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Once again Stephen, you seem to be forgetting that it was you who started this thread, not "edguerin".

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Once again Stephen, you seem to be forgetting that it was you who started this thread, not "edguerin".

You've backed yourself into an intellectual corner with no clear answers or any concrete evidence to support your claims so you're bailing out. 'nuf said.

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ORIGINAL: estebanana

I'll leave it your you to give the bad news to artists like Frank Wallace and Satoh who order seven course vihuelas ....by the way I finished the vihuela, but I'll never show it here in this shark tank.

Nuf said.

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Anyways, nice hair!

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Rod Stewart's hairdresser was busy

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The existing Spanish solo vihuela literature cannot be played on an instrument with fewer than six courses and there is no existing music originally written for the vihuela, at least that I'm aware of, that requires seven courses. So, six courses it is.

...I'm well aware that the seven-course vihuela existed in theory and I'll agree that music for a seven-course lute would be fully playable on a seven-course vihuela if one actually existed but none of the "well known published anthologies" you mention or any existing collections of music for vihuela from the period that I'm aware of contain any music for it.
I may very well be mistaken but it seems to me that if such an instrument existed that at least one of the 16th century Spanish vihuela composers would have written for it but this does not appear to be the case.

...What's transpired here is that a bunch of pseudo-academic blather has been tossed around to say nothing more than that the existence of a seven-course vihuela in 16th century Spain is, thus far, simply a matter of conjecture.
Perhaps it did exist but the research is totally inconclusive....

You've backed yourself into an intellectual corner with no clear answers or any concrete evidence to support your claims so you're bailing out. 'nuf said

...Come on, Stephen. Grow up. This is nothing more than a little difference of opinion on an internet forum about an instrument that may or may not have existed 450-500 years ago.

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ORIGINAL: Ricardo

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The existing Spanish solo vihuela literature cannot be played on an instrument with fewer than six courses and there is no existing music originally written for the vihuela, at least that I'm aware of, that requires seven courses. So, six courses it is.

Sorry for this necro post but I was searching for the capo thing and came across this. This argument could have been shut down with a simple screen shot. However, I don't recommend anyone try this tuning, you would need different type of strings in order to realize these intervals practically on a modern 7 string guitar.

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Who were you quoting Vega?

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I can find some evidence of the Renaissance era cejilla I think, I have to email a lute builder I know.

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ORIGINAL: Ricardo

Sorry for the bump on this but I am a slow researcher and maybe this came up earlier, but I found this interesting book in my dad's library. It is a 1960's print of a facsimile and discussion/anaylisis of this guy William Barley's 1596 treatise (England) with music for Lute, Orpharian, and Bandora. The Orpharian (obviously references to Orpheus like other humanist musicians of the time like Milan/Fuenllana etc.), was tuned like Lute but with 7th course to low F, and it had 15 frets. He says it used wire instead of gut strings and should be plucked softer, and not "strummed" or struck like the Lute (implying that gut string instruments of the time could use strumming). The other instrument is Bandora looks the same (flat back weird body shape with 15 frets), but tuned like a guitar (internally) but with that low E up to G. So my point with this is that we see the exact same thing in England as in Spain, where you have music published for the 7 string "lute" or vihuela type instrument, and then a guitar type thing too. Probably you guys all knew about this already (again, dead horse but odd Vega insisted no evidence of 7 course vihuela MUSIC.).

Anyway the modern author points out some issues with pitch and tuning/mode discrepancies again just like the Narvaez thing we discussed and suggested the capo Tasto, admitting no such word in English was being used, but implying it "could have" existed to realized the correct vocal pitch relations implied by the tablature and mensural notations together. He did say it would not work for the 7 course instruments though. The bandora they could concord music with was tuned low in other sources (how I am seeing the guitar-vihuela relation in spain as well). All the music is English madrigal stuff in this.