No doubt I'll embarrass myself something terrible with this question, but, hey, what else is new?
I looked up a youtube recording of Jorge Fresno playing some small Sanz pieces:
Very, very nice.
My question is this. Where are the 4th and 5th course high octaves? I think I am just hearing the lower note of the string pair in punteado passages. Is it my lousy ears, or my lousy brains, or is it the baroque guitar technique to only pluck the bourdon (and leave the high octave for resonance)? Is the high octave of the pair just strummed in rasgueados?
I seem to remember once watching a lutenist from the side and thinking, "hmmm, her thumb's only hitting the "outer" string of the pair (the low bourdon)." That memory might be my imagination.
I once converted a modern guitar into what I called a quasi Baroque guitar by adding high octaves for the 5th and 4th strings. See,
I don't think I admitted it in that page, but I was never really pleased with the sound I was making. In particular, those parallel octaves start driving you crazy.
In my "Playing Sanz on the modern guitar" page,
I admit: "I had gone through a phase where I figured, if I can work the higher octave in, I would. That gives the exact same notes a baroque guitarist heard, right? Then the Wes Montgomery-ness of it all started to wear itself out. At the same time, I realized I actually liked a pure bass run here and there (despite Gaspar's rule about No Basses at all.) So I started weeding out a lot of the higher octaves I had put in, and Sample 3 is the sort of thing I ended up with."
Can anyone set me straight about the role of the high octave on Baroque guitar (and Renaissance lute) courses? (Be kind!)