The Guitar Passacalles of Santiago de Murcia (ca. 1685-1740): An Alternative Stringing Nina Treadwell “Abstract, Santiago de Murcia's twenty-eight passacalles for five-course (baroque) guitar are contained in his manuscript Passacalles y Obras ..(1732), along with eleven dance suites orobras. An examination ofthe passacalles, a opposedto his French-influenced dance suites, reveals that an alternative stinging may be appropriate for Murcia's passacalles as well 1s for other Spanish and Italian works of this period. In particular, this study suggests the use of an octave stringing for the third course of the baroque guitar. The practice of placing higher octave strings onthe ‘bass’ side of the relevant courses of the guitar is examined in relation tothe octave stringing of the third course in particular. ‘The large corpus of extant music for the five-course guitar is characterized by the variable nature of stringing procedure. The stringing preference indicated or as- sumed in specific works can not always be fully ex- plained by the broader spectrum of a source's origin (country and region) and date. This is nowhere more apparent than in the comparatively small number of surviving Spanish sources. Indeed, the stringings prefer- red by Spanish guitarists can be more fully understood if one considers the influence of their French and Italian ‘counterparts, the latter representing the mainstream of the guitar's development during the early to mid- seventeenth century. Composers such as Gaspar Sanz, who openly acknowledged his debt to “the masters in Rome”! and Santiago de Murcia, who appropriated a number of French sources, come under this category. Conversely, the apparent lack of cross-fertlization exhibited by the existence of other more insular Spanish sources, particularly those of Francisco Guerauand Lucas Ruiz de Ribayaz, largely account for their particular igure 1. Tunings for the five-course guitar used by Spanish guitarists. The strings are commonly numbered through to 5, with string 1 being the highest in pitch. Ribayaz (1677/Guerau (1694) So ss Gay . 2S oe stringing preference. The printed books of Guerau (1694) ‘and Ribayaz (1677) adopt stringing that was rarely used in solo music outside Spain in the latter part of the seventeenth century. Figure 1 demonstrates the three most common stringing options employed during this period. As can be seen, the stringing of the first, second and third courses remains uniform, with the first course almost invariably single strung.? ‘The variable nature of stringing the five-course guitar has already received some detailed attention.> To a large ‘extent stringing preference determines the broad canvas ‘of compositional style exhibited by specific sources. Further, stringing preference directly affects aspects of performance practice, resulting in idiomatic effects that are characteristic of particular stringings. While the pur- pose of this paper is to argue a case for an alternative stringing for the passacalles of Santiago de Murcia, it will be necessary, in order to demonstrate my point, to provide a context which elucidates elements of perform- ance practice and notation within the general area of music for the five-course guitar. ‘Theearliest sources of Baroque guitar music use asystem cof notation known as alfabeto, a short-hand method used to notate purely strummed or rasgueado music. Letters of the alphabet (or a symbol) are use to designate a particular left-hand chord shape. Many sources include an alfabero chart in their opening pages, such as that of ‘Santiago de Murcia, as shown in Figure 2a (see Figure 2b for transcription). ‘The equivalent of each letter of the ‘alfabeto series is written below in five-line Italian (lute) tablature. In this system the five lines are correlated with the five courses of the guitar: the lowest line of the tablature corresponds with the first string which is the highest in pitch and located closest tothe floor when the {guitar is held in playing position. Numbers are used to indicate which frets to press with the left hand. Only ‘stopped! strings areindicated by the alfabeto equivalent, although the full five courses of the guitar are to be strummed. Following the chart, actual music notated in ‘alfabeto includes the symbol only. A manuscript written in Italian by the Spanish guitarist Francisco Palumbi dated .1595 is the earliest source of this kind. The publication of Giovanni Paolo Foscarini’s Primo, secondo, ¢ terzo libro of c.1630 marks a new departure in guitar notation. As well as containing purely alfabeto pieces, Foscarini's book contains pieces which employ amixture of the rasgueado style with the punteado (plucked) style notatedin five-line Italian tablature (Figure 3). Knownas ‘mixed tablature’, this form of notation incorporates, alfabero symbols into Italian tablature, and is the type used by Murcia for his music. Musicology Australia \992!volume XV 67Figure 2a. The alfabeto series as set out by Murcia atthe beginning of his Saldivar Codex No.4. Each letter (or sign represens the lefthand chord shape shown below in tablature. ‘The five lines represent the sring ofthe puta te numbers represent the corresponding frets. - DIE ESE = Fe eS 2 PDS Figure 2b. Transcription of the opening of Murcia’s alfabeto series using Figure Ib tuning. Notes that are doubled have been notated in this instance, Note the common occurrence of first and second inversion chords. * -_ c D ele. Vaden Equvelot Eminer Grajor — Cmejer In his Instruccién de miisica (1674 and 1697) Gaspar Sana refers to three different stingings used for part lareffect. Sanz’s advice, from which the paragraph below is a quotation, serves to distinguish between the use of bourdons(thetower octave strings used onthe fourth nd fifth courses- see Figure 1a) and the mostre-entrant of the stingings under dicussion, demonstrated by Figure lc The stringing most frequently suggested for Murca's musi (Figure Ib) provides a compromise between these two extremes. It will be noticed that Sanz refers to a further option, that of stringing the fourth and fifth courses with Bourdons only: however ths preference is (68 Masicology Australia 1992Wvolue XV a mayer min Dene Amine not relevant to this study which does not deal with purely rasgueado music or the use of the guitar as a continuo instrument. In singing there is varity, because in Rome musicians Sting the gular only with hin stings, without a bourdon Snelterthe fourth orithcourse (igure Te). In Spain the opposite isthe eat, since some te two botrdons onthe fourth and ancter two one ith, and at estas mater et curse one on exc core (ge Ta Tess (wo tetods of singing ae good, bit fr diferent effets, [autem es wishes osu the gtarto play nly {her stummed] musi oF accompany the bass tine of anydance tune or sonata, the guitar is better strung with bourdons than without them; ifanyone wishes to play with skill and sweetness, and to use campanelas, which is now the modern way of composing, bourdons'do not sound ‘well, but only tin strings on both the fourths and fifths, of which Thave had much experience; and this isthe reason: ‘when making tills slurs and other ornaments with the lef. hand, if there isa bourdon it impedes them, because itis a thick string and the other thin, and the hand cannot stop them evenly and hold down asirong string Hike tvo tin strings. ‘Sanz’s campanelas is a bell-like effect achieved by play- ing consecutive notes on alternate strings. In terms of right-hand technique, campanelas is most easily ren- dered with a stringing that omits the bass register such as that shown in Figure 1c. The cross-string technique required to produce a campanelas passage is reflected in notation by characteristic patterns which utilize alternate lines of the tablature as can be seen in the extract from San2’s Passacalles por la i: ‘i references the corre- sponding alfabeto chord, thus denoting the ‘key’ of the passacalle. A transcription of this campanelas passage produces a scale-like sequence of notes (see Example 1b), but falls short of illustrating the bel-like effect produced by campanelas, since the manner in which the notes are executed (ie. on what strings) is not indicated by the transcription. Example 1c demonstrates a more straightforward rendering of the transcription in tabla- ture. While the actual pitches produced by Examples la Figure 3. Foscarini's “Ciacona Variata” showing the incorporation of alfabeto into Italian tablature. See Foscarini 1640, p.28. Ciscona Dariaca 28 + — €4-€ oH \py ut I be, a en Vp bat Lads utd Lyut | uy db td Musicology Australia 192Ivolume XV 69Example 1a. book 3, p.3. Example 1b. Transcription of 1a. Example Ie. p The eleventh variation from Sanz's Passacalles por lai demonstrating campanelas styl. See Sanz 1697, ‘Alternative rendering of la using a series of mainly ‘stopped’ notes on adjacent strings and Lc are identical, the campanelas effect is lost inthe latter case where the notes are mostly stopped using strings 1, 2 and 3 only. The inclusion of campanelas in guitar tablatures from this period (or indeed its absence from them) is one means of determining which stringing is most appropriate when written instructions do not exist. In many cases instructions for stringing are given. Sanz clearly states his preference as well as indicating that in Spain the use of bourdons was common practice. Ruiz de Ribayaz refers to the use of a bourdon on the fourth and fifth courses in his stringing instructions in Luz y norte ‘musical (1677). In other instances written material can provide clues. For example, in his Poema Harmonico (1687) Francisco Guerau refers tothe use of bourdons in the plural, implying that both the fourth and fifth courses ‘were strung in this manner.$ Santiago de Murcia, how- ever, left neither stringing instructions nor written clues regard. In cases such as Murcia’s, particular qualities ofthe music itself have been used by scholars as ‘a means of ascertaining which tuning gives the most ‘correct’ musical rendering. By implication, these par- ticular ‘musical qualities’ often reston assumptions about the nature of baroque guitar music in general. For ‘example, the nature of texture and voice-leading in guitar tablatures of this period has been used by scholars to justify the use of particular stringings. Craig Russell focuses on the area of voicings in cadentil figures to assert his claim that Murcia used the stringing employed by many of his French and Italian counterparts (Figure 1b). Contrasting the frequent occurence of inverted chords in the rasgueado style with their apparent absence from the punteado style, Russell argues: lucked chords ... {as opposed to strummed chords) are treated with much more eare by the baroque guitarists, ‘especially at cadences. Only in the rarest of cases can one find anything other than a foot position harmony on the final chord of a cadence in punteado style; second-inver- 70. Musicology Australia \992volume XV sion triads are avoided at all costs. ‘Thus, one of the few valid criteria for ascertaining which tuning a specific baroque guitarist used is by looking atthe plucked — not strumimed ~ cadental paterns. Murcia’s repeated use of one specific cadental formula indicates he used the re-entrant tuning that was so popular ‘among his French contemporaries In terms of musical texture, the inclusion or absence of ‘campanelas passages in tablatures ofthis period has been shown to be an effective criterion for selecting stringing. ‘That at least some baroque guitarist composers were concerned about the consistency of their music with regard to octave displacement is evident. Sanz, for exam- ple, makes particular reference to bourdons which “do not sound well” when playing in campanelas style. He also refers to the “different effects” achieved by using. particular stringing arrangements. As Robert Strizich has pointed out, Ruiz de Ribayaz’s appropriations of Sanz are careful to omit campanelas variations, a clear acknowledgement that campanelas would sound less than effective with his own preferred bourdon stringing. (ofthe fourth and fifth courses).7 Ribayaz’s book quotes twelve pieces that are taken from the first and second books of Sanz’s Instruccién de misica. Seven of these are variation pieces, a genre in which Sanz frequently employs campanelas. In the three pieces which contain variations in campanelas style, Ribayaz simply omits the ‘campanelas variations. He shows some regard for the formal proportions of Sanz's pieces, however, by omit- ting other variations that appear to be linked stylistically to the campanelas sections. For example, the thirteenth and final (campanelas) variation in Sanz's Passacalles [Por] aD is omitted by Ribayaz along with the eleventh ‘and twelth variations, the tenth variation presumably providing a more satisfactory ending for the entre piece. Ribayaz's ‘edited’ versions of the Sanz pieces, and Sanz’s ‘own comments on stringing, reflect the concern of these baroque guitarist composers to avoid the occurrence of ‘octave displacement.jbayaz clearly finds campanelas unsuitable ‘when stringing with bourdons, campanelas sections are freely incorporated into important sources that specify the use of one bourdon on the fourth course (see Figure Ib). Attheend of Robertde Visée's introduction to Livre de guitarre (1682) he reminds the reader not to forget the ‘octave string on the fourth course. Concerning the execu tion of campanelas using this stringing, two aspects of performance practice need to be examined. Firstly, with the regard to the stringing of the fourth course, the lower ‘ctave is always placed on the ‘treble’ side of the instru- ment. This fact can be verified not from any specific instruction contained in a guitar treatise of this period but from other pertinent sources. The article on ‘Guittare’ in the Encyclopédie of Diderot and D*Alembert includes a representation of the fingerboard of the guitar which clearly shows the thick bourdons on both fourth and fifth courses placed indisputably on the ‘treble’ side of the instrument.8 This disposition is in fact the opposite of that which is found on the lute. ‘The second aspect of performance practice concerns the option of plucking only the upper octave string of the fourth course, While this practice is not expressly documented in treatises of the period, it becomes an obvious choice when consider- ing the context of particular notes located on the fourth course. In some instances the note intended is clearly functioning in relation to other notes which occur in the upper register of the instrument (for example, in a campanelas passage), rather than as a potential “bass” note. This option is only made possible by the stringing arrangement mentioned above, whereby the right-hand thumb, with its inherent down stroke, is capable of omitting the lower octave string or bourdon. While it could be argued that this practice could be equally well applied to a bourdon on the fifth course, the ability to pluck a single string on both the fourth and fifth courses in rapid succession poses particular technical dificulties for the player. In short, campanelas can be effectively rendered with one bourdon on the fourth course only since the lower octave can be omitted when appropriate. ‘When a ‘bass’ note is required on the fourth course, both strings can be struck simultaneously with the upper ‘octave providing a brighter tone. These points are of Jar importance in relation to the stringing most appropriate for Murcia’s passacalles. ‘Santiago de Murcia: The Passacalles and Stringing Procedure Murcia’s music is found in three sources. His printed source of 1714, Resumen de Acompafar la Parte Con La Guitarra, is a figured bass treatise for guitar which includes ‘a second section containing a collection of ccontradances, minuets and diferencias in addi ea three suites. The Saldfvar Codex No.4, isamanuscriptin thecollectionof thelate Mexican musicologist. Gabriel Saldtvar y Silva, but was only recently identified in 1985 as the missing first volume of Murcia's manuscript of 1732, Passacalles y Obras. Most of the music in the ‘codex isin the form of continuous variations on the chord progressions of popular Spanish and Italian dances of the day. This complements the contents of Murcia’s second volume, Passacalles y Obras, which contains twenty- eight paired passacalles and eleven dance suites which are made up of movements mostly borrowed from Murcia’s French contemporaries. The passacalles con- stitute just over one third of the folios in this manuscript representing the largest body of compositions that are by Murcia himself. They are grouped in pairs—atriple meter passacalle (proporcion)followsaduple meter passacalle (compasillo) in the same tono or mode. The sequence in which the onos occuris determined by the orderin which the chords appear in the alfabeto chart (see Figure 2). This practice can be traced to the early seventeenth century Italian guitar books, atleast a century earlier than Marcia’s manuscript, and to another Spanish manuscript (€.1700) by Antonio de Santa Cruz which includes passacalles in eleven keys For the following reasons, most scholars recommend the stringing shown in Figure 1b for Murcia’s musi general.10 Firstly, this stringing was commonly used in France at this time and employed by composers such as Frangois Campion, Robert de Visée, Francesco Corbetta and Frangois Le Cocq whose works Murcia appropriated inhis Passacallesy Obras.!1 AsCraig Russell has pointed ‘out, the pieces in Murcia's Resumen are baroque guitar arrangements of dances taken from the publications of the French dancing master Raoul-Auger Feuillet. While Russell's discoveries are relatively recent (early to mid 1980s), the French connection in Murcia’s music was noted as early as 1972 when Robert Strizich pointed out that two allemandas from Murcia's Passacalles y Obras were in fact drawn from Robert de Visée's Livre de ‘guitarre (Paris, 1682). Strizich also observed the inclu- sion of Francesco Corbetta's Tombeau sur la mort de ‘Madame d’Orléans in the same volume as well as the incorporation of French-style omaments in the music in general. Now Murcia’s passacalles, while exhibiting some influ- cence of Frenchstyle, are the only piecesiin the Passacalles +y Obras that can be safely attributed to Murcia himself. "The fact that the title of Murcia's manuscript bears their name and that a significantly large proportion of the volumeis dedicated tothe form suggests something ofthe independent status of these works. The passacalles open Murcia’s volume and are separated from the obras or suites by six blank staves, beginning on folio 46v after the final passacalle and including folio 47r which contains only four blank staves. A Preludio por la C heralds a change of form on folio 47v. The inclusion of the passacaile series in Spanish sources stems back to the late seventeenth century guitar books of Gaspar Sanz, Francisco Guerau and Antonio de Santa Cruz. These sources are predated by a proliferation of Italian sources, for both five-course guitar and lute (including the works of Girolamo Kapsperger and Alessandro Piccinini) dat- ing from the early seventeenth century. In general, the passacalle is characterized by a four-bar harmonic pro- ‘gression in the minor mode and in triple meter. In Spain, ‘Musicology Australia \992Wvolume XV. 71however, the passacalle series includes pieces in both the major and minor mode and in triple and duple meter. By contrast, the passacalle series is not found in French sources; the individual passacaille is mostoften found as single movement within a dance suite. Richard Hudson has noted the distinction between the Spanish and French ppassacallelpassacaille in terms of formal proportions and design |? Given the strong Italian and Spanish tad tion of writing apassacalle series, itmay be that Murcia's passacalles need to be viewed in the light of these practices rather than the French influence which appears tohave manifested itselfso strongly in the suites from the same volume. These suppositions can be reinforced by clucidating specific stylistic distinctions that exist be- tween the passacailes and suites which directly relate to the question of stringing preference. Before these distinctions can be made clear, the question of voice-leading in Murcia's music needs to be ad- dressed. As many scholars have pointed out, no one stringing preference completely solves all aspects of voice-leading in a given source, However, most often, ‘one stringing may be favoured over another because it minimizes the occurrence of octave displacement. ‘This brings us to the second point regarding the most ‘common stringing preference for Murcia's music. The exclusion of a bourdon from the fifth course has been advocated by scholars such as Lowenfeld and Hall as a result of Murcia's frequent use of voicings such as contained in Example 2a.!3 Smooth voice-leading is achieved in transcription 2b where the bourdon is omitted from the fifth course and only the upper octave sounds (Gee Figure 1b stringing). In transcription 2c the leaps of seventh and ninth which occur inthe lower voice are the result of the bourdon on the fifth course (see Figure 1a stringing). Finally, the absence of a bourdon from the fifth course has been advocated due to Murcia’s frequent useof campanelas. As shown, campanelasare dfficultto execute with a fifth-string bourdon. Example 2a. Excerpt from Murcia’s Passacalles y Obras, “Passacallés Por La E,” folio 24r, bar 2ff Example 2b. Transcription using Figure 1b stringing, ‘ensuring smooth voice-leading in the lower part. Example 2c. Transcription using Figure 1a stringing. ‘Note he leap ofaseventhand ninth between the lower voices as marked. 2 ia J 7 Musicology Australia 1992!volume XV Figure 4. Stringing demonstrating the inclusion of an ‘upper ociave string on the third and fourth courses. Morcia: Altemative tuning Sas James Tyler has noted two historical references to the use of octave stringingon the thirdcourse.!# Anexamination of Murcia’s passacalles reveals stylistic features that call for both a third and fourth course octave stringing (see Figure 4). By contrast, Murcia’s appropriated dance suites (the movements from Campion, De Visée and 50 oon) show that they are equally effective with the usual French tuning of this period already discussed (Figure 1b). Within campanelas passages alone, almost half of the passacalles invite the use of a high octave string on the third course (see Table 1 for a listing of these). In addition to the eleven dance suites which make up the latter portion of Murcia's manuscript, a series of Spani titled works follow the first suite, Obra Por La C, on folio 58. Almost all of the movements from Obra Por La C have been traced to French sources by Craig Russell. The Spanish-titled pieces begin on folio 58r with an instruc- tion on the previous folio, “Sigue una Idea Especial de CClarines," (A special trumpet piece follows). This begins along sectional work divided by titles which relate tothe particular battle-ike character of each section. Several campanelas passages within te trumpet piece call fr the ctave stringing of the third course.!$ Similarly, the Llamadas (literally meaning, ‘calls’, that is, a call to arms) contains several passages of the same type.'® Craig Russell has suggested thatthe entire work is an abbrevi- ated version of the Batalla famosa found in an anthology of Spanish organ works compiled by Antonio Martin y Coll.!7. Given the strong Spanish tradition of writing Table I. List of Murcia’s passacalles requiring an upper ‘octave string on the third course. Alfabeto Modern Meter Folio. Bar. Equivalent No. Nos. x Eminot proporcion Tr 10 A G major compasillo v9 8, 11 A Grmajor proporcion 10r/10v. 2, 6/1,2 B Cmajor compasillo 12S c Daajor compasillo 15 2 c jor proporcion 16r 5 c Iv 13, D 20 6] D proporcion 231 10, 11 E Dminor proporcion 26v 6-13 K (nd fret) Bminor compasillo 39v 2 K (nd fret) B minor proporcion 20v 12 Folio numbers refer to the location of a particular passage within the stated passacalle. Allexamplesoccurincampanelas passages, excepting those contained in parentheses.Example 3. Excerpt from Murcia's “Passacalles Por La E,” folio 25v, bar 15. — ue batalla pieces, it is not surprising that Murcia, in his transcription ofthe work for guitar, incorporated stylistic ‘elements which, like the passacalles, cal for the use of the third course octave.'® Specific stylistic features of Murcia's passacalles point tothe use ofthe third course octave. The selective use of the upper octave on the fourth course to ensure smooth voice-leading in campanelas passages is aregular feature of Murcia’s tablature as Example 3 demonstrates. By analogy, the third course with an octave stringing can function in the same way. For example, a single phrase in Murcia’s Passacalles Por La Ccalls for an octave stringing on both the third and fourth courses (see Exam- ples 4a and 4b). Example 4c demonstrates the melodic contour should the third course octave be omitted: note the occurrence of leaps of a seventh and ninth. Use of particular right-hand fingering isessential for passages of this type. The thumb is used for striking the upper octave string: it has an inherent down-stroke. ‘The middle or index finger can play the lower octave with an up-stroke. In Example 4a the thumb is used for the high G, and the index finger is used for the low G which occurs on beat cone ofthe second bar. A characteristic sequence of right- hand fingering becomes apparent: thumb, followed by index and then middle fingers. This pattern, commonly abbreviated as p (thumb), i (index) and m (middle) works Example 4a. Excerpt from Murcia's “Passacalles Por LaC," folio 151, bar 2. Example 4b, Transcription using an upper octavesstring- ing on the third course. Example 4c. Transcription using the “usual” Murcia tuning (see Figure 1b). 3 pee) io in reverse order for ascending scale passages in ‘campanelas style. In gutaristic terms, the ‘p im” pattern isthe most logical choice for across-string pattern of this type. It is no coincidence that the sequence of fingering in this pattern always corresponds with the appropriate upper or lower octave. Here we have an aspect of guitar technique that reinforces the case for the alternative stringing. In should be noted, however, that the use of octave stringing on both the third and fourth courses bypasses the technical difficulties that stem from an cctave stringing of the fourth and fifth courses. In this ‘case, the thumb alone is frequently used to pluck a series of consecutive notes. See Example 2, bar 2, where the thumb would be used for the entire lower part, spanning the third, fourth and fifth courses.'9 The plucking of single strings in passages of this type with the thumb ‘lone poses particular technical difficulties. By contrast, theuse ofthe ‘pim’ cross-string fingering that character- izes the plucking of single strings on the third and fourth courses is a completely idiomatic feature of right-hand technique. In short, itis important to note the differing technical implications of octave stringing on the fifth as ‘opposed to the third course. Can the leaps which occur in melodic lines when using the ‘usual’ Murcia stringing be justified, as one scholar suggests, by Murcia’s over-riding concer for technical facility on the instrument?20 In other words did Murcia use campanelas style rather than the more common ‘method of ‘stopping’ notes because it proved technically ceasier despite the fact that octave displacement was a regular occurrence? There is no reason to suggest that he did. Clearly the timbral quality of campanelas is an portant reason for its usage. However the frequent imegularities of voice-leading which characterize these campanelas passages can be isolated to notes which ‘occur on the third course when using the ‘usual’ Murcia stringing. Further, the importance of voice-leading in ‘Maurcia’s music is apparent in his treatment of imitative figures incorporating campanelas style. For example, ‘Murcia may contrast a phrase in campanelas with an imitation utilizing an alternative texture or articulation. Example Sa shows a campanelas phrase pitted against a texture of mainly ‘stopped’ and slurred notes. As Exam- ple Se demonstrates, passages ofthis type lose their effect When the usual” Murcia stringing is used. The use of the third course octave resolves problems of voice-leading (see Example 5b). ‘Musicology Australia 1992Nvolume XV. 73Example Sa. Excerpt from Murcia's “Passacalles Por La C," folio 16r, bar 5ff Example 5b. Transcription using the high octave on the third course producing an exact imitation. Example Se. Transcription using the ‘usual’ Murcia tuni o $ rf ‘Two anonymous Italian manuscripts cited by James Tyler specify the use of an upper octave string for the third ‘course only! (see Figure 5 for stringing). This stringing ‘comes closest to Gaspar Sanz. In addition to Murcia's Passacalles y Obras and Sanz's Instruccién de misica, Spanish sources that invite the use of the third course octave include those incorporating campanelas style: the manuscript of Antonio de Santa Cruz, Murcia’ stwo other volumes and an anonymous manuscript of 1705 which containsa number of passacalles, including some that are drawn from Sanz’s book. Italian sources, particularly those of Angiolo Michele Bartolotti, display campanelas style passages that also call for this stringing, among these are the books of Giovanni Battista Granata,c.1650 and 1684, Ludovico Roncalli, 1692. and Francesco Corbetta’s book of 1643. Few French sources invite the use of the third course octave.?? Thisis significant, since it points to a strong Italian/Spanish connection: a com- ‘mon stringing tradition and, more importantly, common stylistic traits which point to the use of this stringing. While Murcia’s dance suites owe more to French than Italian models, his passacalles bear the influence of the Italian guitarists as well as his own native tradition. A stringing in keeping with Italian rather than French prac- tices appears to be the more likely choice for Murcia’s passacalles. Figure 5. Tuning used in two Italian manuscripts. Com- are with Sanz’s tuning, Figure Ic. Sanz: Alternative tuning cremains « matter of conjecture as to whether Murcia himself used more than one stringing for his music. The appropriated dance suites work equally well with either their original ‘French stringing” or withthe third course ‘ctave stringing. On the other hand, Murcia makes no attempt to integrate or feature the third course octave in his appropriations. To have heard Murcia play the French 14 Musicology Ausiralia1992Nolume XV the scalar line is disrupted in the campanalas statement, & rh works of Corbetta, De Visée and Campion would answer thequestion. However, as faras Murcia'sownpassacalles areconcemed, wecanbe certain thathe used the stringing frequently called forin other Spanish and Italian works of this period. REFERENCES ‘Anonymous 1105 Libro de diferentes cifras de gitara, escofidas de los ‘mejer autores. MS. M.811 in E:Mn. Bartoloti, Angiolo Michele ‘€1655 Secondo libro di chitarra, Reprint 1984. Corbetta, Francesco 1643 Varii capricil per la ghitarra spagnuola. Milan. Re- print, 1980, 1671 La Guitarre Royalle Dediée Au Roy De La Grande Bretagne. Paris: Bonnelil. Reprint 1975. de Visée, Robert 1682. Livre de guitarre. Paris: Bonnedil. Reprint 1973. 1686. Livre de pidces pour la guitarre. Paris: Bonnet Reprint 1973. 1640 Li Cinque libri della chitarra alla spagnola. Rome. Reprint, 1979. Gill, Donald 1975 “Thestringingof the five-course baroque guitar”, Early Music 3370-1. Granata, Giovanni Battista 1650 Nuove suonate di chitarriglia spagnuola..opera seconda. np. Be. 1684 Armoniosi toni..op.7. Bologna: Giacomo Monti. ‘GB:Lbm; [4 ‘Guerau, Francisco 1694 Poema Harmonico. Mads Reprint, 1977. : Manuel Ruiz de Murga.Hall, Monica 1984 The Guitar Anthologies of Santiago de Murcia. The Milton Keynes, England: Unpub- Hudson, Richard 1981 ‘Passacaglio and Ciaccona: From Guitar Music to Ital- ian Keyboard Variations in the 17th century’, Studies inMusicology,No.37. Michigan: UMIResearch Press, ‘Ana Arbor. 1982 “The Folia, the Sarabande, the Passacaglia, and the Chaconne: The Historical Evolution of Four Forms that Originated in Music for Five-Course Spanish Gui- tar’, 4 vols, Hansler: Neuhausen-Stutigart, American leaner Musicology, sasicolopieal Sider Doce ments 35. Lowenfeld, Elenor 1975 Santiago de Murcia’s Thorough-Bass Treatise for the Baroque Guitar (1714), Introduction, Translation and Transcription. University of New York City College: Unpublished M.A. Thesis. ‘Murcia, Santiago de 1714 Resumendeacompafarlaparteconla guitarra, R.5048 in E:Mn. Reprint 1984. 1732 Passacalles y Obras de Guitarra por todos los Tonos ‘naturales y acidentales. M.S.31640 in GB:Lbm. 1987 Saldivar Codex No.4. Santiago de Murcia manuscript ‘of baroque guitar music (c.1732). Santa Barbara: Michael Lorimer. ‘Murphy, Silvia 1970. “The Tuning of the Five-course Guitar’, The Galpin Society Journal 23:49-63. Pennington, Neil 1979 The Development of Baroque Guitar Music in Spain, ‘Including a Commentary on and Transcription of San- tlago de Mureia's “Passacalles y Obras.” University ‘of Maryland, USA: Ph.D. Thesis. Studies in Musicol- ‘ogy No. 46. Michigan: UMI Research Press, Ann Atbor. Roncalli, Ludovico 1692 Capricei armonici sopra la chitarra spagnola. Bergamo: Sebastian Casetti. Reprint 1982. Russell, Craig 1981 Santiago de Murcia: Spanish Theorist and Guitarist of the Early Eighteenth Century. University of North Carolina: Unpublished Ph.D. Thesis. 1982. ‘Santiago de Murcia: The French Connection in Ba- ronse Spin", Journal ofthe Late Society of America Santa Cruz, Antonio de nd. Livro donde se ueran pazacall Sanz, 1697 Instruccién de misica sobre la guitarra espatola. ‘Zaragossa: Diego Dormer, Reprint 1976, ‘Strizich, Robert 1972 ‘Omamentation in Spanish Baroque Guitar Music’, Journal ofthe Lute Society of America 5:18-39. 1974 ‘A Spanish Guitar Tutor: Ruiz de Ribayaz's Luz y Norte Musical (1677), Journal ofthe Lute Society of America 751-81 1976 “Stringing of the baroque guitar’ [leter to Early Mu- sic], Early Music 4(2):235-7. ‘Tyler, James 1980" The Early Guitar: A History anda Handbook. London: Oxford University Press. 1984 ‘Guitar’, New Grove Dictionary of Musical Instru- ‘ments Vol.2, 92-99. London: Macmillan Press Ltd. 1985 A Brief Tutor for the Baroque Guitar. Helsinki: Cho- ‘us Publications. NoTES 1. See Sanz 1697, "Pr6logo al descoro de tar.” 2. This predilection is also common to lute performance practice andallows for ease of execution when producing ‘mamented melodic passages which fall on the fist String. When used as a continuo instrument, the fist course ofthe guitar was sometimes dovble 3. Seeanclesby:(1) Murphy 1970:9.63.(2)Gil1975:370- 1, James Tyler devotes a chapter to this question in his book: Tyler 1980, chap, pp.61-2. 4, ‘Translaon from Hall 1984, p.209. The Spanish reads: “nel encordar hay variedad, porque en Roma aquellos “Maestros solo encuerdan la Guitarra con cuerdas delgadas, sin poner ningin bordén, ni en quara, ni en quits. En Espataesalcontrario; pues algunos sande dorbordones fenla quart, otros dos en la quinta,y alo menos, como de ordinario, uno en cada orden, Estos dos modos de tencordar so Buenos, pero para diversos efectos, porque tl que quer tater ultra para hacer misia aiosa, © acompaiiarse el bajo con algtin tono, a sonada, es mejor ‘on bordones la Guitarra que sn ellos; pro s alguno ‘uiera punear con primer, y_dulzura, y user de las ampanela, que es el modo modemo con que abora se ‘ompone, no salen bien los bordones, sino solo cuerdas Selgedas, asi en las quaras, como en las quntas, como tengo gran experiencia; yes la az6n, porque para hacer tor tins, y extrsinos, y demds galanteras de mano izquierda, si hay bordén impide, por ser la una cuerda ‘gruesa, y la otra la delgada, y no poder la mano pisar con Ipualdad,y sujetartambign una cverda reci, como dot Strizich 1974:69-70. the following editions of the Encylopédie: Paris, 1757; Geneva, 1779; Bem and Lausanne, 1779. Strizichs eter is written in esponse to Donald Gill's article on stringing. the baroque guitar: see References, Gill 1975. 9. Santa Cruz f.18r-28v. 10, The following dissertations on Murcia recommend the stringing shown in Example Ib: (1) Hall 1984: 199-217; (2) Lowenfeld 1975:26; (3) Pennington 1979, Volume exis (Russell 1981, Volume U:xix. Other scholars ‘who suggest this stringing include: (1) Strizich 1972: 31 (Ex. 30. (2) Tyler 1980, p52. 11, Fora comprehensive list of concordances see: Russell 1982:46-51. 12, See studies by Hudson 1981 and 1982, Volume 3, esp. ‘Masicology Australia \992/volume XV. 7513, See Lowenfeld 1975:28 and Hall 1984:199-217. 14, Tyler 1984:93 and 1985:7. 15, See Murcia 1732, folios: $8v, bar 11; 61v, bars | and3;, and 624, bar 2. 16. See Murcia 1732, folio Gér, bars 8 and 10; and 64v, bar? 17. Flores de misica, obras y versos de varios organistas escriptas por Fray Antonio Martin Coll (1706), M.1357 inE-Ma, 18, An Italian style preludio isthe only other piece that cals, for the third course aside from the passacalles and the betaliain urcia'smanascrip, SeeMucia 17926103 7. 19, Sanz advocates the use of the thumb forthe lower voice, from the fifth through to the second course. 20, Russell 1981, Volume ILxvi 21. The two manuscripts are: M.S. AA36O in I:Be and MS.6128.L.10.21 in LMOe. 22, The exceptions are Corbetta's 1671 (French) publication La Guitarre Royale and Henry Grénerin’s Livre de Guitarre...1680. Clearly Corbetta was familiar with the Malian style; his use of the third course octave campanelas style in his 1643 book demonstrates this: hence the ‘occasional call for this stringing in his 1671 publication. 76. Musicology Australia \952Nolume XV