Wikimedia Commons has media related to Gaspar Sanz. He spent some years as the organist of the Spanish Viceroy at Naples. Views Read Edit View history. From Wikipedia, the free encyclopedia. Gaspar Sanz — Chauve, Thierry Connect to add to a playlist Added the He became the dominate figure of Spanish baroque music, and has influenced several composers well into the twentieth century.

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Modern guitar. The guitar books between Amat and Sanz came mostly from Italy and France. I used a facsimile, published by Minkoff, of the edition of the Instruccion. The last page of Libro 2 is dated Libro 1 has about 14 pages of music. There are lots of pages with commentary and music theory. Libro 2 has ten pages; and Libro 3 has eight pages.

That adds up to about 32 pages of music. But Sanz could cram a lot of tablature onto one page; in modern notation, whether music or tablature, one of his pages might fill three of ours. They claimed that "with the completion of this series, Guitar Review subscribers will be in possession of all the Gaspar Sanz music that has survived to this day. The alternatives come about depending on which, if either, of string 5 and string 4 were paired with bass strings bourdons. Sanz said that bourdons were usual in Spain, although he himself did not use them.

The lowest note is the g given by the open 3rd string. To be honest, I find that stringing a modern guitar with 5 trebles gives an unsatisfying, thin sound. In the case of Sanz, some people theorize that he must have had a high G on his third course.

I agree that there spots in his music which call for the high G. You can find quite a few instances of this in my versions for modern guitar. You might visit my web page which explains how you can very simply convert a modern guitar into a Baroque guitar - what I call a "quasi-Baroque" guitar. If you go with a modern guitar, let me suggest terz guitar strings.

I find the brighter sound and the lighter touch I tune them a half-step below the designated pitch to be much more "in tune" with this ancient music. His top-most line in the tablature staff represented what we call the 5th string on the guitar.

This modern tablature has flip-flopped the original tablature staff; the top-most space here represents our 1st string. The curve appears like an umbrella above the fret number, or a bowl below it. In this modern tablature, I use symbols which suggest twiddles from above or below, and I put them in front of the fret number. Some think that Sanz intended the trill to begin on the main note, rather than the upper neighbor. They are notated in alfabeto; letters indicate what chord to finger and little dashes indicate where to strum up and down.

There are some, but not many, strums in the later pieces in the Instruccion. Remember that in the original tablature, a rhythm symbol is supplied only when a new rhythm begins.

If I have to describe the original rhythm values in a given measure, I write the implied rhythmic values in. For example, where Sanz writes. I would describe the rhythms as follows: Bar 1 - 4er 4er 4er 4er. Bar 2 - 4er 8th 8th 4er 4er. The short double bar line spans just the inner 2 of the 4 tablature staff spaces.

They are represented in the modern tablature here with full-length double bar lines. That would hardly be worth mentioning, except that it relates to the question of what Sanz means by full-length double bars. There may be a space, a time signature and a title for the next piece. One might think that it acts just like a short double bar, separating sections within a piece, but my conclusion is that the full-length double bar is always meant to separate one piece from another. So, what at first glance might appear to be one long passacalle could actually be 3 distinct passacalles separated by plain, full-length double bars.


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