[PDF] Sor, Fernando - op.35/17 in D Arranged for Baroque Lute

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2lost2find
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Joined: Thu Aug 16, 2018 11:04 am

[PDF] Sor, Fernando - op.35/17 in D Arranged for Baroque Lute

Post by 2lost2find » Sun Sep 23, 2018 10:41 pm

In another thread we've had some discussion as to whether baroque lute tuning is good for anything other than playing baroque lute music. I had a sick baby on my lap for a good portion of the day so I decided to create an arrangement of an easy guitar piece for baroque lute since I couldn't do much else. I do not own a baroque lute or even an extended range guitar so I was unable to give it a proper test, although I did use a guitar tuned per the top six strings of a baroque lute to check fingerings before I finalized it. I think it's actually easier to play than the Sor original; certainly there are fewer stretches. If anyone who owns a baroque lute would care to take a stab it would make my day. Some notes:

1) This was done in Guitar Pro, which I will be the first to tell you is not the best choice for something like this but it's what I have.

2) GP is not equipped for ancient tablature, so the transcription has a modern tab staff attached. It's a ten string staff because that's the max GP will do, but since this arrangement does not require more strings it will suffice. In order to make the whole thing fit on a single page I omitted rhythm notation on the tab staff.

3) The arrangement is fully fingered on the notation staff.

4) You need nine strings to play it as written, low to high E F G A D F A D F.

5) The notes are 100% identical to the original. I resisted the temptation to add some low bass notes.

6) It lies quite comfortably under the left hand. Some easy position shifts are indicated in order to avoid stretches. The shift down to the 2nd fret in measure 19 is the most dramatic and it's still not difficult.

7) There are two parts that some might find a bit stretchy depending on hand geometry... I find them quite comfortable but my hands are large. In measure 15 there is a half barre across the fourth fret while the 4th finger plays the 6th string at the 7th fret, and in measure 29 it is necessary to pull off from the 4th fret to the 2nd on the 2nd string using the 4th and 3rd fingers while holding other notes with the first two. If you can't reach that one, you could forgo the slur and just replace the 2nd string 4th fret with the open 1st string.

8 ) I admittedly picked the low-hanging fruit... this was in a key that I was pretty sure would translate easily. But it was fun and gave me a better feeling for how the tuning works. Hopefully somebody will enjoy it besides myself...
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2lost2find
Posts: 325
Joined: Thu Aug 16, 2018 11:04 am

Re: [PDF] Sor, Fernando - Opus 35/17 in D Arranged for Baroque Lute

Post by 2lost2find » Wed Oct 10, 2018 2:59 am

I'm going to assume a lack of interest given the lack of response. I have a few more arrangements and have composed a couple of etudes if anyone wants them.

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attila57
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Re: [PDF] Sor, Fernando - Opus 35/17 in D Arranged for Baroque Lute

Post by attila57 » Sun Oct 21, 2018 7:52 pm

2lost2find wrote:
Wed Oct 10, 2018 2:59 am
I'm going to assume a lack of interest given the lack of response. I have a few more arrangements and have composed a couple of etudes if anyone wants them.
Hi,

I have a Baroque lute and I have re-tuned some of my guitars to Baroque tuning. Anything above 6 strings makes sense. I actually prefer to play the Baroque pieces on 10-string guitar. I use the original Baroque tabulatures. I leave the trebles untouched (Adfad'f') and adjust the basses according to need, mostly re-entrant 9th & 10th. With some practice you can read straightaway from the original tab, doing the necessary conversions in your mind while you play.The tricky part is picking out the right basses to be able to play all the original low notes. The re-entrant tunings give you much more possibilities. Some pieces give themselves very well to this treatment.
We can keep in touch, if you are interested.
All the best & happiness with the baby!

Attila
Music to hear, why hear'st thou music sadly?
Sweets with sweets war not, joy delights in joy...

William Shakespeare, Sonnet 8

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