A Guide to Playing the Baroque Guitar

Preface

vii PR EFACE The amount of guitar music produced during the late sixteenth through the middle of the eighteenth century is huge—second only to that of the lute. And like the latter, it ranges from the modest efforts of amateur musicians to the miniature masterpieces of the great court composers of Europe. Some of it even found its way to the New world. But while the lute’s vast repertoire has become—thanks to recordings, publications, and lately, some new and improved music transcription software—both familiar and available throughout the world, the same cannot be said of the early guitar’s, probably because of its rather unique notation. Virtually all guitar music from the period was written in a tablature notation that looks somewhat similar to lute tablature. However, since the nature of the instrument, its idioms, and its playing techniques are significantly different from those of the lute (not to mention the classical guitar), so is its notation. for example, what might look like an arpeggio to a lutenist accustomed to reading lute tablature is simply a single-line, running scale passage in baroque guitar tablature. Guitar composers signaled arpeggios in other ways, and interpreting their tablatures requires an understanding of both the unique idioms and techniques of the instrument for which they composed and the ways in which they notated them. The purpose of this book, then, is to provide a practical, point-by-point guide on how to read and interpret baroque guitar tablature, as well as suggestions for performing the music in an informed and stylish manner. Although it includes some quite rudimentary details and a few easier pieces along the way, it is intended not for beginners but for intermediate to advanced musicians—lutenists who wish to expand their performance horizons to include the baroque guitar; classical guitarists who wish to explore the repertoire on an actual five-course baroque-style instrument; and, of course, players of the baroque guitar, who might find some challenging additions to their present repertoire and some useful suggestions regarding interpretation. Since there is no way to express in staff notation everything that is contained in the vast majority of baroque guitar tablatures, it is absolutely essential that players learn to read tablature. Therefore, part 1 deals with the main types of tablature and the meaning of the signs and symbols that one is most likely to encounter. It also includes a discussion of playing techniques. Part 2—which is the heart of the book—is an anthology of representative guitar works, largely tested for effectiveness in public performance. Each work is prefaced by a commentary that gives a brief biography of the composer, a detailed explanation of the viii PR EFACE signs, symbols, and any idiosyncrasies unique to the piece or the particular publication in which it is found, as well as a description of the musical forms and other information that could provide clues to how the piece might have been performed. Each piece is presented in both tablature and staff notation. The latter, however, is for study and reference only and is not a transcription for classical guitar. ...