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Corbetta guitar baroque lindberg

CBIS -CD- STEREO lEEpl Total playingtirne ' CORBETTA Guitar Music tr Folias tr Preludium tr Chiacona tr Preludium tr Almanda tr Corrente tr Partie de chacone tr Allemande tr Sarabande Air de Tlompette E Follie tr Pr lude tr Allemande tr Courante g Sarabande Gigue tr Pr lude Capricede chacone Francesco b- s D minor I c -u o E minor C major I o -u o l G minor o- G major C major ' ' ' ' 'O l ' l' ' ' ' r ' l rea l' ' C Pr lude Allemande E Courante Sarabande tr Gigue Passacaille -' tr Pr lude C minor Allemandesur la mort du Duc de Gloucester C minor Menuet tr Chaconne C major C major Allemande aym e de I'auteur Gigue aym e du Roy c -i 'o Folie D minor l' ' l' ' t ' ' ' r ' ' ' s' ' ry Jakob Lindberg baroqueguitar INSTRIJ' IEI TARIUM Five course baroque guitar by Robert Eyland Devon Strings are all in gut and tuned in accordance with Corbetta's speci ?cations in La Guitarre RoyaIIe The rd course and the lower octave of the th course are smooth double-twisted gut strings made by Mimmo Peru ?o Fiinfchtirige Barockgitarre von Robert Eyland Devon Darmsaiten in Ubereinstimmung mit Corbettas Angaben in La Guitane Royalle - gestimmt Der dritte Chor und die Unteroktav des vierten Chores sind weiche doppelt gedrehte Darmsaiten von Mimmo Peru ?o hergestellt Guitare baroque d cinq jeux de Robert Eyland Devon Cordes de boyau accordees suivant la spdci ?cation de Corbetta dans Za Guitone Royolle Le jeu et l'octave basse du 'jeu sont des cordes de boyau souples d double vrille de Mimmo Peru ?o C' Fl lh I ethirt o uth c of entury of western fers mus scholars ic New and and performers a fascinating exciting developments in period musical in the styles I and many instruments were subject to extraordinary transitions to meet th -ee dge dmands of experimenting performers This is particularly true of plucked instruments The lute was extended in the bass register receiving as many as courses and a variety of solutions were found to accommodate these added strings Many tuning systems were developed eventually arriving at the standard baroque lute tuning for the solo instrument outside Italy and various re-entrant versions of the renaissance tuning for most types of continuo instrument' Although the guitar did not adopt the extended bass register of the lute a larger version of the four-course renaissance guitar evolved to which a ?fth course was added Thus it remained relatively uncomplicated and this must have contributed to its growing popularity In some places it threatened the lute as the preferred solo instmment of the nobility and one of the most important musicians responsible for this was Francesco Corbetta Francesco corbetta was born in Pavia in He was attracted to the guitar from an early age 'From his youth he was so fond of this instrument that his