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Santiago de Murcia Resumen
about the lute de acompaar
thinking of taking
up the lute? INTRODUCTION
about the society
become a member "Resumen de acompaar", printed
meetings and
in 1714, is the earliest of three
events collections of music for five-course
guitar composed and arranged by INTRODUCTION
publications and
online shop Santiago de Murcia. NOTES - Introduction
lutes for hire RESUMEN DE
Very little is known about Murcia. ACOMPANAR - PART 1
small ads In "Resumen de acompaar" he is
NOTES - Part 1
makers referred to as "Master of the guitar
RESUMEN DE
teachers to the queen, our lady, Doa Maria ACOMPANAR - PART 2
other listings Luisa Gabriela of Savoy." Maria
NOTES - Part 2
Luisa was the first wife of the first
find a lute player
Bourbon king of Spain, Philip V,
links
who succeeded to the throne on the death of Charles II in 1700.
advice and tips Their marriage place by proxy in Turin on 11th September 1701
free downloads when she was just thirteen years old. On 3rd November the
archive couple met for the first time and the marriage was re-
baroque guitar celebrated at Figueras in Catalunya. They remained in
Catalunya until April 1702. Philip then left on a tour of his
contact us
Italian posessions appointing Maria Luisa as regent in his
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absence. She proceded first to Zaragossa where she presided
site-map over the Corts and then to Madrid, arriving there for the first
search time on 30th June.
NOTES - Introduction
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DEDICATED
BY
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Vale
Salvo &c.
Illustrious Sir,
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Santiago de Murcia
SONNET
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And hearing your supreme conceits, they say that you make
poetry with your fingers, or that you versify with your hands.
NOTES - Part 1
p.6 DIAGRAM
showing to which notes [of the scale] both the open strings,
and the strings stopped at each of the frets correspond, so that
you may understand the whole range of the guitar. To achieve
this it must be understood that a G represents G sol re ut, an
A, A la mi re, the B, B fa b mi, the C, C sol fa ut, the D, D la
sol re, the E, E la mi, the F F fa ut. This sign # indicates that
the note is sharpened; this b that it is flattened.
The five open strings. First fret. Second fret. Third fret.
Eighth fret. Ninth fret. Tenth fret. Eleventh fret. Twelfth fret.
The numbers which are found on the lines [of the tablature]
indicate the frets which have to be stopped, so that if there is a
1, the first fret has to be stopped (on the string where it [the 1]
is placed); if there is a 2, the second fret will be stopped, and
so on for the rest.
The small dots are supplied so that you may know with which
fingers the strings should be stopped to achieve the best
position of the left hand. When one dot is found [the strings]
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are stopped with the index finger; when there are two, with the
middle finger; if there are three, with the ring finger; if there
are four, with the little finger.
The stave (below the letters) is supplied so that you may know
to which note, in the bass clef, each letter [of the Abecedario]
corresponds.(Note1) Note that this sign - 3# - above [the bass
note] indicates that that note is accompanied by a major third;
and this sign - 3b -, that it is accompanied by a minor third.
Even if these signs are found above the [bass] note ( as has
been explained) without a 3 before them, they indicate the
same thing, for then the sign # indicates that note sharpened;
and if it has this b, it is flattened.
First of all, to find the note which the [bass] note requires to
accompany it, one has to count from the [bass] note itself to
the right (Note 2) from note to note until it is found. Then the
string nearest to where it occurs will be chosen according to
the place where the hand happens to be, without displacing it;
for one of the most important points to which he who
accompanies or plays must pay attention, is the proper position
of the left hand.
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All that remains for you to understand now is that if the bass
note is on the fifth course of the guitar, from the fourth course
downwards can be used to look for the accompanying voices; if
it is on the fourth, from the third course downward; if on the
third course, on the second and first courses.
The diligent reader will see all this put into general practice in
the following pages.
p.9 DIAGRAM
to illustrate all the modes, both the eight standard ones and the
other transposed ones, according to the final note on which the
bass part ends.
p.10 First mode - 1st mode a tone lower - 2nd mode - 2nd
mode a tone lower
6th mode - 6th mode a tone lower - 7th mode - 7th mode a
tone higher
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On G sol re ut flat
p.14 On A la mi re natural
p.15 On A la mi re sharp
On A la mi re flat
p.16 On B fa b mi natural
p.17 On B fa b mi flat
p.18 On C sol fa ut
p.21 On D la sol re
p.26 On F fa ut sharp
Note that although the scales ascend a long way, and the notes
descend as far as the tenth fret, this is only in order to give the
full range of natural notes. In practice the accompanist may
repeat the same thing from the second G sol re ut.
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p.35 Diagram showing how to write out a treble part for the
guitar, both in the clef of G sol re ut and in that of C sol fa ut.
Note that this first example is transposed up a fifth. This is the
way of writing in this clef in the Spanish style when it is used
for vocal music.
With flats
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Here will be understood the same as was noted for the flats.
The rest of the notes will be played in this clef both with flats
and with sharps, as it is set out in the first example of the said
clef of C sol fa ut.
When the said metre goes in half the time, that is rather
quickly, the down-beat and the upbeat of the bar only are
harmonized in full, together with such [bass] notes as may
need a particular note [to accompany them]. Its movement
[i.e. that of the bass line] will always be the reason for
executing them in this way in any of the metres, if there is
occasion to and [the player has sufficient] skill for it.
This metre in which the notes are double the value (of those in
the metres which have already been explained) is accompanied
rapidly. For this reason, the full chords will be played on all the
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This metre is the one which is usually used for the juegetes of
Spain, and it is so called because of its speed; but the notation
is the same (as in proporcin). Full chords will be played
depending on the skill of the accompanist, but it is essential, in
any metre (as is indicated in all the others) to play them on the
down- and up-beats of the bar. However taking into account
here the brevity [of the notes], they should be placed on [the
note which makes up] the greater part of the bar, being
governed in this as in all the others, by the examples at the
end.
In this metre, the dotted breve equals one bar; without a dot, a
semibreve is needed [to make up the bar]. Three semibreves,
six [white] crotchets, or twelve [white] quavers make up
another [bar]. Full chords are played on all the semibreves,
which are equal here to the minims [of the previous metre];
assuming these [the minims in this metre] to be crotchets, the
first and fifth are harmonized in full. Only the first of the
quavers, which are like semiquavers [is harmonized in full].
As far as here the kinds of triple time used in the Spanish style
have been explained. However, these same [metres] are also
used (as can be seen) in foreign music, although with a
difference in the notation; as for example, the metre of 3 by 4,
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NOTES - Part 2
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(10.) Black notes are used when syncopation occurs. They are
otherwise of the same value as the white notes of the same
denomination. Return to text
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