Biblioteca de la Guitarra y Cuerda Pulsada

Biblioteca de la Guitarra y Cuerda Pulsada

Autor: Nancy Carlin

Exploring bandora solos from a lute players perspective

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There are a number of good reasons tocompare lute and bandora pieces and for lute players to explore bandora repertoire. Renaissance bandora players probably came to the instrument from playing the lute since the two instruments  were  part  of  the  same  musical
world.  Lutes  and  bandoras  were  played together in “broken consorts,” and bandora  pieces  are  found  among  the  lute pieces in a number of manuscripts such as Dd.2.11,  Dd.9.33and Add. 31392. By  exploring  the  solo  bandora  repertoire we can learn what makes it different from the lute solo repertoire. When  pieces  exist  only  as bandora  solos,  with  no  concordant lute piece, is it possible to re-arrange them back to into lute pieces, adding  to  the  the  lute’s  repertoire? When  this  works  well,  a  new lute  piece  has  been  “re-discovered.”  When  the  transcription  is  a  bit  more cumbersome  we  can  try to figure out why. Is the different  tuning  between  the  two  instruments  the  cause,  or are there stylistic nuances  that  were  used on  music  for  wirestung instruments? In  this  article,  I  am exploring  the  details  — the  different  ways  the  chords were  broken,  the  melodies  divided, and all the other nuances that surface when bandora and lute arrangements/transcriptions are compared. A closer look at the music brings up more questions — which pieces are reallysolos and what sized bandora did the composer/arranger have in mind?

exploring bandora solos from a lute players perspective



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