Tag Archives: Baroque lute

Giga by David Kellner & Menuet by Camille d’Hostun

Two elementary and intermediate level ten-string guitar transcriptions of baroque lute music:

Camille d’Hostun, duc de Tallard (1652-1728)
Menuet

TALLARD [click here to download PDF]
Transcription by Viktor van Niekerk

David Kellner (1670-1748)
Giga

KELLNER [click here to download PDF]
Transcription by Viktor van Niekerk

Note: Numbers inside triangles indicate strings whose vibrations need to be checked by the given finger of the left or right hand. When this symbol is accompanied by the abbreviations w, th, or dp, the meaning is to stop the vibration of the string by means of the RH wristheel (thumb-side), and distal phalanx of the thumb respectively. The difference between stopping the sound with “p” (thumb) and “dp” is that the first makes use of the thumb pad (as if playing the string) while the latter checks the string’s vibration by means of the side of the thumb’s distal phalanx (i.e., placing the thumb ‘under’, not on, the string). The latter technique is useful when ascending to an adjacent string, not wishing both to sound together. Not all such techniques are explicitly indicated. The most common damping technique is a (light) rest stroke, when descending across adjacent strings that form a major/minor 2nd, e.g., a rest stroke on string 10 after sounding string 9, leaving 10 to sound while checking 9 by coming to rest on it. Occasionally it is a good idea to fret the A2 bass on string 9/10 instead of playing it open when it is followed by an open 9th string (i.e., G#2 or G2). This avoids the melodic (M/m) 2nd becoming a dissonance as well as unnecessarily tricky damping. There is an example of this fingering in the Kellner Giga: the anacrusis or pickup from bars 3 to 4, page 2, system 2.

Menuet (Urtext) by Tallard

Giga (Urtext) by Kellner

3 Baroque Lute Sonatas (Falckenhagen, Straube, Weiss)

‘We can say that the lute is to the guitar as the harpsichord is to the piano. And if this is true, how can we take the music written for these eight, nine, or 10-course instruments – even [eleven,] thirteen and fourteen courses, in the case of the baroque lute – and transcribe it for a guitar, which has only six strings? [...] I want to be able to make “legitimate” transcriptions in which the music loses nothing, but rather improves in quality.’ (Narciso Yepes. 1978. “The Ten-String Guitar: Overcoming the Limitations of Six Strings”. Interviewed by L. Snitzler. Guitar Player 12, p. 26.)

Sonata no. 2 by Adam Falckenhagen (live in Buenos Aires):

Sonata no. 1 by Rudolf Straube:

Sonata no. 2 by Silvius Leopold Weiss:

 

“With the ten-string guitar I have many possibilities, and I do not need the baroque [lute] tuning exactly.” (Narciso Yepes. 1983. “Conversation with Narciso Yepes”. Interviewed by J. Schneider. Soundboard , Spring: p. 66.)

Scordatura: String 7 = B1 (low B)
Scordatura: String 7 = B1 (low B) – other low basses (C#2, D#2) are fretted on string 7