidental
byprod
uct
of
the
melodic
occur only as the incidental byprod uct of the melodic voice leading. voice lea
After Amat's
treatise,
the Italians
up yet anothe
the italians
dreamed
up yet dreamed
another notational
After Amat's treatise,
system
called
the
alfabeto
in
which
alphabet
letters
- rather than
system called the alfabeto in which alphabet letters - rather than numerals­
the guitarist
which chord
fingerings
should be
indicate to the indicate
guitarist towhich
chord fingerings
should
be depressed.
Although
alfabeto
fingerings
are
handy
shortcuts
that
tell the g
Although alfabeto fingerings are handy shortcuts that tell the guitarist par­
ticular
chord shapes,
unfortunately
thesedo
alphabet
letters do not
ticular chord shapes,
unfortunately
these
alphabet letters
not correspond
to
the
names
of
the
chords
in
a
traditional
music
theory
is, thesense.
to the names of the chords in a traditional music theory sense. That
alfabeto
chord shape
as "N' does
notmajor
produce
alfabeto chord shape
designated
as "A"designated
does not produce
an A
har­ an A
mony
but
instead
results
in
a
G
chord.
The
ensuing
match-ups
mony but instead results in a G chord. The ensuing match-ups are equally
confusing and counterintuitive.
Thedesignated
a~fabeto shape
confusing and counterintuitive.
The a~fabeto shape
as "E"designated
pro­
a C major
harmony,
the letter
resultsthe
in letter
a D majo
duces a C majorduces
harmony,
the letter
"c" results
in a "c"
D major,
produces
an Athe
minor
... winds
and theitssystem
winds its
"D" produces an"D"
A minor
... and
system
way forward
in away f
semi-arbitrary
fashion.
Its alphabet
problemstablature
aside, alphabet
tablature d
semi-arbitrary fashion.
Its problems
aside,
does provide
sufficient
information
to get a novice
along
with th
to get
a novice strumming
alongstrumming
with the rest
of the
sufficient information
155 The
baroque guitar
155 The baroque
guitar
10.1 Monte,
MillioniVera
ande Monte,
Vera
e facil modo
d'imparare
(1678), p. 6, "Alfabeto
Example 10.1 Example
Millioni and
faci! modo
d'imparare
(1678),
p. 6, "Alfabeto
straodinario inventato"
nuovamente inventato"
straodinario nuovamente
I
I
I
I
v
I
I
I
I
I
I
I
I
u
V
C'B
I
I
I
"
v
1\
1\
V
'B 'A.
'A.. +
+
I
I
I
I
I
1Itj- u
1Itj-
I I
I I
I I
I "
I
I
I
I
I
"
,
~""
-e­
'E 'D
'D C
,
I
I
I
I
I
I
I
"
"
I
II
I
I
G
G'F
'F 'E
I
I
I
I
I
-
I
I
I
v
I
I
I
I
~""
-e­
crew.
And like
Amat'sthis
notation,
this is harmonically
It is the chords,
crew. And like
Amat's
notation,
is harmonically
driven. It isdriven.
the chords,
notthat
the the
tune,
that theis guitarist
not the tune,
guitarist
playing. is playing.
The first appearance
ofthe
Italian
alfabeto
occurs in Montesardo's
Nuova
The first appearance
ofthe Italian
alfabeto
occurs
in Montesardo's
Nuova
d'intavolatura
of 1606. 3 Montesardo's
chord
inventione inventione
d'intavolatura
of 1606. 3 Montesardo's
chord shapes
are shapes
explicit,are explicit,
but hisarerhythms
are up the
for works
grabs; are
the only
works
are only
playable
if one already
but his rhythms
up for grabs;
playable
if one
already
knowsSanseverino,
the piece. Sanseverino,
heels of Montesardo,
knows the piece.
on the heelsonofthe
Montesardo,
resolves theresolves
issue the issue
rhythmic and
ambiguity
he also
verbally articulates
what previously
has
of rhythmicofambiguity
he alsoand
verbally
articulates
what previously
has
been
by Montesardo's
notation
system
- that
is, the role
dominant role
been implied
by implied
Montesardo's
notation system
- that
is, the
dominant
that plays
harmony
plays
in this
guitar literature.
He postulates
that "it seems
that harmony
in this
guitar
literature.
He postulates
that "it seems
that the
Spanish
guitar
to with
be played
with full
to me that to
theme
Spanish
guitar
ought
to beought
played
full strokes
andstrokes
not and not
otherwise
[sinceremoves
pl ucking]
removes
the harmony."4
Abatessa and
otherwise ...
[since pl...
ucking]
entirely
theentirely
harmony."4
Abatessa and
Colonna subsequently
explore
further possibilities
harmonic possibilities
with "shifted
Colonna subsequently
explore further
harmonic
with "shifted
chords"
(what
nowchords")
call "barthan
chords")
be slid
up the
and down the
chords" (what
we now
callwe
"bar
can bethan
slid can
up and
down
ofto
the
guitar
to anyThey
location.
They alsoshort
compose
shortloops
harmonic loops
neck of theneck
guitar
any
location.
also compose
harmonic
as a form ofasvariation;
Colonna
through through
a form ofAbatessa
variation;and
Abatessa
andembellish
Colonnaharmonies
embellish harmonies
the use of "satellite
brief
chordal
excursions
that are caught
in the
the use ofchords,"
"satellite
chords,"
brief
chordal excursions
that are
caught in the
orbit of theorbit
original
and chord
revolveand
around
it as
a sortitofastemporary
of thechord
original
revolve
around
a sort of temporary
5
5
harmonic center.
Once
again,
we see
the conceptual
shift from melody
to melody to
harmonic
center.
Once
again,
we see the conceptual
shift from
harmony; whereas
Renaissance
composers composers
had viewedhad
embellishment
as the
harmony;
whereas Renaissance
viewed embellishment
as the
addition ofaddition
florid runs
that decorate
melody,the
Abatessa's
Colonna's
of florid
runs thatthe
decorate
melody, and
Abatessa's
and Colonna's
embellishments
are fully chordal,
where
active
chord
changes
spin
aroundspin around
embellishments
are fully
chordal,
where
active
chord
changes
the chordalthe
contour.
chordal contour.
To further spice
up thespice
harmonic
several
guitarists
chord
To further
up the palette,
harmonic
palette,
severalpresent
guitarists
present chord
symbols that
are embedded
with dissonances.
Foriano Pico
in his Pico
Nuova
symbols
that are embedded
with dissonances.
Foriano
in his Nuova
seelta di sonate
ehitarra
his compositions
with unsta­with unsta­
seeltaper
di lasonate
per spagnola,
la ehitarraflavors
spagnola,
flavors his compositions
ble, dissonant
thatchords
he labels
tagliati
- and
which
subsequent
ble, chords
dissonant
thatlettere
he labels
lettere
tagliati
- and
which subsequent
authors sometimes
call leuere call
false,lettere
alfabeto
or alfabeto
authors sometimes
false,falso,
alfabeto
falso, ordisonarzte.
alfabeto 6 disonarzte. 6
Similarly, Pietro
Millioni's
Lodovico
additions
the
Similarly,
Pietro and
Millioni's
and Monte's
Lodoviconew
Monte's
new to
additions
to the
alfabeto system
employ
wildly
dissonant,
harmonies
that they iden­
alfabeto
system
employ
wildly spunky
dissonant,
spunky harmonies
that they iden­
tify as "newly
alphabet chords"
(alfabeto
tify invented,
as "newlyextraordinary
invented, extraordinary
alphabet
chords"straordi­
(alfabeto straordi­
Example
nario nuovamente
inventato) (see
nario l1uovamente
inventato)
(see10.1).7
Example 10.1).7
Even Berlioz,
\Nagner,
or\t\Tagner,
Liszt would
be hard
pressed
to match
har­ their har­
Even
Berlioz,
or Liszt
would
be hard
pressedtheir
to match
monic daring.
What
is
particularly
striking
is
that
the
harmonic
dissonance
monic daring. \t\That is particularly striking is that the harmonic dissonance
156 Craig H. Russell
156 Craig H. Russell
not arises
something
arises
from
carefulbut
voice
leading,
is not somethingisthat
from that
careful
voice
leading,
is instead
an but i
autonomous
property
of
these
chord
shapes.
They
are
made
to
autonomous property of these chord shapes. They are made to be charged
the art
preparingthem
and seems
resolving
dissonance;
the art
of preparing
andofresolving
to bethem
of see
\vith dissonance;\vith
secondary
importance.
Stefano
Pesori
and
Giovanni
Paolo
secondary importance. Stefano Pesori and Giovanni Paolo Foscarini incor­ Fosc
pOl-ate
appoggiaturas
fluid
tonesprogressio
into their ns
chord
pOl-ate appoggiaturas
and
fluid passingand
tones
intopassing
their chord
_ pr
moving
fingers
the first
and -second
courses
usually
by on
fingers
the first
and on
second
courses
in a kind
of ­
usually by moving
tablature"
thatelements
fuses together
of chordal
both the ne
"mixed tablature""mixed
that fuses
together
of bothelements
the newer
alfabeto
withnote
the placements
individual note
alfabeto system with
the system
individual
madeplacements
possible inmade
the pos
older
lute"altered
tablature.
These "altered
alfabeto"
chordsbetween
are interpola
older lute tablature.
These
alfabeto"
chords are
interpolated
triads,
as chords
slightly
altered
restored, the r
stable triads, and stable
as chords
areand
slightly
alteredare
and
restored,
the and
rudimentary
8
elements
melody
begin
peeking
of the
texture
once again
elements of melody
begin of
peeking
out
of the
textureout
once
again.
The elegant
interplay
between
strummed
andfound
plucked
The elegant interplay
between
strummed
and plucked
styles
in styl
Foscarini's
as a model
for Francesco
Corbetta
Foscarini's fifth book
servedfifth
as a book
modelserved
for Francesco
Corbetta's
transition
in his second
publication,
capricci pe
to the mixed styletointhe
hismixed
secondstyle
publication,
the Varii
capricci the
per Varii
la ghitarra
(Milan,
1643).9
In the hands
ofthe
Corbetta,
at last
spagnola (Milan, spagnola
1643).9 In
the hands
of Corbetta,
at last
guitar was
ele­the gu
vated
from
the levelhobby
of an amateur's
to that
of a virtuoso
vated from the level
of an
amateur's
to that of ahobby
virtuoso
instrument.
be hard tothe
overemphasize
rolein
Corbetta
played
It would
overemphasize
role COl-betta the
played
promoting
the in pr
It would be hard to
guitar as
an instrument
ofserious
study and
developme
guitar as an instrument
worthy
ofseriousworthy
study and
development
across
the
European
continent.
He brought
together the
andtwo
synthesized
European continent.
He brought
together
and synthesized
disparate the tw
of guitar:
the luteheand
the guitar:the
he strummed
maintainedtechniques
the strummed
worlds of the luteworlds
and the
maintained
from the
early(rich
guitar's
genesis
(rich harmonies)
in their vertical
from the early guitar's
genesis
in their
vertical
and harmonies
wove
the notes
singleand
melodic
notes and
momentary c
into that textureinto
the that
singletexture
melodic
momentary
counterpoint
from
the
lutenist's
realm.
These
mixed
elements,
ilrst distilled
from the lutenist's realm. These mixed elements, ilrst distilled by Foscarini
andthen
Corbetta,
were
perfected
by subsequent
masters such a
and Corbetta, were
perfected
bythen
subsequent
masters
such as Bartolotti,
Roncalli,
de
Visee,
Campion,
Murcia,
ie
Cocq,
and
Sanz
- and in
Roncalli, de Visee, Campion, Murcia, ie Cocq, and Sanz - and in their
hands
the mixed
survived
middle
of the Classical
1700s when t
the mixed style survived
upstyle
to the
middleup
of to
thethe
1700s
when
supplanted
that
of
the
Baroque.
aesthetic
aesthetic supplanted that of the Baroque.
Baroque
vs. classical guitar
Baroque vs. classical
guitar
The baroque
guitar differs
dramatically
from
its younger
The baroque guitar
differs dramatically
from
its younger
sibling,
the
six-string
"classical
bodywith
is much
smallerstring
with a re
six-string "classical
guitar."]O
Its bodyguitar."]O
is much Its
smaller
a reduced
the upper
lowerslender.
bouts is m
length, andofthe
the curvature
upper andoflower
bouts and
is more
length, and the curvature
employing
"fan bracing"
developed
byinAntonio
T
Instead
theof
"fan
bracing"the
developed
by Antonio
Torres
the
Instead of employing
nineteenth
century,
theuses
baroque
guitar
a simplebraces
pair of pa
nineteenth century,
the baroque
guitar
a simple
pairuses
of parallel
- producing
running
sound hole
a much
running on either
side ofon
theeither
soundside
holeof- the
producing
a much
lighter and
the chapter
by in
Stewart
Pollens in
introspective
introspective sonority
(see thesonority
chapter (see
by Stewart
Pollens
this volume
for detailed
technical
on construction).
baroque guitarThe
constru
for detailed technical
information
on information
baroque guitar
baroque
guitar
ideally utilizes
gutastrings
that give a
baroque guitar ideally
utilizes
light-tension
gut light-tension
strings that give
translucent
sparkle to its
thecrystalline
instrument;
its crystalline
sonorities
are further
sparkle to the instrument;
sonorities
are further
"lightened"
157 The
baroque guitar
157 The baroque
guitar
in some
in which
bass
strings (bordones)
few altogether.
or absent altogether.
in some tunings
intunings
which bass
strings
(bordones)
are few or are
absent
thebaroque
lute, theguitar's
baroquestrings
guitar's
strings
leave the
bridge directly
those
like thoseLike
of the
lute,ofthe
leave
the bridge
directly
holes
in the
bridge.
This
system
differs substantially
from holesfrom
drilled
in drilled
the bridge.
This
system
differs
substantially
from the from the
modernguitar's
classicalwhere
guitar's
thehaving
strings,
left thedrilled
bridge's drilled
modern classical
thewhere
strings,
lefthaving
the bridge's
holes,
then immediately
ascend
over
a small
piece(or
ofplastic)
ivory ( or plastic)
holes, must
thenmust
immediately
ascend over
a small
piece
of ivory
visually
this gives
addition
the modern
called aAlthough
saddle. Although
visually small,
thissmall,
addition
the gives
modern
called a saddle.
an enormous
boost in
soundfor
volume,
onceisaplucked,
string is plucked,
guitar an guitar
enormous
boost in sound
volume,
once afor
string
the vibrations
are efficiently
transmitted
into thesoundboard
guitar's soundboard
via
the vibrations
are efficiently
transmitted
into the guitar's
via
saddle.
On the guitar,
baroque
guitar, much
however,
of aenergy
string's
the saddle.theOn
the baroque
however,
of amuch
string's
is energy is
by the
bridgedirectly
withoutmotivating
directly motivating
the soundboard.
absorbed absorbed
by the bridge
without
the soundboard.
Whereas
theguitar's
classicalrange
guitar's
range
spans
severalitsoctaves,
its six single
Whereas the
classical
spans
several
octaves,
six single
strings extending
fromtothe
to theregisters,
soprano the
registers,
theguitar's
baroque guitar's
strings extending
from the bass
thebass
soprano
baroque
range
is
more
constrained;
it
employs
five
courses
rather
than
six (a course
range is more constrained; it employs five courses rather than six (a course
either
a single
a pair that
of strings
that aresogrouped
so closely that
being
being either
a single
string
or astring
pair oforstrings
are grouped
closely that
they
comprise
one
performable
unit).
The
first
course
is
usually
they comprise one performable unit). The first course is usually a single e 1a single e 1
(itsclarity
singing
clarityitearning
it the
name of
or chanterelle)
(its singing
earning
the name
of cantino
orcantino
chanterelle)
with the with the
remaining
eight
strings
being
spaced
together
into
four
pairs.
On the surface,
remaining eight strings being spaced together into four pairs. On the surface,
guitar's first
all theguitar's
baroquestandard
guitar's tunings
standardresemble
tunings the
resemble
theguitar's
modern
all the baroque
modern
first
1
1
replicates the
strings
thatindescend
order:
e bgda.
Onetuning
baroque
tuning the
five stringsfive
that
descend
order: einbgda.
One
baroque
replicates
modern
guitar
with its uninterrupted
descent
high- to low-sounding
modern guitar
with
its uninterrupted
descent from
high-from
to low-sounding
strings
(see 1O.2a).
Example
On hand,
the other
theguitar
baroque
guitar offered
On1O.2a).
the other
the hand,
baroque
offered
strings (see
Example
other
options
resulttextures.
in lighterOne
textures.
One
popular
for instance,
other options
that
result that
in lighter
popular
tuning,
fortuning,
instance,
bass sonorities
and advocates
the use
exclusive
use of high­
abandons abandons
bass sonorities
altogetheraltogether
and advocates
the exclusive
of high­
pitched
treblell strings.
In thisbeginning
tuning, beginning
with course,
the first course,
pitched treble
strings.
In this lltuning,
with the first
pitches from
descend
b to
(like theguitar),
modernbut
guitar),
thedescend
the pitches
e 1 tofrom
b to eg1 to
(like
theg modern
then but then
suddenly leap
upwards
a trebletod 1aand
a - dthus
making
g on the
suddenly
leaptoupwards
treble
I and
a - thusthe
making
thethird
g on the third
course thecourse
lowest-sounding
note on the
instrument
(see Example
Example 1O.2b).
the lowest-sounding
note
on the instrument
(see 1O.2b).
Some guitarists
stringing
"re-entrant"
tuning, since
the treble
as "re-entrant"
tuning,
since the treble
Some identify
guitariststhis
identify
this as
stringing
sounds initially
then later
"re-enter"
as one strums
across
the across the
soundsdescend
initiallybut
descend
but then
later "re-enter"
as one
strums
instrument.
Another tuning
splits
the fourth
andfourth
fifth courses
octaves
into octaves
instrument.
Another
tuning
splits the
and fifthinto
courses
with each with
ofthem
both
a treble
and
a bass and
string;
thus
a d 1 isthus
grouped
eachhaving
ofthem
having
both
a treble
a bass
string;
a d 1 is grouped
with a d on
thea fourth
course,
an a isand
coupled
an Awith
on course
5 course 5
with
d on the
fourthand
course,
an a iswith
coupled
an A on
(see Example
Still
another
arose
that arose
was particularly
adored adored
another
tuning
that was particularly
(see 1O.2c).
Example
1O.2c).
Stilltuning
by the French
otherand
guitarists
within thewithin
orbit the
of French
influence;
by theand
French
other guitarists
orbit of
French influence;
this solution
octavethe
split
on the
fourth
course
and
a pairand
of a pair of
this employs
solution the
employs
octave
split
on the
fourth
course
unison treble
strings
on
the
fifth
course.
For
this
last
tuning,
the
lowest­
unison treble strings on the fifth course. For this last tuning, the lowest­
sounding sounding
note is thenote
bass isd the
on the
course
(seecourse
Example
Lastly,
bassfourth
d on the
fourth
(see lO.2d).
Example
10.2d). Lastly,
a handful of
instrumentalists
employed
yet
another
tuning
in
which
the
third
a handful of instrumentalists employed yet another tuning in which the third
course is split
intoisoctaves;
highestthe
-sounding
gl soars above
its neighbors
split intothe
octaves;
highest -sounding
gl soars
above its neighbors
course
(see Example
10.2e).12
(see Example 10.2e). 12
These distinctions
between the
modern
baroque
not are not
These distinctions
between
the and
modern
and guitars
baroqueareguitars
158 Craig H. Russell
158 Craig H. Russell
Example 10.2 Baroque guitar !unings
Example 10.2 Baroque guitar !unings
(a)
(~
(~
(tl
(c)
(e)
~~~~"~e~e~ee~oo~I·~·
·F~e~e
i~~~"~ee~e~e~oo~I~"~ee~ee-ge~a~·
..e~ee~e-e~e~·
·F~a~a~G~~~
~ o
..
-&e-
-&e-
)~}
-€I­
(e)
~¥~eo~oe~:~''l4.I%¥~a~:~ea44A
mere academic curiosities; they lie at the heart of different
mere academic curiosities; they lie at the heart of different artistic sen­
sibilities. The classical guitar is perfectly designed for polyph
sibilities. The classical guitar is perfectly designed for polyphony and the
interweaving of separate contrapuntal lines. The baroque guita
interweaving of separate contrapuntal lines. The baroque guitar is designed
for homophony and is ideal as a strummed chordal instrument.
for homophony and is ideal as a strummed chordal instrument. The bulk of
classical guitar literature is for solo performance with the spot
classical guitar literature is for solo performance with the spotlight On the
individual rather than the ensemble. In the baroque, these pre
individual rather than the ensemble. In the baroque, these preferences are
inverted; the sparkling tinkle of the baroque guitar was a stand
inverted; the sparkling tinkle of the baroque guitar was a standard element
of ensemble performance (as evidenced by the nearly obligat
of ensemble performance (as evidenced by the nearly obligatory sections
on accompanying in baroque guitar manuals). The sound qua
on accompanying in baroque guitar manuals). The sound qualities of the
baroque guitar and classical guitar are worlds apart: the classi
baroque guitar and classical guitar are worlds apart: the classical guitar is
imposing and resonant; the baroque is introspective and delica
imposing and resonant; the baroque is introspective and delicate.
Ornamentation,
strumming
and other effects
Ornamentation,
strumming and
other effects
It was this sparkling world of delicacy that became the core
It was this sparkling world of delicacy that became the core of baroque
guitar literature. A perusal of baroque guitar books reveals a
guitar literature. A perusal of baroque guitar books reveals a fascination
with "flavor" or color. Even from the outset, when technique c
with "flavor" or color. Even from the outset, when technique concentrated
on strumming rather than plucking, guitarists already presented
on strumming rather than plucking, guitarists already presented a myriad of
different effects such as the repicco and trilla. Pietro Millioni in 16
different effects such as the repiccoand trilla. Pietro Millioni in 1627 describes
the rather complex strumming technique known as repicco i
the rather complex strumming technique known as repicco in which the
thumb and middle finger strum downwards, and then the thum
thumb and middle finger strum downwards, and then the thumb returns in
an upwards direction along with the index finger which plucks th
an upwards direction along with the index finger which plucks the first string
rather than enveloping all the courses. There is a flurry of undul
rather than enveloping all the courses. There is a flurry of undulating sonor­
ity followed by the index finger's single melodic note that ring
ity followed by the index finger's single melodic note that rings out above
the texture. 13 Similarly, the trilla (which has no relationship to
the texture. 13 Similarly, the trilla (which has no relationship to the melodic
employed
in -down
a rapidstrum.
up-and-down
strul1l. 14
14
trill) employed trill)
the index
fingerthe
in aindex
rapidfinger
up-and
The strum­
ming
techniques
or batterie
reached
heights
in Francesco
ming techniques
or batterie
reached
new heights
in new
Francesco
Corbetta's
La C
Guitarre
royalle
dediee
au
Roy
de
la
Grande
Bretagne
(Paris,
Guitarre royalle dediee au Roy de la Grande Bretagne (Paris, 1671) .15 He uses1671
stems
of various
lengths
to indicate
finger
of the
right h
stems of various
lengths
to indicate
which
finger ofwhich
the right
hand
strums;
in
his
"Caprice
de
chacone,"
Corbetta
fashions
a
torrent
of
casca
in his "Caprice de chacone;' Corbetta fashions a torrent of cascading strums
that
the energetic
fervor
of a modern
flamenco
bul
16
that foreshadow
theforeshadow
energetic fervor
of a modern
flamenco
bulerias.
159 The
baroque guitar
159 The baroque
guitar
In later repertoire
where individual
are ornamentation
plucked, ornamentation
In later repertoire
where individual
notes are notes
plucked,
each
phrase - sometimes
given a different
each note each
abounds, abounds,
and each and
phrase
- sometimes
- is note
given- a isdifferent
"flavor."
than any
otherit feature,
it is the
nuance ornuance
"flavor."orMore
thanMore
any other
feature,
is the variety
of variety
flavoredof flavored
shadings
that motivated
theguitar
baroque
guitar aesthetics
theoflast
shadings that
motivated
the baroque
aesthetics
in the last in
half
thehalf of the
seventeenth
century. Francisco
Guerau,
for decorates
example, almost
decorates
almost every
seventeenth
century. Francisco
Guerau, for
example,
every
available
with adornments,
and he
verbally emphasizes
the importance
available pitch
withpitch
adornments,
and he verbally
emphasizes
the importance
of ornamentation
in his introductory
to his
Poema harmonico
of ornamentation
in his introductory
commentscomments
to his Poema
harmonica
In histo"Advice
to Beginners,"
Guerau elucidates
the rudiments
of
(1694).17 (1694).17
In his "Advice
Beginners,"
Guerau elucidates
the rudiments
of
performance
way
to read notation,
tablature and
notation,
andtothe way to
performance
technique,technique,
the way tothe
read
tablature
the way
play ornaments
such
as slurs (extrasinos),
trills
(trinos or
aleados), mordents
play ornaments
such as slurs
(extrasinos),
trills (trinos
or aleados)
, mordents
(mordentes),
and
vibrato
(temblor).
At
the
conclusion
of
his explication,
he
(mordentes), and vibrato (temblor). At the conclusion of his explication,
he
sums
up the indispensable
role of ornamentation
sums up the
indispensable
role of ornamentation
by stating:by stating:
These performance
tips that
I have -explained
as well
These performance
tips that I have
explained
as well as- ones
thatasI ones
will that I will
address
­ arebyrequired
by of
theanyone
guitar who
of anyone
not addressnot
- are
required
the guitar
might who
wishmight
to playwish to play
skill. Andallalthough
of these
points areforessential
it with
skill. some
And although
of these all
points
are essential
a good for a good
it with some
the mostand
gorgeous
causesharmony
the mostISharmony
is the
result, that result,
which that
is thewhich
mostisgorgeous
causes and
the most
the
the trill,slur,
mordent,
slur, andAnd
arpeggio.
Anditalthough
persistencepersistence
of the trill, of
mordent,
and arpeggio.
although
is true it is true
it will
just plays
fine ifgood
one plays
music on
in rhythm
on an
that it will that
sound
just sound
fine if one
musicgood
in rhythm
an
that nevertheless,
is in tune, nevertheless,
by using
these adornments
­
instrumentinstrument
that is in tune,
by using these
adornments
­
which
areand
the soul
heartofand
soul- of
­ you
see the betvveen
difference between
heart
music
youmusic
will see
thewill
difference
\vhich are the
one [good]one
performance
and the other.
[good] performance
and18the other. 18
Other guitarists
cover
similar in
territory
in their books,
tablature
books, prais­
Other guitarists
cover similar
territory
their tablature
prais­
ing the effects
of ornamentation
and providing
detailed lists
of thelists
specific
ing the
effects of ornamentation
and providing
detailed
of the specific
adornments
or agrhnents.
Laroyalle
Guitarre
royalle
adornments
or agre,nents.
Francesco Francesco
Corbetta'sCorbetta's
La Guitarre
maps
out maps out
the properthe
execution
of ornaments
(explaining
them in both
andItalian and
proper execution
of ornaments
(explaining
themItalian
in both
French), covering
trilJ (tremblemen
tor tremolo), appoggiatura
(cheute or (cl1eute or
French),the
covering
the trill (tremblementor
tremolo), appoggiatura
abelirnento),
slur (roullement
or strascio)or, mordent
or reba­ or reba­
!?belimento),
slur (roullement
strascio) , (martellement
mordent (martellement
timento), vibrato
(flattementor
tremolo :,jorzato)
(caderzses
timento),
vibrato (f7attementor
tremolo, cadence
:,jorzato)figures
, cadence
figures (cadenses
or cadenzze),
and the sustaining
of a pitch of
(tenUe
or tenute).19
Nearly every
or cadenzze),
and the sustaining
a pitch
(tenue or tenute).19
Nearly every
other prominent
guitarist ventures
the same
of sonorities,
some
other prominent
guitaristinto
ventures
intocollage
the same
collage of sonorities,
some
even exploring
further
refinements
such
as
the
different
sonority
evoked
by
even exploring further refinements such as the different sonority evoked by
2o Robert de
2o Robert
different right-hand
fingerings.fingerings.
Visee and
Nicolas
Derosier
different right-hand
de Visee
and
Nicolaspre­
Derosier pre­
scribe which
right-hand
finger executes
given any
gesture,
they clearly
scribe
which right-hand
fingerany
executes
givenand
gesture,
and they clearly
are attuned
multifarious
and subtleand
distinctions
caused by caused
different-sized
aretoattuned
to multifarious
subtle distinctions
by different-sized
21
21
fingers and
the different
by fingertips
and fingernails.
fingers
and the timbres
differentproduced
timbres produced
by fingertips
and fingernails.
A finger's Adownstroke
emphasizes
the crisp attack
of the
nailofagainst
finger's downstroke
emphasizes
the crisp
attack
the nailtheagainst the
string, whereas
same the
finger
in finger
an upstroke
a warmer
string, the
whereas
same
in an elicits
upstroke
elicits agroup­
warmer group­
ing of overtones
as the broad
flesh
of the
finger
brushes
the string.
ing of overtones
as the
broad
flesh
of the
finger by
brushes
by the string.
The thumb's
width
andwidth
its strength
a rotund and
force­and force­
The pudgy
thumb's
pudgy
and its produces
strength produces
a rotund
compared
to the narrower
and brighter-sounding
index finger
ful sound ful
sound compared
to the narrower
and brighter-sounding
index finger
160 Craig H. Russell
160 Cmig H. Russell
whose
crispness is
de Visee
at finalNuanced
cadences.
Nuance
whose crispness
is preferred
bypreferred
de Visee by
at final
cadences.
colors
chords
as well: asometimes
a chord's
notes ar
apply toofthe
playing
chords
as of
well:
sometimes
chord's notes
are simul­
apply to the playing
at other
times
theyinare
rolled arpeggio.
in a gentle a
taneously
and plucked
at otherand
times
they are
rolled
a gentle
taneously plucked
At times
a chord is enunciated
the crisp, stroke
downward
At times a chord
is enunciated
by the crisp,bydownward
of thestroke
fin­ of
at the
otherguitarist
times the
guitarist
produces strum
a mellower
gernail, and atgernail,
other and
times
produces
a mellower
by the strum
soft thumb
flesh ofastheit thumb
as itacross
descends
across the
strings.
In shor
soft flesh of the
descends
the strings.
In short,
subtle
of timbre
is the
aesthetic
This opposition
is in direct tooppositio
variance
is the
aesthetic
prize.
This isprize.
in direct
the
variance of timbre
Classical
aesthetic
where consistency
of timbre
was the
desirable
Classical aesthetic
where
consistency
of timbre was
the desirable
goal;
for
classical
line thread
is a unified
thread
much like
classical guitarists,
theguitarists,
melodic the
linemelodic
is a unified
- much
like -a strand
baroquehowever,
guitarists,anhowever,
an elegant
musical
of spaghetti. of
Forspaghetti.
baroqueFor
guitarists,
elegant musical
phrase
nuanced
timbres,
eacheach
notechord
and each
ha
should
be rich in
timbres,
each
note and
havingchord
its
should be rich
in nuanced
own
color and articulation
a saladand
of diverse
and re
own color and
articulation
- rather like- arather
salad like
of diverse
refreshing
blend andaccording
combine toaccording
flavors thatblend
somehow
and combine
the whimtoofthe
the whim
flavors that somehow
chef.
chef.
de Visee
carefully
thetofingerings
bring
out the
carefully
arranges
thearranges
fingerings
bring outtothe
proper
And de ViseeAnd
octave
ofais,
course;
that is,choices
his specific
choices
result
in a finger
strikin
that
his specific
result
in a finger
striking
harder
octave ofa course;
of the
will best
maintain
smooth
particular
of the string
pair that
willpair
bestthat
maintain
smooth
voice
leading voice
the particularthe
string
the phrase.
When
theisbass
string is tohedominate,
he
thecontext
phrase.ofWhen
the bass
string
to dominate,
has the
in the contextinofthe
an upwardbringing
direction,
out (for
theitbordo
index in
finger
strike in direction,
index finger strike
an upward
outbringing
the bardon
is strung
the floor).
Ifhetreble
wantstothe
treble tohepenetrate,
h
is strung closest
to theclosest
floor).toIfhe
wants the
penetrate,
selects
thumb
which the
willtreble
strikestring
the treble
string
and with
the thumb - the
which
will- strike
initially
andinitially
with greater
force.
force.
artists
explore
more adventuresome
timbral
options. S
explore
more
adventuresome
timbral options.
Santiago
Several artistsSeveral
percussive
golpc - presumably
striking
de Murcia
employs agolpe
- presumably
the striking the
of the
gui­ of
de Murcia employs
a percussive
tar right
top with
the- right
hand
- in
his lively
setting
of the
African-Am
tar top with the
hand
in his
lively
setting
of the
AfricanAmerican
22
One ofspectacular
the most spectacular
and novel
effects
peculia
cumbe. 22 Onecumbe.
of the
most
and novel effects
peculiar
to the
(bell-like
made
baroque
guitar is campanelas
baroque guitar
is campanelas
(bell-like runs),
maderuns),
possible
by possible
the in­ by
23
strument'stuning.
re-entrant
tuning.
Since
the five
courses
all have
strument's re-entrant
Since
the23five
courses
all have
strings
that stri
in the same
octave, the
guitarist isable
therefore
to play as
same octave,
the guitarist
is therefore
to play able
ascending
sound in the sound
step\vise
motion
merely bystrings,
changing
descending
scales in
motion
merely
by changing
not strin
or descendingorscales
in stepwise
depressing
notes
hand as isonnecessary
on the
by depressingbynotes
with the
leftwith
handthe
as left
is necessary
the modern
gui­ mod
tar. Since pitches
consecutive
pitcheson
aredifferent
played on
different
tar. Since consecutive
are played
strings,
theystrings,
continuethey c
(hencecampanelas,
the name campanclas,
f
to ring in
a bell-like
effect
(hence
the name
derived fromderived
the
to ring in a bell-like
effect
word
campana
meaning
The
glittering
race by bu
word campana
meaning
"bell").
The "bell").
glittering
notes
race bynotes
but continue
to t con
project
in much
same
way that un-stopped
sounds
project in much
the same
waythe
that
un-stopped
sounds continue
to continue
resonate to
in a one
pianodepresses
when onethe
depresses
damper
pedal. isThe
effect is st
damper the
pedal.
The effect
stunning,
in a piano when
look at the
splendid
lines inofthe
works
of Gasp
and one
has only
to splendid
at the
lines
in the works
Gaspar
Sanz,
and one has only
to look
or Santiago
desee
Murcia
see what a breathtaking
Bartolotti, orBartolotti,
Santiago de
Murcia to
what to
a breathtaking
effect it can effec
be. Sadly,iscampanelas
impossible
on the
modern
classical
guitar s
be. Sadly, cnmpanelas
impossibleis on
the modern
classical
guitar
since the
shifting
between
stringsallgenerates
all sortsdisplacements
of octave displac
rapid shiftingrapid
between
strings
generates
sorts of octave
any linear
melodic movement.
linear melodic
movement.
that precludethat
any preclude
161 The
baroqlleguitar
]6] The lJiJroql~e
guitar
Accompanying
Accompanying
Yet element
another reinforcing
element reinforcing
therole
guitar's
in the revolution
from
Yet another
the guitar's
in therole
revolution
from
to homophony
around
1600
was its appearance
incessant appearance
as an
polyphonypolyphony
to homophony
around 1600
was its
incessant
as an
accompanying
instrument.
socialrequired
contextschordal
required chordal
accompanying
instrument.
New stylesNew
and styles
socialand
contexts
accompaniments,
and few instruments
were
better
suited
than the guitar.
accompaniments,
and few instruments
were better
suited
than
the guitar.
Throughout
the Baroque,
guitarinthrived
in courtly
both theand
courtly
Throughout
the Baroque,
the guitarthe
thrived
both the
the and the
popular
milieu
at the
in the
plaza.
- in theat tavern,
popular milieu
- in
the tavern,
the palace,
orpalace,
in the or
plaza.
It was
theIt was the
quintessential
accompanying
instrument,
in that
its role differs
quintessential
accompanying
instrument,
and in thatand
respect
its respect
role differs
dramatically
of theclassical
modernguitar.
classical
guitar. avVhereas
dramatically
from that from
of thethat
modern
vVhereas
modern a modern
guitarist
has to to
scramble
to find ensemble
first-rate literature,
ensemble literature,
the baroque
guitarist has
to scramble
find first-rate
the baroque
wasa as
much
a part ofmainstream
ensemble
as the harpsichord
guitar wasguitar
as much
part
ofmainstream
ensemble playing
as playing
the harpsichord
organ.
Most guitarists
accompanying
in a substantial
way,
or organ. orMost
guitarists
addressedaddressed
accompanying
in a substantial
way,
many
such as COl'betta,
Granata,Murcia,
Matteis,Doizi
Murcia,
Doizi de Velasco,
and manyand
- such
as -COl"betta,
Granata, Matteis,
de Velasco,
Sanzperceptively
on the
figured
bassartand
- wrote perceptively
Campion,Campion,
and Sanz -and
wrote
on the figured
bass
and the
of the art of
24
24
accompanying.
accom panying.
The
critical
role of accompanying
in guitar literature
apparent from
The critical
role
of accompanying
in guitar literature
is apparentis from
the first moments
of the Baroque.
If oneltalian
peruses
ltalian publications
of
the first moments
of the Baroque.
If one peruses
publications
of
fromhalf
theof
first
of the seventeenth
century,
ltalian homophony
ltalian homophony
from the first
thehalf
seventeenth
century, one
finds one finds
the of
presence
of guitarletters
aljabeto
letters
t he melody
as nearly obligatory
as nearly obligatory
the presence
guitar aIfi1beto
above
the above
melody
25
15
chordal strumming.
Girolamo
Montesardo
- an accomplished
tochordal
facilitate
to facilitate
strumming.
Girolamo
rVlontesardo
- an accomplished
vocalist himself
the very
individ
ualindividual
who was first
publish
a gui­
himself
andsame
the very
same
whotowas
first to
publish a gui­
vocalistand
tar book utilizing
aIf;1beto
- sent
to press
antoimpressive
collection collection
tar bookthe
utilizing
thesystem
alfabeto
systemsent
press an impressive
of vocal pieces,
I lieti
giorni
di Napoli
(16]
2), that
included
of vocal
pieces,
] lieti
giorni di
Napoli
(] 6]
2), that accompanying
included accompanying
guitar chords
the bass
Similarly,
Kapsberger,
FaJconieri,FaJconieri,
and
guitarover
chords
over line.
the 26
bass
line. 26 Similarly,
Kapsberger,
and
Vitali meticulously
place the place
al(abeto
over
the basso
continuo
thechords
alfabeto
chords
over the
basso lines
continuo lines
Vitali meticulously
in their vocal
publications
in the earlyindecades
the seventeenth
century.27 century.27
vocal publications
the earlyofdecades
of the seventeenth
in their
Undoubtedly,
the properthe
accompaniment
for these delightful
works should
Undoubtedly,
proper accompaniment
for these delightful
works should
include the
strummed
guitar as part
of as
thepart
musical
the afore­
include
the strummed
guitar
of thetexture.
musicalFor
texture.
For the afore­
mentionedmentioned
artists whoartists
were who
accomplished
and erudite
musicians,
errors in errors in
were accomplished
and
erudite musicians,
guitar indications
are infrequent.
But the rage
vocal songs
guitar indications
are infrequent.
Butfor
theaccompcll1ied
rage for accompanied
vocal songs
spurred lesser
talents
into
the arena
as well.
Sometimes,
an author's
spurred
lesser
talents
into the
arena
as well. Sometimes,
anflimsy
author's flimsy
understanding
of music theory
results
in al(abeto
that are that are
understanding
of music
theory
results inaccompaniments
alti7beto accompaniments
rather laughable.
One such One
fiascosuch
occurs
in occurs
Abatessa's
song arrangements
rather laughable.
fiasco
in Abatessa's
song arrangements
in the Cespllglio
di l'arii fiori
in which
notes
are harmonized
in the Cespuglio
di (1635)
mrii fiori
(1635) all
in bass
which
all bass
notes are harmonized
as if they were
root were
position
and
he cannot
figure
out figure
the difference
rootchords,
position
chords,
and he
cannot
out the difference
as if they
18 Of course,
28 Abatessa's ineptitude is the
and
minor
chords.
between major
between major and minor chords. Of course, Abatessa's ineptitude is the
rather than
the rule.
exception exception
rather
than the rule,
As the Baroque
unfolded,
several major
artists
continued
to devote con­
As the Baroque unfolded,
several
major
artists continued
to devote con­
siderable attention
to the guitar
as the
accompanying
instrument
for vocal for vocal
to the
guitar
as the accompanying
instrument
siderable attention
music. Giovanni
Casalotti'sCasalotti's
"VilbnelJe"Villanelle
di piLl sorte,"
a gargantuan
tome typ­ tome typ­
di pill
sorte," a gargantuan
music. Giovanni
29
29
presents almost
200almost
songs.200Similarly,
Ms. 2804 Ivls. 2804
ical of these
icalcompendiums,
of these compendiums,
presents
songs. Similarly,
162
Craig H. Russell
162 Craig H. Russell
in the Biblioteca Riccardiana contains 173 texted songs, here ident
passcagli. 3o Vocal accompaniments occur in baroque guitar books w
in the Biblioteca Riccardiana contains 173 texted songs, here identified as
exquisite craftsmanship of virtuosi such as Corbetta in his Guitarre
passcagli. 3o Vocal accompaniments occur in baroque guitar books with the
(1671) and Henry Grenerin in his Livre de guitarre (1680).31
exquisite craftsmanship of virtuosi such as COl-betta in his Gliitarre royalle
(1671) and Henry Grenerin in his Livre de guitarre (1680).31
The baroque guitar and the theater
The baroque guitar
and the
theater
The stage
played
a role equal to song in the performing life of b
guitarists. During the late seventeenth and eighteenth centuries, the
The stage played a role equal to song in the performing life of baroque
remained a mainstay of the Spanish stage and performed at most co
guitarists. During the late seventeenth and eighteenth centuries, the guitar
either during the play itselfor in the small musical skits that were custo
remained a mainstay of the Spanish stage and performed
at most comedias,
inserted between the main acts. 32 Before the play's opening act, the
either during the play itselfor in the small musical skits that were customarily
usually presented a brief loa (a sort of preface without any direct bea
inserted between the main acts. 32 Before the play's opening act, the players
the drama that was to ensue); after Act I either an entremes (entr'ac
usually presented a brief loa (a sort of preface without any direct bearing on
jacaras was mounted. An entremes normally involved a brief comic pl
the drama that was to ensue); after Act I either an entrernes (entr'acte) or a
a song or two that often were accompanied by dancing. Not infrequen
jacaraswas mounted. An entremesnormally involved a brief comic plot with
characters mercilessly skewer prominent officials in their witty ban
a song or two that often were accompanied by dancing. Not infrequently, the
riotous pranks. The jacaras was a specific subgenre of entr'acte in wh
characters mercilessly skewer prominent officials in their witty banter and
personages were lovable ruffians or peasants who found themselves i
riotous pranks. The jacaras was a specific subgenre of entr'acte in which the
predicament or humorous setting. Even if the playlet's text does not
personages were lovable ruffians or peasants who found themselves in some
piece specifically as a jl1caras, its style can be implied by the characters
predicament or humorous setting. Even if the playlet's text does not label a
in the libretto. Escarraman, Zurdo, ZurdilIo, and Clarin are stereo
piece specifically as a jacaras, its style can be implied by the characters' names
Jaques - likeable servants, blind beggars, or low-life scoundrels in
in the libretto. Escarraman, Zurdo, Zurdillo, and Clarin are stereotypical
with the law - and most often when their names appear, one can
jaques - likeable servants, blind beggars, or low-life scoundrels in trouble
the music accompanying their antics to be a jllcaras. Between Acts
with the law - and most often when their names appear, one can expect
III, the single member of the cast or the whole troupe could pres
the music accompanying their antics to be a jacaras. Between Acts Jl and
another short theatrical number, this time the baile or dance scene
III, the single member of the cast or the whole troupe could present yet
title suggests, it could be based on any of the popular dances of th
another short theatrical number, this time the baile or dance scene. As its
usually folkloric or "regular" everyday dancing as opposed to aris
title suggests, it could be based on any of the popular dances of the time,
courtly dance or ballet. It represents "popular" street culture, not pag
usually folkloric or "regular" everyday dancing as opposed to aristocratic
And after Act III, to conclude the evening's entertainment, the theater
courtly dance or ballet. It represents "popular" street culture, not pageantry.
could tack on a mojiganga or fin de fiesta. The mojiganga characteri
And after Act III, to conclude the evening's entertainment, the theater troupe
featured performers with outlandish masks, animal costumes or extra
could tack on a mojiganga or fin de fiesta. The mojiganga characteristically
disguises - much like the fantastical costumes worn at Mardi Gras.
featured performers with outlandish masks, anima] costumes or extravagant
In Spain, the standard theater band for a Golden -Age play consiste
disguises - much like the fantastical costumes worn at Mardi Gras.
baroque guitar coupled with either the harp or vi%n (a term whic
In Spain, the standard theater band for a Golden -Age play consisted ofthe
imply violin as well as cello ).33 Several theater troupes graced the stage
baroque guitar coupled with either the harp or viol6n (a term which could
three theaters in eighteenth-century Madrid (the Teatro del Principe
imply violin as well as cello ).33 Several theater troupes graced the stages ofthe
de la Cruz, and Canos del Peral), and they habitually brought with
three theaters in eighteenth-century Madrid (the Teatro del Principe, Teatro
small ensemble of two or three musicians, which almost always inclu
de la Cruz, and Canos del Peral), and they habitually brought with them a
guitar. The theater troupe oOuan Bautista Chavarria featured a ban
small ensemble of two or three musicians, which almost always included the
Chavarria on harp and Juan de Serqueira on guitar. The reputable mu
guitar. The theater troupe oOuan Bautista Chavarria featured a band with
Chavarria on harp and Juan de Serqueira on guitar. The reputable musicians
163 The baroque guitar
163 The baroque guitar
working the theaters or coliseos included guitarists Serqueira, Pedro de
working
theJoseph
theaters
or coliseos
included
Serqueira,
Pedro de
de Salas;
the star
harpists guitarists
were Chavarria
and Manuel
Castro, and
Joseph
de Salas;
stardeftly
harpists
were
and Manuel
de
Castro, and
Ferreyra;
and
the violon
partsthe
were
played
byChavarria
Juan de Chaves,
Salvador
the viol6n
parts were
deftly played
by day,
Juanthat
de Chaves,
Ferreyra;
or Pedro
de Castro.
Remarkably,
to this
baroqueSalvador
combi­
de
Navas, and
or Pedro
Castro.guitar
Remarkably,
to this
day, that- baroque
de Navas,
nation
of harp
and de
baroque
(now called
a jarana)
and evencombi­
much
nation
of harp and
baroque
guitar (now
called
a jarana)
even
much
of
the repertoire
from
its Baroque
ancestry
- thrives
in -theand
folk
music
of
34
of the repertoire
its masterly
Baroque Spanish
ancestryguitarist
- thrivesand
in the
folk music
of
Veracruz,
Mexico.from
The
theorist
Santiago
34 Thethe
Veracruz,
masterly
Spanish
guitarist
andworks
theorist
Santiago
composer
for the
theatrical
by Francisco
de Murcia Mexico.
was probably
the composer
for the theatrical
worksdecades
by Francisco
was probably
most important
playwright
in the opening
of the
de Murcia
Castro, Spain's
most
important
playwright
in the opening
decades
of the
de Castro, Spain's
eighteenth
century.35
His
guitar teacher,
the phenomenal
Francisco
Guerau,
eighteenth
guitar
teacher,
phenomenal
Francisco
Guerau,
also
pennedcentury.35
dramaticHis
works:
one
mightthe
reasonably
assume
that the
guitar
36
penned
dramatic
works:
one
might
reasonably
assume
that
the
guitar
also
found its way into Guerau's accompanying ensembles.
36 opera and ballet
found
its way too,
intothe
Guerau's
accompanying
ensembles.
In France,
guitar was
an indispensable
part ofthe
In France,
too, the
was anluxuriant
indispensable
ofthe
opera and
ballet
andguitar
Campra's
stagepart
works
include
guitarists
orchestra.
Lully's
and Campra's
luxuriant
include
guitarists
orchestra.
Lully's
in multiple
contexts,
and the stage
guitarworks
parts were
surely
played
repeatedly and
and
in
multiple
contexts,
and
the
guitar
parts
were
surely
played
repeatedly
with aplomb given that Corbetta, de Visee, Grenerin, and Campion were
with
aplombwith
giventheatrical
that Corbetta,
de Visee,One
Grenerin,
and Campion
were
productions.
can imagine
the splendor
all involved
with
theatrical
productions.
One
can
imagine
the
splendor
all
involved
and thrill when Corbetta himself strolled onto stage leading a group of
37
and thrill inwhen
Corbettaofhimself
strolled
onto
stage leading
guitarists
the premiere
LuIJy's Ballet
de la
galanterie
du tempsa ingroup
1656.of
37
guitarists
in the premiere
of Lully's
de la and
galanterie
du temps
Henry
Grenerin,
yet another
masterBallet
of guitar
theorbo,
playedinin1656.
Lully's
Henry
Grenerin,
yet the
another
ofl'impatience
guitar and theorbo,
in Lully's
Ballet de
Psyche and
Balletmaster
royal de
(1661).38played
De Visee,
who
Ballet
de
Psyche
and
the
Ballet
royal
de
['impatience
(1661
).38
De
Visee,
who
studied under COl'betta's tutelage, ascended to unprecedented heights in
studied
under COl-betta's
ascended
to unprecedented
heights
in
his compositional
subtletytutelage,
and skill;
he too was
intimately involved
with
and skill;
too was intimately
involved
with
his compositional
sumptuous subtlety
productions,
as isheevidenced
by the large
number
of
Lully's
39 the
sumptuous productions,
is evidenced
large number
of
Lully'stranscriptions
Lully
in de Visee's astablature
books.by
Guitarists
continued
39 the
Lully
transcriptions
de Visee's
tablaturelong
books.
Guitarists
playing
excerpts frominFrench
masterpieces
after
originalcontinued
theatrical
playingclosed
excerpts
frominto
French
masterpieces
the original
theatrical
As far long
away after
as Mexico
and California,
works
- well
the 1700s.
into the 1700s.
far away
as Mexico andliterature,
California,
works
closed
well comprised
Campra
and -Lully
part As
of the
core instrumental
as
Campra
and by
Lully
the coreorinstrumental
literature,
as
is
illustrated
thecomprised
numerous part
"fakeofbooks"
anthologies found
in the
is illustrated
by the
books"
or anthologies
the
New
World that
havenumerous
Lully and "fake
Campra
peppered
throughoutfound
their in
pages.
New
World
that
have
Lully
and
Campra
peppered
throughout
their
pages.
A list of top hits indicates that any self-respecting guitarist would have been
top hitsinto
indicates
that any
self-respecting
guitarist
would
have been
A
listtooflaunch
able
Campra's
"Amable"
from Hesionc
or the
Bouree
from
4o
able
to
launch
into
Campra's
"Amable"
from
Hesione
or
the
Bouree
from
Lully zmd Colasse's Achilles at a moment's notice.
Lully and Colasse's Achilles at a moment's notice. 4o
Baroque dance and the guitar
Baroque dance and the guitar
After song and stage, dance occupied a third critical area for guitar accom­
After
song The
and Italian
stage, dance
occupied
third
critical of
area
for guitar
paniment.
tablature
books aare
chock-full
dance
genresaccom­
such as
paniment.
Italian
tablaturesarabanda,
books are chock-full
dance
as
the balleto,The
brando,
corrente,
alemanda, of
and
giga.genres
Theirsuch
binary
brando,
corrente,
sarabanda,
alemanda,
and
giga.
Their
binary
the
balleto,
constructions place the double bar halfway through or slightly before the
constructions
thehave
double
bar halfvvaycousins
throughin or
before
the
midpoint. Theplace
French
corresponding
theslightly
allemande,
cour­
midpoint.
The
French
have
corresponding
cousins
in
the
allemande,
cour­
ante, sarabande, gigue, bouree, gavotte, menuet, etc. Of course, a good deal
ante, sarabande, gigue, bouree, gavotte, menuet, etc. Of course, a good deal
164 Craig H.
164 Craig H. Russell
Russell
repertoire is dance-inspired,
but intended
not necessarily
intended for
of this repertoireofisthis
dance-inspired,
but not necessarily
for dance
41
4
accompaniment.accompaniment.
!
Thathowever,
is not thewith
case,the
however,
the copious
settings
That is not the case,
copiouswith
settings
of French
dames of French
a deux andwhich
contredanses,
which and
are "practical"
utilitarian in n
a deux and contredanses,
are "practical"
utilitarian inand
nature.
The
danse
a deux
in the late
and
The danse II deux
took
Europe
by took
stormEurope
in the by
latestorm
seventeenth
and seventeenth
early
eighteenth
centuries.
For social
peoplestation,
of highit social
it was all the
eighteenth centuries.
For people
of high
was allstation,
the rage,
andexpended
the aristocracy
expended
countless
hours in the time-consuming
t
and the aristocracy
countless
hours in
the time-consuming
task of
learning
new dance
as press
it rolled
off the press Feuillet
of Raoul-Auger
Feui
learning each new
dance each
as it rolled
off the
of Raoul-Auger
in
Paris.
Feuillet
and Pierre
Beauchamp
solved
the thorny
problems of
Paris. Feuillet and
Pierre
Beauchamp
solved
the thorny
problems
of dance
so that entire (including
choreographies
(including hand
foot placement,
han
notation so that notation
entire choreographies
foot placement,
mo­
tions, arm movement,
etc.)movement,
could be realized
and be
reconstructed
by
tions, arm
etc.) could
realized andsolely
reconstructed
sol
using abstract symbols
rather than
relying
on than
verbose,
meticulous
textual
using abstract
symbols
rather
relying
on verbose,
meticulous t
descriptions or realistic
graphic
depictions
of dancers.
Feuillet's
ingenious
descriptions
or realistic
graphic
depictions
of dancers.
Feuillet's inge
notation,
was abstract,
adaptable,
and reasonably
system, like music
system,
like music
notation,
was abstract,
adaptable, self­
and reasonabl
sufficient. In thesufficient.
dame adeux,
a single
at couple
a time (unlike
group
In the
dansecouple
adeux,dances
a single
dances at
a time (unlike
dances where many
couples
simultaneously
participate)
etching
out
elegant,
dances where many couples simultaneously participate) etching out el
symmetrical patterns
that arepatterns
directedthat
toward
the "presence"
an "presence"
impor­
symmetrical
are directed
toward- the
- an im
tant spectator such
as
the
king
or
some
other
imposing
royal
person.
Each
tant spectator such as the king or some other imposing royal person
new dance carefully
choreography
a particular accompaniment­
new joined
dance carefully
joinedtochoreography
to a particular accompanim
for every measure
of
music,
the
couple
had
to
memorize
thetospecific
step the specifi
for every measure of music, the couple had
memorize
patterns uniquely
designed
for that
location.forThus,
did not Thus,
help much
patterns
uniquely
designed
that it
location.
it did not help
repertoire;
it
was
irrelevant.
But
as
soon
as
a
new
dance
to know last year's
to know last year's repertoire; it was irrelevant. But as soon as a new
thefrom
studious
dancers
had to start
from
scratch
once
arrived from France,
arrived
France,
the studious
dancers
had
to start
from scratch
each
of
its
choreographic
instructions.
The
task
was
again to memorize
again to memorize each of its choreographic instructions. The tas
never-ending. Feuillet's
press issued
fourpress
to six
dames
{7 deux
year, and
never-ending.
Feuillet's
issued
four
to sixa dames
a deux a yea
dancing fans eagerly
sought
them
out
as
fast
as
they
rolled
off
the
press
in
dancing fans eagerly sought them out as fast as they rolled off the pre
a sense, the dame
a deuxthe
wasdanse
the "rock
the era.
a sense,
adeuxandwasroll"
the of
"rock
and roll" of the era.
The guitar was atThe
theguitar
center\vas
of this
fad.
Countless
man
andmanuscripts
pub­
at the center of this fad.uscripts
Countless
and
early] from
700s embrace
deux settings,
it issettings,
clear
lications from the
lications
the early dame
1700saembrace
danse and
a deux
and it i
they were intended
actual
accompaniment.
No source betterNo
illustrates
theyfor
were
intended
for actual accompaniment.
source better illus
the utilitarian role
the guitar's
for dames
adeuxfor dames
theof
utilitarian
roleaccompanying
of the guitar'sfunction
accompanying
function
than Santiago dethan
Murcia's
Resumen
de aconzpai1ar
con la guitarra
Santiago
de Murcia's
Resumenladeparte
acompai1ar
fa parte con fa gu
(] 7] 4 ).42 If one compares
"Catalogue"
ofFeuillet's
available
pu blications
(1714 ).42 the
If one
compares the
"Catalogue"
ofFeuillet's
available public
with the table of with
contents
of Murcia's
Resumen,
one finds
they progress
along
the table
of contents
of Murcia's
Resumen,
one finds
they progress
chronologically chronologically
in an identical fashion(see
Plate
J
8
and
Table
10.1
).43
This
in an identical fashion(see Plate 18 and Table 10.1).43
ordering would ordering
have made
perfect
forperfect
practicing
of theperformers
would
havesense
made
senseperformers
for practicing
time who surely time
would
have
known
the
year
that
a
particular
tune
had
been tune had
who surely would have known the year that a particular
the same
way that
pop
performers
vvho performers
make
released - in much
released
- in much
themodern
same way
that
modern pop
\vho
of
Billboard
hits
can
easily
tell
you
the
year
a living playing acover
versions
living playing cover versions of Billboard hits can easily tell you th
that a pop tune that
hit the
charts.
Murcia's
de acompanar
a pop
tune Inhitshort,
the charts.
In Reswnen
short, Murcia's
ResuJTzen de aCOm
is a veritable jazz
"fake-book"
that
supplied
the
necessary
information
for informati
is a veritable jazz "fake-book" that supplied the necessary
guitarists who played
at danses
adeux atfunctions.
guitarists
who played
danses a deux functions.
165The
Thebaroque
baroqueguitar
guitar
165
Table10.1
10.1Comparison
Comparisonofofthe
thecontents
contentsofFeuillet's
ofFeuillet'sCatalogue
Cataloguedes
desLivres
Livresdede
Table
Danseswith
withMurcia's
Murcia'sResumen
Resumendedeacompailar
acompailarlalaparte
parte(1714)
(1714)
Danses
Feuillet's
Cntnlogile
Feuillet's
Cata/oglle
Murcia's
Resumen
(1714)
Murcia's
Resumen
(1714)
Page
Page
[Composer
[Composer
I I
Buree
Chil
LaLa
Buree
dede
Chil
Mariee
(with
"Giga")
LaLa
Mariee
(with
itsits
"Giga")
Paspied
Viejo
Paspied
Viejo
Otra
Giga
Otra
Giga
Rigodon
(with
"Otro"
IRigodonJ)
Rigodon
(with
"Otro"
[Rigodon])
Bourgogne
LaLa
Bourgogne
Saboyana
Buree
LaLa
Saboyana
Buree
ferlana
LaLa
ferlana
Contij
LaLa
Contij
5858
5858
5757
6060
61 61
61 61
6363
6363
6464
Lully/Colasse
Lully/Colasse
Lully
Lully
Pabana
Sesons
LaLa
Pabana
desdes
Sesons
Paspied
Nuebo
Paspied
Nuebo
Amable
Despa[ci]o
LaLa
Amable
Despa[ci]o
Alemanda
LaLa
Alemanda
6565
5757
6666
6767
Los
Paysanos
Los
Paysanos
6666
Scnvoir
Scavoir
Livre
Choregraphie
Le Le
Livre
de de
la IiiChoregraphie
gros
ReciAeil
.. de
Feeaur
LeLe
gros
ReciAei/
.... de
1I1rMr
Fecallr
Bouree
d'Achille
LaLaBouree
d'Achille
Mariee
LaLa
Mariee
Passepied
LeLe
Passepied
Contredance
La La
Contredance
Rigaudon
LeLe
Rigaudon
Bourgogne
La La
Bourgogne
Savoye
(Bouree)
LaLa
Savoye
(Bouree)
Forlana
La La
Forlana
Conty
(Venitenne)
La La
Conty
(Venitenne)
Lully
Lully
Campra
Campra
Campra
Campra
Dnnses
Danses
de de
EalBill
Pavanne
Saisons
[1700]
LaLa
Pavanne
desdes
Saisons
11700
I
Passe· Pie
Nouveall11700]
[1700]
LeLe
Passe-Pie
Nouveau
J' Aimable
Vainqueur
[170 II
J'Aimable
Vainqueur
[17011
J' Allemande
[1702)
J'Allemande
[ 1702]
Lully
Lully
Campra
Campra
Campra/Lully
Campra/Lully
Petits
ReciAeils
A111wels
Petits
ReciAeils
Al1Iwels
la Pa'isanne
( 1703)
la Pa"isanne
( 1703)
lesles
Contrefaiseur
Contredanse
(1703)
Contrefaiseur
Contredanse
(1703)
la la
Saltarelle
(1704)
Saltarelle
(1704)
la la
Carignan
(1704)
Carignan
(1704)
la la
Madalena
(1704)
Madalena
(1704)
la laBabeth
(1705)
Babeth
(1705)
la la
Bretagne
( 1705)
Bretagne
( 1705)
Ia la
Triomphante
(1705)
Triomphante
(1705)
la la
Baviere
( 1706)
Baviere
(1706)
la la
Fanatique
(1706)
Fanatique
(1706)
Ie Ie
Cotillon
(1706)
Cotillon
(1706)
la la
Bacchante
(1707)
Bacchante
(1707)
la la
Matclotte
(1707)
Matelotte
(1707)
\e Ie
Menuet
a quatre
(1707)
Menuet
a Cjuatre
(l707)
la laNouvelle
Bourgogne
( 170S)
Nouvelle
13oUl'gogne
(1708)
Ia laNouvelle
Mariee
(1708)
Nouvelle
Marice
(1708)
la laNouvelle
Gaillarde
(1709)
Nouvelle
Gaillarde
(1709)
Ie Ie
Menuet
d'Alcide
(1709)
1\1enuet
d'Alcide
(1709)
Ie Ie
Charmant
Vainqueur
(1709)
Charmant
Vainqueur
(] 709)
la la
Bourbon
(1710)
Bourbon
(17l 0)
Ia ]a
peti
te Bou
ree (1710)
petite
Bouree
(17IO)
la la
GouastaJa
(1710)
Gouastala
(1710)
la la
Nouvelle
(1711
)
NouvelleForlanne
Forlannc
(1711)
Ie Ie
Passepied
,i guatre
(1711)
Passepicd
,1 Cjuatre
(1711)
la laMedicis
(1711
) )
Medicis
( 1711
la la
Silvie
(1712)
Silvie
(1712)
Ii! la
Dombe
(1712)
Dombe
(1712)
l'Asturienne
(1712)
l'Asturicnne
(1712)
Ia la
Ivlelanie
(1713)
Melanie
(1713)
la laDenain
(1713)
Denain
(1713)
LaLa
SalSaltarele
tarele
6868
6868
LaLa
Cariguan
Cariguan
6969
LaLa
Madalena
Madalena
7070
LaLa
Babet
Babet
7070
LaLaBretaignee
Paspied
Bretaignee
Paspied
(84)
(84)
LaLa
Trillmphante
Trillmphante
7070
LaLa
Babiere.
Menuet
Babiere.
Menuet
LaLa
MarTha
dede
Fanatiques
71 71
MarTha
Fanatiqlles
El EI
Cotillon
71 71
Cotillon
LaLa
Bacante
7272
Bacante
LaLa
Mathalote
7272
Mathalote
LeLe
Menuet
a quater
7272
Menuet
a quater
LaLa
Nueba
13ergoiia
7373
Nueba
Bergoi'raPaspied
Paspied
LaLa
Nueba
Mariee
7474
Nueba
Mariee
LaLa
Nueba
Gallarda
7474
Nueba
Gallarda
7575
El El
Menuet
dede
Alcides
Menllet
Alcides
LJLa
Charmant
dede
Vainqueur
Grave
Charmant
Vainqueur
Grave 7575
LaLa
13m'bon
7676
Borbon
LaLa
Peque11a
Bllree
7676
Peque11a
Bllree
LaLa
Guastala
77 77
Guastala
LaLa
Nueba
Forlana
7777
Nueba
Forlana
El EI
Paspied
a quatro
7878
Paspied
a quatro
Rondo
LaLa
Medlcis
7878
Rondo
Medicis
7979
LaLa
Silbia
Grave
Silbia
Grave
LaLa
Dombe
8080
Dombe
LaLa
AS1UrUl1a
Rlgodon
8080
Asturiana
Rigodon
81 81
LaLa
Melanie
Melanie
LaLa
Denain
81 81
Denain
Campra
Campra
Gillier
Gillier
la la
Barre
dede
Barre
Campra
Campra
Campra/Lu
Ily
Campra/Lully
dede
la la
Barre
Barre
La La
Coste
Coste
Marais
Marais
Lully
Lully
Llllly/Marais
Lully/Marais
Campra/Lully
Campra/Lully
The
TheFrench
Frenchaesthetic
aesthetic,vas
,vasnot
notthe
theonly
onlyone
onethat
thatthrived
thrivedininSpain
Spainininthe
the
early
eighteenth
century.
For
several
centuries
beginning
in
the
late
1500s
early eighteenth century. For several centuries - beginning in the late 1500s
and
intothe
themid-1700s
mid-1700s- -the
theSpanish
Spanishdelighted
delightedinintwo
two
andcontinuing
continuingwell
wellinto
different
indigenous dances
differentfamilies
familiesofofindigenous
dances(dnl1zns
(dnnznsand
andbailes)
bailes)that
thatwere
werereadily
readily
'.. I..... l l _
•
,­
Plate 18 "Catalogue" from Feuillet and Pecour, Reciieil de dar/51" (1709), Biblioteca :--iacional, :
-""-"
-,._-_ ....".-
167 The baroque guitar
Plate 18
(a!lll.)
_"0­
•
168 Craig H. Russell
168 Craig H. Russell
distinguishable from each other. 44 On the one hand, danz
subdued in nature (at least with regard to their choreography
distinguishable from each other. 44 On the one hand, danzas were rather
from the waist down with no upper body or hand motions
subdued in nature (at least with regard to their choreography), were danced
sociated with the aristocratic upper classes. The bailes, in
from the waist down with no upper body or hand motions, and were as­
rowdier in mood (often of a lascivious nature that could e
sociated with the aristocratic upper classes. The bailes, in contrast, were
the scandalous), were associated with the lower classes or
rowdier in mood (often of a lascivious nature that could even approach
scoundrels, and were performed with enticing and florid m
the scandalous), were associated with the lower classes or even low-life
arms and hands. Bailes often were accompanied by the clatt
scoundrels, and were performed with enticing and florid motions in the
tambourines,
or percussive
of small
hand dru
arms and hands. rattle
Bailes of
often
were accompanied
by thedrive
clatter
of castanets,
more restrained and demulcent danzas that normally preclu
rattle of tambourines, or percussive drive of small hand drums, unlike the
hand
percussion.
The guitar
books, beginning
Amat's
more restrained and
demulcent
danzas
that normally
precluded with
the use
of a
through Murcia's, present the standard chord progressions f
hand percussion. The guitar books, beginning with Amat's and continuing
bailes and
danzas that
wereprogressions
the rage in Spain
her colo
through Murcia's,ofpresent
the standard
chord
for theand
plethora
The were
performance
these and
Spanish
dances represents t
of bailes and danzas that
the rage inofSpain
her colonies.
Baroque
jazz
the
guitarist
spells
out
The performance of these Spanish dances representsthe
thechordal
epitomebasis
of o
strumming
through
the well-known
initially
Baroque jazz - the
guitarist
spells out
the chordal
basis of theprogression
work by a
much
the
same
way
that
Bird
Parker
or
Dizzy
Gillespie
initially strumming through the well-known progression a few times
(in w
"head"
a particular
composition)
and then
blasts
much the same way
thatofBird
Parker or
Dizzy Gillespie
would
playoff
theinto
improvisational
fancy
in
a
series
of
diferencias
(which
would
"head" of a particular composition) and then blasts off into wild flights of
Gillespie
jazz recording).
the "choruses"
Parker or (which
improvisational fancy
in a series in
of adiferencias
would
correspondMuch
to
repertoire
in
Spanish
guitar
books,
then,
consists
of
intabul
the "choruses" in a Parker or Gillespie jazz recording). Much of the notated
(thatguitar
is, arranged
tablature)
ofof
sample
variations
- rather t
repertoire in Spanish
books,for
then,
consists
intabulated
examples
andtablature)
complete of
compositions.
(that is, arranged for
sample variations - rather than "finished"
For
example,
Sanz repeatedly gives a title and then provide
and complete compositions.
or two
of music;
theya title
are tasty
snippets
but not
and then
provides
onlycomplete
a phrase me
For example, Sanz
repeatedly
gives
be
shocked
to
see
the
modern-day
performances
of these
or two of music; they are tasty snippets but not complete meals. He would
together
where theperformances
disparate dances
are strung
of these
musical
hoI's i
be shocked to seed'oeuvres
the modern-day
ous
"suites"
that
change
topics
every
twenty
seconds
and
d'oeuvres where the disparate dances are strung together into incongru­nev
expandtopics
on a single
Toseconds
play fifteen
these
tiny segment
ous "suites" that change
every idea.
twenty
and of
never
elaborate
or
other
and
then
call
it
a
"suite"
would
be
rather
like
stringing
expand on a single idea. To play fifteen of these tiny segments one after
an­ t
hour-and-a-half,
visual
hodge-podge
trailers
into be
an rather
other and then callmovie
it a "suite"
would
like stringing
together
fif1een
ing
it
a
"film."
Although
the
experience
might
even
pleasu
movie trailers into an hour-and-a-half, visual hodge-podge and thenbecall­
not be the
typical
or representative
cinematograph
experience
might even of
be modern
pleasurable,
it would
ing it a "film." Although
of
patched-together
guitar
improvisations
(each impro
string
not be typical or representative of modern cinematography. Similarly,
a
on
a
different
harmonic
progression)
is
not
representative
string of patched-together guitar improvisations (each improvisation based
performance
traditions
during
the Baroque.
on a different harmonic
progression)
is not
representative
of the Spanish
performance traditions during the Baroque.
Improvisation
Improvisation Fortunately, we do have representative examples of the gui
visatory
art that revealexamples
the skills of
that
expected
in the r
Fortunately, we do
have representative
thewere
guitarist's
impro­
visatory art that reveal the skills that were expected in the realization and
169 The baroque guitar
169 The baroque guitar
performance of danzas and bailes. Some of the best examples of diferencia
realization are found in an important manuscript located in Spain 45 that an­
performance of danzas and bailes. Some of the best examples of diferencia
thologizes works by "the best authors." With the exception of several pieces
realization are found in an important manuscript located in Spain 45 that an­
by Francesco Corbetta and a handful also set by Santiago de Murcia, the lion's
thologizes works by "the best authors." With the exception of several pieces
share of the manuscript is devoted to Gaspar Sanz's Instrucci6n de 7771Jsica
by Francesco Corbetta and a handful also set by Santiago de Murcia, the lion's
sobre la guitarra espai'lola (1674). Some of the selections are faithful copies
share of the manuscript is devoted to Gaspar Sanz's Jnstmcci6n de 7711ASica
of the Sanz originals, but more interesting are the numerous renditions that
sobre la guitarra espai'lola (1674). Some of the selections are faithful copies
depart from them. Careful scrutiny of these two sources reveals that phrases
of the Sanz originals, but more interesting are the numerous renditions that
are, in fact, modules that can be removed, inserted, and interchanged to
depart from them. Careful scrutiny of these two sources reveals that phrases
create "new" pieces. The "Libro de diferentes cifras" lops off the final varia­
are, in fact, modules that can be removed, inserted, and interchanged to
tions of Sanz's "Passacalle de la L."46 Sometimes the opening strum patterns
create "new" pieces. The "Libro de diferentes cifras" lops off the final varia­
are excised (since it would have been implicit they were to be performed
tions ofSanz's "Passacalle de la L."46 Sometimes the opening strum patterns
anyway), as in the reworked version ofSanz's "Passacalle de 3') tono."47 Near
are excised (since it would have been implicit they were to be performed
the middle of the piece, the order of two phrases is inverted. In a subsequent
anyway), as in the reworked version ofSanz's "Passacalle de 3° tono."47 Near
example, the "Libro de diferentes cifras" excises the strummed introduction
the middle of the piece, the ord er of two phrases is inverted. In a subsequent
to Sanz's "Passacalles porIa C" and then launches directly into the heart of the
example, the "Libro de diferentes cifras" excises the strummed introduction
piece. The manuscript meticulously copies the following three-and-a-half
to Sanz's "Passacalles pOl' la C" and then launches directl y into the heart ofthe
phrases from Sanz, but from that point forward the two versions diverge
piece. The manuscript meticulously copies the following three-and-a-half
dramatically - they become different compositions. Here, Sanz's original
phrases from Sanz, but from that point forward the tvvo versions diverge
diferencia composition serves as a springboard for a totally new creation.
dramatically - they become different compositions. Here, Sam.'s original
P8rticularly fascinating is the "Libro de diferentes cifras'" reworking
diferencia composition serves as a springboard for a totally new creation.
of Sanz's "Jacaras"; it reveals the rich variety of possibilities in modular
Particularly fascinating is the "Libra de diferentes cifras'" reworking
recomposition. The manipulation of phrases in this type of recom position
of Sanz's "Jacaras"; it reveals the rich variety of possibilities in modular
is not entirely arbitrary but generally follows certain patterns. One basic
recomposition. The manipulation of phrases in this type of recomposition
principle is that new modules can be generated from segments of other
is not entirely arbitrary but generally follows certain patterns. One basic
modules. For instance, a module can reappear several times in a work using
principle is that new modules can be generated from segments of other
the same beginning but spun out to a different end, as can be seen in the
modules. For instance, a module can reappear several times in a work using
reworking ofSanz's Variations 2 and 5 (see Example 10.3).
the same beginning but spun out to a different end, as can be seen in the
Another manner of generating new phrases from old ones is to break the
reworking ofSanz's Variations 2 and 5 (see Example 10.3).
original into two parts and use the first as the beginning of a new module
Another manner of generating new phrases fram old ones is to break the
and the second as the end of another, forming a sort of musical parenthesis
original into two parts and use the first as the beginning of a new module
th,lt creMes two phrases from splitting one. Of particular interest here is the
and the second as the end of another, forming a sort of musical parenthesis
way the "Libro de diferentes cifras" draws out Variation 7 into two phrases.
that creates two phrases from splitting one. Of particular interest here is the
The ca711panelas beginning - which is the stylistic link to the ca7llpanelns
way the "Libra de diferentes cifras" draws out Variation 7 into two phrases.
conclusion of Variation 6 - remains unchanged, but the tail is transformed
The ca711panelas beginning - which is the stylistic link to the ca711panelas
into a rapid, descending scale. The following variation uses as its conclusion
conclusion of Variation 6 - remains unchanged, but the tail is transformed
the remainder of Variation 7 to lead back gracefully to the high tessitura of
into a rapid, descending scale. The following variation uses as its conclusion
VZlriZition 8 (see Example 10.4).
the remainder of Variation 7 to lead back gracefu]]y to the high tessitura of
In this manner, all new mZlteriZiI is inserted in such a way as to preserve
Variation 8 (see Example 10.4).
the smooth transitions and essential qualities of the originZiI.
In this manner, all new material is inserted in such a way as to preserve
Not only Zlre properties of the originZiI respected, but they are often
the smooth transitions and essential qualities of the original.
emphasized and amplified in the reworked version. SZlnz pushes to the climax
Not only are properties of the original respected, but they are often
emphasized and amplified in the reworked version. Sanz pushes to the climax
170 Craig H. Russell
] 70 Craig H. Russell
Example 10.3 Comparison of "Jacaras" phrases in Sanz and "Libro de di
Vi~
Example 10.3 Comparison~vari~~
of "Jacaras" phrases in Sanz and "Libra de diferentes
cifras"
~
J :J J
T=f9Hl ftF 'r i i i
f
"Libra de cliferentes cifras," mm. 25-29
"Libra de diferentes cifras," mID. 25-29
f
i
Sanz, Variation 5, mm. 17-21
@~ )JJJ i f ~ :
III;:
EE&0 #: J ~
+:£m,~m~59~~ i :l~
"Libra de diferentes cifras," mm. 17-21
:rlf~:~
f
LJiJJ~
Example lOA Comparison of"J,\caras" phrases in Sanz and "Libro de di
Var
SZl VariatiblZ 7
'13 -------------------Example 10.4 Comparison of"J,\caras" phrases in Sanz and "Libra de diferentes cil'ras"
1'l Variation
~ ~
7
,
~!
~ J J t1~~tttt4~
Var. 8
'13----------------------,
.~;-rJJl
.
~ .l~J g.1 ~~
II=--=I=~
r
~i-
=~!
Sanz, =_ 25-29
II
Sanz, mm. 25-29
I
i
i
d f-d i~
~i
~
1'l -----------,
~~ IlfIiFp.~
r
"Libra de diferemes cifras," mm_ 33-41
tjllrr~rJ~
d..
171 The baroque guitar
171 The baroque guitar
Example 10.5 Similar phrases in "Libra de diferentes cifras"
.," .,"."
d
t
·
~t
== ""
~ b II \~
.~----=======
Example 10.5 Similar phrases in "Libra de diferentes cifras"
=
-r=
f
fiFfrtt@
vib.
mm.49-57
4
~
=t
~
I
vlb. vib.
VIb
f n~ j
b~Vib~.
·
r V~~.~ itr~iiF
-I~
-~
~
vib.
v;.
~F
I
rlJ
f
I
of the piece through a series of running scales (Variations 12 through 15).
The "Libro de diferentes cifras" is careful not to break this drive to the
of the piece through a series of running scales (Variations 12 through 15).
climax, but even enhances the finale's strength by expanding this energetic
The "Libro de diferentes cifras" is careful not to break this drive to the
section of fast scales from four to eight (mm. 66-96).
climax, but even enhances the finale's strength by expanding this energetic
Only changes in vibrato and register distinguish two other variations
section of fast scales from four to eight (mm. 66-96).
from being identical twins (Example 10.5).
Only changes in vibrato and register distinguish two other variations
This example, and the previous ones, demonstrate decisively that a difer­
from being identical twins (Example 10.5).
erzcia composition is not comprised of inviolable measures in a highly rigid
This example, and the previous ones, demonstrate decisively that a difer­
order. Instead, it can be viewed as a smorgasbord of phrases that can be
erzcia composition is not comprised of inviolable measures in a highly rigid
dropped off the menu at will- or can be supplanted with new phrases if so
order. Instead, it can be viewed as a smorgasbord of phrases that can be
desired. A guitarist, then, would be expected to be fresh, original, and new;
dropped off the menu at will- or can be supplanted with new phrases if so
he or she would realize a particular baiZe or darzza in different way with each
desired. A guitarist, then, would be expected to be fresh, original, and new;
performance opportunity.
he or she would realize a particular baiZe or darzza in different way with each
performance opportunity.
The social world of the baroque guitar
The revolution
in musical
styles
that we have already examined ­ the shift
The social
world of the
baroque
guitar
from a horizontal and melodic perspective to a vertical and harmonic one ­
The revolution in musical styles that we have already examined - the shift
occurred simultaneously with socio-political shifts in perspective that were
from a horizontal and melodic perspective to a vertical and harmonic one­
to rock society and shake the foundations of the privileged, aristocratic
occurred simultaneously with socio-political shifts in perspective that were
system. The guitar is one of the few instruments that saw itself climb up the
to rock society and shake the foundations of the privileged, aristocratic
social ladder, from a relatively low stature in the early Baroque to acceptance
system. The guitar is one of the few instruments that saw itself climb up the
in high society by the late years of that epoch. In the early 1600s, it was
social ladder, from a relatively low stature in the early Baroque to acceptance
considered the popular instrument of amateurs or lmv-lifes. Luis Bric;:eno,
in high society by the late years of that epoch. In the early 1600s, it was
in the preface to his Metoda l11Ui faciZissinw, defends his beloved instrument
considered the popular instrument of amateurs or low-lifes. Luis Bric;:eno,
against its detractors who view the guitar as too lowly by stating:
in the pref~lce to his Metodo mui faciZissinw, defends his beloved instrument
against its detractors
who my
view
the who
guitar
as toothelowly
byand
stating:
There are many,
Lady,
ridicule
guitar
its sound. But if they
pause and think about it, they will discover that for our present era, the
There are many, my Lady, who ridicule the guitar and its sound. But if they
guitar is the most favorable instrument that has ever been seen! For
pause and think about it, they will discover that for our present era, the
nowadays, if one is trying to save out-of-pocket expenses and trouble, the
guitar is the most favorable instrument that has ever been seen! For
nowadays, if one is trying to save out -of-pocket expenses and trouble, the
172 Craig H. Russell
172 Craig H. Russell
guitar is a true theatre of savings' In addition to this,
appropriate for singing and playing, for performing [
guitar is a true theatre of savings'
In addition
to this,steps
it is or
adaptable
accompanying
leaping
rUhningand
ones, for acco
appropriate for singing and playing,
[noble]
dnllzas, for tap dancin
bailes, orfor
forperforming
accompanying
[heel-clicking]
accompanying leaping steps or rUhning ones, for accompanying [low-life]
bailes, or for accompanying [heel-clicking I tap dancing. 4s
The fad for guitar playing that swept Europe i
viewed with ambivalence by those who, on the one h
The fad for guitar playing
that
in the
1600s rising
was p
butswept
on theEurope
other hand
sawearly
the guitar's
strums,
viewed with ambivalence by
those that
who,was
on displacing
the one hand,
its dulcet ins
scourge
moreenjoyed
"high-minded"
saw
the
guitar's
rising
popularity
as
a
strums, but on the other hand
hats in resp
Lope de Vega and Cervantes tip their potential
scourge that was displacingfor
more
"high-minded"
instruments.
For
instance,
his contributions to the guitar and its popularity
tip theirEspinel
hats ininrespect
to Vicente
Espinel(160
Lope de Vega and Cervantes
had praised
his Caballero
de Illescas
guitar
and
its
popularity.
But
even
Lope,
whoregr
for his contributions to the
(1630), nevertheless expresses his melancholic
had praised Espinel in his innovations
Caballero dewere
Illescas
(1602) and and
Laurel
de Apolo as
supplanting
overwhelming
that
Espinel's
guitarforgi
(1630), nevertheless expresses
his
melancholic
regret
music. In Dorotea (1632), Lope laments, "God
and
more "noble"
innovations were overwhelming
bringing
ussupplanting
this noveltyaspects
and theoffive-course
guitar
music. In Dorotea (1632), instruments
Lope laments,
"God
forgive
Vicente
Espinel
for
are being forgotten."49
the five-course
with which
noblethe
bringing us this novelty and Musical
productions
furthertheclarify
theatre guitar
instruments are being forgotten."49
society held for guitarists. Typically, the cast perfo
clarify
the are
social
stereotypes
Musical theatre productions
to the further
sound of
guitars
characters
suchthat
as Zu
the
cast
performing
bailes
on
stage
society held for guitarists.orTypically,
Escarraman - all of whom are lovable, comical,
to the sound of guitars are
characters
as Zurdo,
Andsuch
moving
one stepZurdillo,
up on theClarin,
social lad
scoundrels.
or Escarraman - all of whom
are
lovable,
comical,
low-class
ruffi;Jl1s
and It
in the hands of menial craftsmen such as barbers.
stephands
up onof
the
ladder,
the guitar
appears
scoundrels. And moving one
thesocial
ruling
aristocracy
in the
first deca
in the
such
as
barbers.
It
is
rare
to
see
the
guitar
in the hands of menial craftsmen
century.
theguitar
first decades
oftothe
seventeenth
in the hands of the ruling aristocracy
But onceinthe
fad began
sweep
Europe, the
century.
way up the social ladder, rung by rung, until it was the
But once the guitar fad began
sweep
Europe,
instrument
itsEur
in the to
late
1600s.
Nearlythe
every
crownedworked
head of
by
rung,
until
it
was
the
darling
of
the
nobility
way up the social ladder, rung
and had a guitar virtuoso as a personal teacher. The rea
in the late 1600s. Nearly every
crowned head
of Europe
a few
chordsor cl
was Francesco
Corbetta,
whoseknew
private
students
and had a guitar virtuoso aslike
a personal
teacher.
The
real
watershed
in
this
area
a "Who's v\1ho in Seventeenth-Century Europe."
was Francesco Corbetta, whose
students
or closePhilip
acquaintances
read
Carloprivate
II, the Duke
ofMantua;
IV ofSpain;
Arch
Europe."
Some
of
them
include:
like a "Who's v\1ho in Seventeenth-Century
of Austria; Duke George William ofZell at the Hanov
Carlo II, the Duke ofMantua;
Philip IV
ofSpain;
Archduke
Leopold
Wilhelm
England;
James,
the Duke
of York;
Henrietta
Anne, t
of Austria; Duke George William
ofZell
at
the
Hanover
Court;
Charles
II of
and Louis XIV of France, with whom he had
a life
York;
Henrietta
Anne,
the
Duchess
of
Orleans;
England; James, the Duke of
incomparable Francisco Guerau occupied a place o
and Louis XIV of France, II's
with
whom
he had aand
lifelong
friendship.5o
The
court
in Madrid,
following
the king's
death
incomparable Francisco Guerau
occupied
a
place
of
importance
in
Carlos
sequent coronation of the first Bourbon king in Sp
II's court in Madrid, and tar
following
the aking's
in life
1700
sub­ cou
remained
part death
of daily
in and
the the
Spanish
sequent coronation of thepupil,
first Bourbon
king
in Spain,
the gui­ to
Santiago de
Murcia,
gave Philip
privateV,instruction
tar remained a part of daily
life
in
the
Spanish
court.
Guerau's
probable
Luisa Gabriela of Savoy, and Antonio de Murcia
51 Other
to the new
Queen,
Maria co
pupil, Santiago de Murcia, guitar
gave private
makerinstruction
for the monarchs.
European
Luisa Gabriela of Savoy, and Antonio de Murcia was appointed official
guitar maker for the monarchs. 51 Other European courts lavished attention
173 The baroque guitar
173 The
baroque guitar
Example 10.6 Fandango rhythm
Example 10.6 Fandango rhythm
on their guitar instructors and makers. Clearly, the guitar was no longer
relegated to the gutter.
on their guitar instructors and makers. Clearly, the guitar was no longer
Of particular interest is the way the guitar became adopted by the newest
relegated to the gutter.
social class to rise to prominence in the late seventeenth and eighteenth
Of particular interest is the way the guitar became adopted by the newest
centuries - the middle class. In the 1700s, the rise of egalitarian ideals in
social class to rise to prominence in the late seventeenth and eighteenth
the Age of Reason and the concurrent rise of the middle class shook the
centuries - the middle class. In the 1700s, the rise of egalitarian ideals in
foundations of the ailing aristocratic system. No instrument better illus­
the Age of Reason and the concurrent rise of the middle class shook the
trates those social revolutions than the guitar. The guitar was the working
foundations of the ailing aristocratic system. No instrument better illus­
man's instrument. It was relatively inexpensive, highly portable, extremely
trates those social revolutions than the guitar. The guitar was the working
popular, and easily learned with self-instruction books. Several of the gui­
man's instrument. It was relatively inexpensive, highly portable, extremely
tar books flagrantly brag that they can teach an interested person how to
popular, and easily learned with self-instruction 52books. Several of the gui­
play without their having to take lessons. The painters of the time, first
tar books flagrantly brag that they can teach an interested person how to
Watteau and later Goya, place the guitar in the hands of ordinary people
play without their having to take lessons. 52 The painters of the time, first
(rich, poor, or middle class) in nearly every imaginable setting and venue. 53
Watteau and later Goya, place the guitar in the hands of ordinary people
New dance genres evolved that ruptured the barriers between dal1zas and
(rich, poor, or middle class) in nearly every imaginable setting and venue. 53
bailes, and in each case, the new appeal was a common ground where the
New dance genres evolved that ruptured the barriers between danzas and
middle class, rich and poor, aristocrat and servant, could meet on equal
bailes, and in each case, the new appeal was a common ground where the
footing. Among these social newcomers were the seguidillas, jota, sombras,
middle class, rich and poor, aristocrat and servant, could meet on equal
and most important of all, the fandango. In each case, the preferred in­
footing. Among these social newcomers were the seguidillas, jota, sombras,
strument for dancing accompaniment was the guitar. The earliest known
and most important of all, the fandango. In each case, the preferred in­
musical settings of the fandango, jota, and seguidillas occur in Santiago de
strument for dancing accompaniment was the guitar. The earliest known
Murcia's "C6dice Saldivar No.4" for guitar. His setting of the fandango is
musical settings of the fandango, jota, and seguidillas occur in Santiago de
one of the highlights of the guitar repertoire with its incessant, hypnotic
Murcia's "C6dice Saldivar No.4" for guitar. His setting of the flndango is
alternation of D minor and A major chords, its infectious build-up in in­
one of the highlights of the guitar repertoire with its incessant, hypnotic
tensity, florid and virtuosic runs, and its recurring and driving rhythm. By
alternation of D minor and A major chords, its infectious build-up in in­
the time fandangos were commonplace in the late eighteenth century, the
tensity, florid and virtuosic runs, and its recurring and driving rhythm. By
genre had developed a cliche rhythm that was inextricably associated with
the time fandangos were commonplace in the late eighteenth century, the
it (Example 10.6).
genre had developed a cliche rhythm that was inextricably associated with
The fandango became the most beloved dance in early Californian his­
it (Example 10.6).
tory; countless depictions from the nineteenth century show the locals danc­
The fandango became the most beloved dance in early Californian his­
ing up a storm to the sounds of guitars and castanets, and the caption most
tory; countless depictions from the nineteenth century show the locals danc­
often reads "fandango." What better dance than the fandango to represent
ing up a storm to the sounds of guitars and castanets, and the caption most
the rugged California spirit of the ral1cho period where success depended
often reads "fandango." What better dance than the fandango to represent
largely on self-reliance, independence, hard work, and a solid work ethic ­
the rugged California spirit of the rancho period where success depended
all values that reflect middle-class values as opposed to aristocratic ones.
largely on self-reliance, independence, hard work, and a solid work ethic ­
Not surprisingly, then, the fandango became the norm rather than the older
all values that reflect middle-class values as opposed to aristocratic ones.
and stuffier dlll1zas.
Not surprisingly, then, the f1l1dango became the norm rather than the older
and stuffier dalJzas.
174 Craig H Russell
174 Craig H. Russell
It is significant that the guitar - and the fandango - a
that Mozart
librettist
select whe
It is significantindicators
that the guitar
- and and
the his
fandango
- da
arePonte
the musical
their
subversive
opera
The
Marriage
social
revolution
in
indicators that Mozart and his librettist da Ponte select when they cook up o
When
servant Figaro
the memorable
aria(1786).
"Se vuol
social revolution in
theirthe
subversive
opera sings
The Marriage
of Figaro
spells
the entirearia
thesis
theballare"
plot, and
he uses
Act I, he
When the servant Figaro
sings
theout
memorable
"Seof
vuol
early
in t
metaphor
over as
thethe
arrog
Act 1, he spells out central
the entire
thesis offor
thelower-class
plot, and hesupremacy
uses the guitar
self-indulgent
aristocracy.over
Figaro,
sees through
central metaphor afor
lower-class supremacy
the who
arrogant
excesses the
of sh
of the Count
to bed
wife's
maidthe
andshallow
Figaro's
fiancee Su
a self-indulgent aristocracy.
Figaro,
whohis
sees
through
attempts
that his
employer
the Count
willSusanna,
have to match
disgust
of the Count to bed
his wife's
maid
and Figaro's
fiancee
sings wits
in w
than Figaro
himself,
servant.
Mozart's
andnone
Da Ponte's
disgust that his employer
the Count
willthe
have
to match
wits with
other l
dear
CountMozart's
you want
to Da
go Ponte's
dancing,libretto
then 1runs,
will play
mythe
than Figaro himself,
servant.
and
"If th
gllitar!"S4
turmoil
is subtly
but the
unmistakably
engen
my dear Count you
want to Social
go dancing,
then
I will play
music on my
the lower-class
barber Figaro
- with his
lines. It isis subtly
guitar!"54 Social turmoil
but unmistakably
engendered
in handy
those gu
shots and
play-the
tune,
the guitar
aristocratic
call the barber
lines. It is the lower-class
Figaro
with
his and
handy
- whoCount
will w
the servant Count
chooses.
to rein
stepthe
to the
music
call the shots and play
tune,
and that
the aristocratic
willBrilliantly,
have to keep
Mozart
disruptschooses.
the noble
minuet rhythm
that his
hadpoint,
begun t
step to the music that
the servant
Brilliantly,
to reinforce
thenrhythm
metaphorically
thethe
Count
up by
the su
ballare"
Mozart disrupts the
noble and
minuet
that had trips
begun
aria "Se
vuol
of a contredanse
rhythm,
a style
moreintrusion
with the m
ballare" and then metaphorically
trips
the Count
upassociated
by the sudden
with thea style
aristocracy.
Thus
the with
servant's
contredanse
literall
of a contredanse rhythm,
associated
more
the middle
class than
aristocrat's
with the aristocracy.
Thus the minuet.
servant's contredanse literally drives out the
aristocrat's minuet. In the finale to Act III of Figaro, Susanna sets a trap for th
Count
dropping
a sealed
of feigned
love for him to f
In the finale to Act
III by
of Figa
ro, Susanna
setsnote
a trap
for the unsuspecting
Count by droppinging.
a sealed
note of feigned
love for
to find
while
will meet
himhim
in the
garden
for danc­
a midnig
She supposedly
ing. She supposedly
meet
himbe
in his
thewife
garden
a midnight
but we
know
it will
the for
Countess
- nottryst,
Susanna
- who
allwill
all know it will be his
Countess
not how
Susanna
who willchoose
be waiting
man.- So,
does- Mozart
to get t
for wife
the the
faithless
for the faithless man.
how does
Mozart
choose
to getwith
this aclandestine
noteSo,
delivered?
First,
he opens
the finale
march that re
note delivered? First,
opens
finaleofwith
marchand
thatCountess,
reflects thewhich
nobil­in tu
and
highthe
station
the aCount
ity he
ity and high station
of
the
Count
and
Countess,
which
in
turn
is
disrupted
by a contredanse sung by peasant girls and the local servan
by a contredanse sung
peasant
and
servants.
This, too,
then by
abruptly
cutgirls
short
bythe
the local
strains
of a fandango,
andisit is
then abruptly cut short
by
the
strains
of
a
fandango,
and
it
is
this
universally
appealing genre - one associated with the guitar - that Moz
appealing genre - one
associated
thefor
guitar
- thatand
Mozart
cleverlyMozart
uses h
meeting with
ground
Susanna
the Count.
as the
for
Susanna
and
the
Count.
Mozart
has
prepared
the
as the meeting ground
scene by presenting the two classes as separate, non-overlap
scene by presentingservant
the two
classes
separate,
non -overla
pping
girl
wouldashave
been stepping
above
herentities.
stationAin an
servant girl would if
have
abovein
her
station
an egregious
shebeen
werestepping
to participate
the
regal, in
majestic
marchway
that b
if she were to participate
in the
marchhave
thatstooped
begins to
thedancing
scene. to
the regal,
Countmajestic
would never
Similarly,
Similarly, the Count
woulddance.
never have
stoopedthe
to new
dancing
to of
thethe
subsequent
peasant
But finally,
genre
fandango is
peasant dance. Butwhere
finally,both
the new
genre
the fandango
a meeting place
nobles
andofpeasants
could isparticipate;
it is the
where both noblesThus,
and peasants
could
it is the
great equalizer.
it is during
thisparticipate;
fandango that
Susanna
has the oppo
Thus, it is during this
fandango
that Susanna
has the
to gain con
the Count,
andopportunity
deliver the feigned
access
to her master,
access to her master,
Count,
and deliver
the protagonists'
feigned confession
of love
thatthe
is so
instrumental
to the
scheming.
The f
that is so instrumental
to the
protagonists'
Thethe
fandango
marks
moment
in the scheming.
finale where
two class
structu
the first
the first moment interacted.
in the finaleSignificantly,
where the two
couldand
havem os
one class
finds structures
the traditional
interacted. Significantly, one finds the traditional and most representative
175 The baroque guitar
175 The baroque guitar
rhythm of the fandango (articulated in m. 444) as the unifying rhythmic
Mozart's(articulated
fandango asinwell.
feature
rhythm of the of
fandango
m. 444) as the unifying rhythmic
feature of Mozart's fandango as well.
Cross-cultural aspects of the baroque guitar
Cross-cultural
of the
baroque
guitar
In additionaspects
to reflecting
aspects
of class
and social structure, the guitar also
for changes
in the
cultural
of Western
provides
a mirroraspects
In addition
to reflecting
of class
and ethnic
social and
structure,
thetapestry
guitar also
the
Baroque
era.
Before
the
late
Renaissance,
the
civilization
in
provides a mirror for changes in the ethnic and cultural tapestry of Westernvarious
continents
relatively
isolatedthe
from
other, butthe
thatvarious
changed for­
Baroque
era. Before
lateeach
Renaissance,
civilization
in the were
and
1600s
with
the
rapid
proliferation
of
European
ever
in
the
1500s
continents were relatively isolated from each other, but that changed for­ claims
on territory
The proliferation
Portuguese, the
first out of
the starting
1500s andacross
1600sthe
withglobe.
the rapid
of European
claims
ever in the
blocks,
explored
the
coast
of
Africa
by
solving
the
thorny
problem
of how to
on territory across the globe. The Portuguese, the first out of the starting
Southern
hemisphere
prospect
initially
thethe
coast
of Africa
by solving (a
thefrightening
thorny problem
of how
to since
blocks, navigate
explored in
Equator
and
losing
sight
of
the
Pole
The
Star).
it
necessitated
crossing
the
navigate in the Southern hemisphere (a frightening prospect initially since
follow, and
thesight
Italians.
ByPole
the 1600s,
Spanishcrossing
were soon
and then
losing
of the
Star). nearly
The all of
it necessitated
thetoEquator
the
European
powers
had
constructed
respectable
navies
and
were
Spanish were soon to follow, and then the 1talians. By the 1600s, nearly aU ofstaking
of the
Americas,respectable
Africa, Asia,
and and
eventually
Australia and
claims powers
to mosthad
the European
constructed
navies
were staking
the
South
Pacific.
The
great
land
grab
was
on.
Once
again,
the
guitar was
claims to most of the Americas, Africa, Asia, and eventually Australia and
carried
along
naval
vessels
a rule
or even
on overland
the South
Pacific.
Theongreat
land
grab as
was
on. Once
again,
the guitarexpeditions,
was
and
it
was
one
of
the
first
instruments
to
be
brought
in new lands.
carried along on naval vessels as a rule or even on overlandashore
expeditions,
Notone
surprisingly,
the guitar
ended
up as
one of
the indispensable
and it was
of the firstthen,
instruments
to be
brought
ashore
in new
lands.
cultural
hybrids
that
thrust
together
people
and influences
ingredients
in
Not surprisingly, then, the guitar ended up as one of the indispensable
frominvarious
continents.
ingredients
cultural
hybrids that thrust together people and influences
Beginning
with the first voyages to the Americas, the guitar was the sol­
from various continents.
55
true companion.
With
new
diers' and
the first voyages
to the Americas,
theeach
guitar
wasterritorial
the sol­ claim,
Beginning
withevangelists'
brought
with
them
this
the
Spanish
55 highly portable instrument. According
diers' and evangelists' true companion. Vv'ith each new territorial claim,
Cortez onAccording
the conquest of
to Bernal
Diaz
del them
CastiJlo,
the Spanish
brought
with
this who
highlyaccompanied
portable instrument.
already
Mexico,
as
early
as
1568
the
Native
American
craftsmen
were
of L1bri­
to Bernal Diaz del Castillo, who accompanied Cortez on the conquest
56
vihuelas.craftsmen
Bartholome
las Casas
high-quality
Mexico,cating
as early
as 1568 theguitars
Native or
American
were de
already
fabri­recounts
on
which
guitar
music
resounded
in
the
Caribbean
as
specific
occasions
56
cating high -quality guitars or vihuelas. Bartholome de las Casas recounts
57
as the on
1530s.
]ncan
writer
GuamaninPoma
provides invaluable
which The
guitar
music
resounded
the Caribbean
as
specific early
occasions
descriptions
that
place
the
guitar
in
a
rich
web
of
peoples,
social strata, and
early as the 1530s. 57 The Incan writer Guam,ln Poma provides invaluable
and the
alsoguitar
sketches
South
American
drawing of
ethnicities,
descriptions
that place
in a out
rich the
webearliest
of peoples,
social
strata, and
the
guitar.
58
ethnicities, and also sketches out the earliest South American drawing of
It is the guitar, or its close cousins, for which the earliest African
th e guitar. 58
instrumental
written.
musical
anthology
It isAmerican
the guitar,
or its closemanuscripts
cousins, forare
which
the The
earliest
African
compiled
by
Sebastian
de
Aguirre
around
1700
(presently
in
the
American instrumental manuscripts are written. The musical anthology private
of Gabriel
Osorio),
contains
the "Portorrico
de los ne­
archive
compiled
by Sebastian
de Saldivar
Aguirre yaround
1700
(presently
in the private
por
1
y
2
raslguead]o"
(fol.
20r);
it
is
the
oldest
known
of
example
gros
archive of Gabriel Saldivar y Osorio), contains the "Portorrico de los ne­
59
African-American
instrumental
Aguirre
contains
1 Y 2 raslguead]o"
(fol. 201'); music.
it is the The
oldest
knownmanuscript
example of
gros pOl'
a
dozen
other
works
that
combine
59 the influences of the Americas, Africa,
African-American instrumental music. The Aguirre manuscript contains
a dozen other works that combine the influences of the Americas, Africa,
17 Craig H. RlI'scll
"
,sl
Plate 19a Aguirre 'vIanuscript, fal. 19r
and Spain (see Plates 19 a-f). The classifications themselves
combinations
of peoples and ethnicities. The
tocotln,
c
~lId Spo", (.... Pl.&Olootic
19.-fl,
Tht dwollO._,i'><mIdw<
t~
...·
and
chiqueador
reflect
indigenous
Mexican
influence,6o
T
Olio: <ornbo"'''''IU oi poopln • ..d ~hnJ(M~
conido is unclear,
but the /I~
term becomes
associated
with
aJOd dnoj-.iot fd<,;.,
\It.........
Tht ....
.....,.'"
in
the
subsequent
century
and
becomes
one
of
the
great
.......... IS undt••. but 'ho '''III bo-.... _.-..I
h \""on twbd>
culture.
to the poetes
folklore
on W .~, ' Mexican
.... Y".M
~to
...world
ont 01
,Ilt p According
'
<If
de
la
Cruz,
the
tocotin
is
nothing
else
but
a
carrido.
A
guastec
\Iv.
IollJo«' 10 ~ <Illt......
por!n' So< 1.-.. I....
that regionbod.
of Mexico.
chiqueador is....
a type
<Itt. 0
tht - . .from
" -""'lobo
_nolo>.The
"f"o"U"'fricn
_ of je
ment
worn
by
Mexican
women
during
the
epoch;
normally
from ,"'" " ' _ 01 \In_ Ttrot
,
oi ......... or . . . ­
61 It also
round
discs
carved
from
turtle
or
tortoise shells........
....... - . . '"' \10:...... womm
"" "I"'<k ........tIr1h<r-..<
can0<
mean
or "pamperer" or someone w
.....nd liD(>
«1 term
from that
.unlt
. _"flatterer"
" ' .........
62
about. Other
titles in Aguirre's ...
book imply a """""'1
Caribb an c
I<ml
-Ilo'\tfft"
Of -l*"f'C"tf"..
as
the
self-explanatory
terms
panama
and
porto
rico. 63 1n a
OI.hn 1,,1tl '" "C"..... f bool 'mr!'l' CMmbcaD ~-.to
takes us to the Caribbean
i,'lands, ~
since coqui
"El Coquis"
....... ..ll npb... 'on"
..
In><lo:l'......
Cuba
and
Puerto
Rico
refers
to
a
small
reptile
whose
name de
"£I Coqu..' uln to 10 II.. c.~ iobnok. ilIOU <1IojM III .-icm-d.!
that
the sound "coqui, coqui."64 Yet another
Cubo.nd
l"",
, resembles
IO.OINIl..".'-'!" cul
.d\rc.
n.. _' "","""", e ­
,ad...-
"N\lt;j,,,,,_
"""'do,.... ""
,f .........
II....,,, \-n.:..
"""an
obocl,,"'
_,.......-and ,....,_..
...
'mm
,-...bW>
faces with
Aguirre's
"Morisca," which
literally
th3t
II.. *">d
".oqui.
<0'1°,title Y..,
<ubllDl
Pourtranslate
·
ish woman";
thewlu<h
term morisco
a common
ethno-social
~ .. w,m "&'0" nO, "'it
- Mon.ca;
I"...1" was
"...,.p,rd
mratti
• , _•
Moorish
convert<om"-'""'IXl-__
to Christianity.65 These
brief musical snap
.... _ . "
'"
-...........
..l~lODiDJ.
with the long~ list
of traditional
bailes p6hol>..
and danzas
that Agu
\Ioor .... <0
' lOo.'Il'Im'"
nboon ....-..I....
combonal
his
manuscript,
provide
one
of
the
richest
compendiums
wlm ,lit _ . '"' OIlr.o<l">o<1.1 ""
"" .....
influences
and styles
found in this (or any
other) epoch.
h.. m.n.... npl. !"",'tdt
on< of,
"'"
of ",ulrKultuni
""'!lu.
t""""
""'If.. Ul>ft" on'"
,""'pend,,,....
of African
American influence is Santi
mR ......n.nd .,..... The other
In fl."gem
10I."t
0''''' ."....t>
"C6dice
4" (1732),IS for tuckedcitinto
its folios
Tho Ill....'
of
A,,,,,..Saldivar
" .... ~o. ,nRu"",.
Mu.e;"',
""m
"CodK. Sokl"., \.0.
~~ (ln~ I,
'''.n
San'.
10< hKl..<'d tnto ,I> fol"" II. ll>t Afna"
­
,
... ,
nus crip t, roJ. 20r
Pla te 19b Ag uirr e Ma
.
~~.P
'v
~'"'
I~
b
IV~
J,
r'"
.&. 1 J
til,"
,
....
I
.
J,' " 2 ro~lt"l.~ ,... 1-'«
,
I '
1-
..-l-
~
0-
,
r
: •v
L.2' 1...1 .
1 l' i
u... z.:l ,
. ",
,­
...."/...
~
~
A...1.
..2-
-UA....l..
~
1-
-
r;.~)
>
L2.
41J1 ......
-i.i
~
l".I, ..
rr
~
~,
t
<.
Pun r.d. -o
i et Ufu U ~.,.. 2 y3 t... ,t" 'J
.
~
•
l.:l.
•
..
.
,
...:I. '
..:<.
..2. '
~
-"
f"'
F
'"
, '-2
~\l
-
U~
...1.
r
'
j
to
.
'
-
-,..... - ....
-" ~
...;;;;;
nus crip t, roJ. 21 r
Plate 19c ,\gu irrc Ma
).6 6 'tro ng evi­
ue s" (see Plates 20 a-b
eq
mb
ara
"Z
d
an
es"
Am ric an "C um be
sug ge st tha t the Zfll 'Gl JI­
pro d uc tio ns of the age
al
i
atr
the
m
fro
wn
1..er...
de nc e dra
las... ,fda nc es
a ...
to...
ref
ey ..
sa me -th>..
the
J
t
an
_
e
.
On
.
re
.
oa
z
inc
.
gu
·_
~ue,
Cltmbe, an d
~·(beq
in jau nty tri ple me ter ,
t ge ne ral ly roJl alo ng
tha
gin
ori
an
ric
me
-A
.... , 1110 't
...Lik
-,
of Af ric an
1. 67
..' ati
01rJ
...cop
oosyn
,.fof
d>
k-fnull
oc
ch
are
d
an
ty,
..
tle
_
sub
l
kT
III<
N
ve rve an d
... ... .. are fuJI of
iii .._ . "' rk
- . . . ouII
: ,...... "'....
io._""- " " " _
d
I
o
~
_
.
.
.
.
.
.
"
.
~dt-.
~_-el!>t_.
~
... A&lU~
or. t.. I Qf
__ ..
Id III 'I
r> <I _I n• .• 1I<l ... . .:hndl
".. ,"' " i- U•• _
178
'mig H. Russell
,
•
Plate 19d Aguirre Manuscript, fol. 221'
•
..... ,.
_. _
.... ,..
Plate 1ge Aguirre Manuscript, fol. 27r
popular dance styles, the same genres and styles ;lIsa
formance
through the secular-influenced villancico th
~r ""_ oryIn., .... Ymr F""" .nd ..,In ........",rod dmu<h ~
it up slightly, .......
and brought
it into
street, cleaned
"'''''Ch do< the
_ula-.........
<>I .........._l!l>'
1Il...... from
tivities,
especially
Matins
services,
Although
the
guine
......,.... , dt>n<d It up~. _ bon>ucJII M'
~Kd """reb reo­
","",.."r
.....,It\.. ......., ....,. ~"lln> knKn.. Al~ ....
p
IW
'" r u . ­
179 The baroque guitar
Plate 19f Aguirre Manuscript, fo!' 29r
the zarambeque) skyrocketed to the heights of popularity as a style of
African-American
villancico
theofseventeenth
thisof
tablature
,!It ""or","",.') ,",,,,,,1<"M
10 ,I><during
h''lIhl>
pop~L"'lycentury,
••• "j'l.
rendition by Murcia d~II"A
is the first
instrumental version
of the genre.
Af'I<.n ·A"",·":.,,
'htpurely
.....""'.mh
lI". ubi.."",
But
the
true
treasure
of
Murcia's
manuscript
is
the
infectious
by MUInI " ,II< 11", I'uffly i"'I"'II1<'II,.1 >'<nOon "f 11>< A<fUt- setting of
first trulyINnu.."",
decipherable
example
of instrumental
the!ttl<
"Cumbees,"
llul II><
I,..,,,,. the
of M"....••
" lh.
,nfoe''''",
ItlllnA of music
in an African
style. The, ..
dance
banned repeatedly
,I>< ••••"nbrn;
'h.o Ii'"American
lrulY d«,ph<nbl<
",pI<was
of '''''''''1I<nul
m""" by the
Inquisition,
to
no
avail,
but
the
condemnations
open
a
window
'" '" Aft"",,, Am...
yIr. Tht
bonnC'd ''l''','tdly br III<for us to
view10
the...
delightful
that
they must
have"I"n,
been. The
Inquisition
1"'I"","on,
,,-oil. bu'fun'ht
m,.d
"",,,o,,.
.. ,nduw
i<lf v,rails
II) against
the
ClImbe
in
1716
with
the
earing
complaint
that
its
"lyrics
are
scandaJoLl
,
, .... ,lit d<l'P.l ful fun 'ha'lI>oy '"u" h b<m. Tlw I"'I" '''1 ,on 'W 'P"'"
obs ene,
offensive
to the highest degree.
are sung and•accompanied
1M
1] '6and
w"h
,II< ''''"'A«>mp!.l;''\
th.. "~IThey
·l}~><J'''''''J>d
•>"
by
a
dance
no
less
scandalous
and
obscene.
They
are accompanied
........"" .ond off< It " .. to ,!It h,A"'" Jog..... nltr 'I. >"nl"'"
""""'I"'nrtd by lewd
actions,
lascivious
displays,
and indecent
and provocative
shakingbr • d."",
... I...
,..rt<loou.
'nd ilbt<<rlt.
Thty.ro
..,romp."~
lor kw.tall to the
grave
ruin
and
scandal
of
the
souls
of
the
Christian
community!,,68
.,1 It' n" Io>c,,",u • I.ploy>. and
'''d p<lWOC"'" •h,k '''A _ .U In ,II< Sounds
,tn,,,ry'.
.'&""'0
"".I"",,,
,n" ..
.I,,,,, ....
'""'/H ,"
.".1
.I
,nd«<",
like fun.
In spite
of "",I."f
this invective
more, the Sound.
wn/be enjoyed
A'''' ,uin
1<.".1.1
of 'n,
tnr Oiland
'....0many
rommun,'r'.widespread
popularity.
10k, fIt". In 'rlt. of tIli. ;m'«tI>'<" .nd m'''r mOff, Th.
rn"'l"<d
Murcia's
setting
of
the
cumbe
begins
with
syncopated
strums
and golpes
wld"'l'f.><l p<)pI'\>.II".
where
the
guitarist
strikes
the
guitar
top.
The
infectious
beginning
gradually
Mu....•...'''nl "f ,he ....mit< bri'n< w"h .yncop"td 'lrun", ,00 pf!<'>
gives""iu
way to
the main
tune and
flights of fancy
that
are cast
w...... 1lN-1l"
..,im
til< lU''''
top ensuing
111( ,,,'«hOu,
"'''II
pul
11 Yin ever­
shifting
hemiolas.
Th
runs
become
increasingly
frenetic
and
rapid.
until
....... ....y II> ~ """n 'Un<
",i"l ft,gt>.. off.n'! ,h..... aoI '0 ~ .
the setting eventually concludes in a flurry of ecstatic scales and pun tuating
"""b<
b<ol'"
.nd ....
•Iufunlhrnuolu. n.. ,,'''' br<nrnr '''''.... 'olly f'.IIn'" ,nJ "rod. uOld
strums. 11. condudn '''' nu•• yo( «...,..-ouband ""nrnutin•
,h. _'"1.....,'...
..'u..... In conclusion, we see that the guitar - an instrument that in modern
times is strongly associated with the social turmoil in American history of the
In <"""lullOn.........
tN, th. AU'''' ,n '0>1"''''''''' 'M on....-l<rn
h~ ~ 11
"'rtF' o""""td .."h ..... _"llu,mod ," A""'nc.... h""'", of lh<
180 Craig If RUSSl'./1180 Craig H. Russell
1
'­
,
.JI
,
"
, r d(,
• \I '. ,:.
.,"\
"
1
I'
.
.
(
'.
.
.'
I
I I'.
• ,l
... -....
\
\0.','
[
,
.'
,I. '"
j','
,. '" r
I
f/~ .
... ;'
•
.1' ..,
(
.
.' \
• C'
-;"
~
..,
'­
C'
~
"( ,.. ."
I
I
"," -' ,',. •
l
"
(.
.. I .... • ..
.'
t' "
. ,....
.'
.­
(
, ,
~
, .'
Plate 20a C6dice Salvidar No.4, fo!' 451', "Zarambeques"
)'
)
'J,"...,.;,.,
,r.
v '
,
I
,
?
"
o •r
"0 J..
\
(~
• • '1'
--.,,
:-.. . .- I
.'
to:'
, r
,.
•
, \
(1
.' ,.
, I',
"
.'~ I
,
I
"
l·I·.;·..· l·
"I
~
l'
I"
no' \
: .r\v ~;.
;,\ rt',',.
.....:.\.
c
,
C
<
~>
!.
0
0
••.
:\~
I • ~r" 'r J. I'
I"
.(:'0
"�
I'
'J
I \:
c o ~
•
'
"
..
.. .
,'
)
(
"
Plate 20b C6dice Salvidar 0.4, fo!' 431', "Cumbecs"
Plar.. 20b COdic......lvidar
~o, 4, foL 43" ·Cuml.>~ .. ~"
andrevolutions
with the musical
jazz,
blues,
rock, an
1960s, and with the1960s,
musical
ofjau,revolutions
blues, rock,of
and
heavy
metal
century
- was
the role of
in It'ntury
the late -twentieth
in the late twentieth
was already
playing
thealready
role ofplaying
n:\'olutiuna'l'
from
its
early
history
back
in
the
1600s
and
1700s.
In
the eras
from its early history back in the 1600s and 1700s. [n both eras, it was at both
of change.
we find
subversive
yet in
noble i
forefront
forefront of change,
Today. we
find thatToday,
subversive
yetthat
noble
instrument
181 The baroque guitar
181 The baroque guitar
the hands of tuxedoed classical guitarists (such as David Tanenbaum and
and
while at the same
Bill Kanengiser,
playing
Brouwer,
Britten,
the hands
of tuxedoed
dassicaJ
guitarists
(such
asHenze),
David Tanenbaum
and time
kids in baggy
pants
bunkering
down
to same
let loose
we find it played
and Henze),
while
at the
timea wild
Bill Kanengiser,
playingby
Brouwer,
Britten,
heavy-metal
solo.
Really,
it isloose
not as
far a step
blues
riff, rocking
hunkering
down
to let
a wild
we find
it played
by kidsrhythm,
in baggyorpants
B. B. King
to Murcia's
"Cum bees"
as we
might
first
we look
rhythm,
or heavy-metal
solo.
Really,
it is
notsuspect.
as far a If
step
blues from
riff, rocking
daring steps
taken
byasa we
Hendrix
Satriani
areIfforeshadowed
B. B. Kingthe
to Murcia's
"Cum
bees"
mightor
first
suspect.
we look
from carefully,
in many
ways by
the taken
bold and
taken
a Montesardo or
carefully,
the daring
steps
by a pioneering
Hendrix or steps
Satriani
are by
foreshadowed
Corbetta.
History
hasand
shown
the guitar's
(or adapt
ways by
the bold
pioneering
stepsability
takentobyanticipate
a Montesardo
or to)
in many
musical
and stylistic
changes
long before
other instruments.
Corbetta.
History
has shown
the guitar's
ability most
to anticipate
(or adapt to)Rarely
more versatile,
or
has and
the stylistic
world seen
an instrument
changes
long beforemore
mostbeloved,
other instruments.
Rarelymore
musical
attuned
the twists
and turnsmore
of ourbeloved,
ephemeral
society
and unpredictable
worldtoseen
an instrument
more
versatile,
or more
has the
history
than
the
revolutionary,
rambunctious,
and
radical
guitar.
attuned to the twists and turns of our ephemeral society and unpredictable
history than the revolutionary, rambunctious, and radical guitar.