Exactly. Have a look on JD Forget's website, http://jdf.luth.pagesperso-orange.fr/, he gives the tuning on every sonata, suite or piece he uploaded there.soltirefa wrote:Thanks, Alain. That's very useful and interesting. So, if you're playing in D major you would tune the 8th string F bass to F# (as well as C#, or course)?
You can tune it in g minor and read directly from the tabs. Weiss' Infidèle sonata in the London manuscript is entirely written for eleven courses. that's how I first tried, with an alto.soltirefa wrote:I have thought of putting on a d minor set for my alto guitar. My only reservation is 1) I already have so many guitar goals, I'm afraid of that new thing pulling me away from that, and 2) I already know a bunch of pieces on my alto guitar and don't really want to shelve those. But I'm curious, I must admit.
I ended up letting someone else have that 11th string device, because they have a Bartolex and it fits better. Plus, I just can't change my 10-string, it's too nice to mess with. But this alto guitar idea has merit.
This is 99% the case. There were a few "transitional" tunings (mainly for the 10 course lute) between the Renaissance and the Baroque tunings where the players were trying to find what worked best with the new musical aesthetic. Some of the more well known composers/luteists are Pierre Gaultier who tuned his lute eb' c' a g c G F Eb D Bb; Jacques de Montmorency de Belleville, Francois Dufault found in the Ballard lute book and a number of anon composers from the Lute Book of Margaret Board - tuning: eb'-c'-ab-f-c-G-F-Eb-Db-C. There was also a tuning used in the Scottish 10 course era - usually f'-c'-a-f-c-G-F-E-D-C. One can find other more obscure tunings but these are probably the ones we come into contact most often these days.Alain Cloutier wrote:....Yes, the first six strings are never retuned and the others can be depending on what you need....
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