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The Baroque guitar (c. 1600 –1750) is a string instrument with five courses of gut strings and moveable gut frets. The first (highest pitched) course sometimes used only a single string. The first (highest pitched) course sometimes used only a single string.
Giovanni Battista Abatessa (? – after 1651) was an Italian composer and Baroque guitarist, likely born in Bitonto (near Bari) in the Kingdom of Naples. His compositional output consists of four books of pieces for five-course Baroque guitar. While many of Abatessa's contemporaries used the guitar as an accompaniment for the voice, Abatessa's ...
Most Renaissance lute music has been transcribed for guitar (see List of composers for lute). The baroque guitar (c.1600–1750) was a string instrument with five courses of gut strings and moveable gut frets. The first (highest pitched) course was sometimes a single string.
For example, a nine-string baroque guitar has five courses: most are two-string courses but sometimes the lowest or the highest consists of a single string. An instrument with at least one multiple-string course is referred to as coursed , while one whose strings are all played individually is uncoursed .
Roncalli's music is a great favorite of guitar enthusiasts, and individual movements frequently appear in guitar method books. Frederick Noad , who compiled an anthology titled The Baroque Guitar , as well as other popular instruction books, did not rate the Chilesotti transcription highly, pointing to many omitted embellishments and octave ...
Stefano Pesori (fl.1648 in Mantua – 1675) was a 17th-century Italian 5-course Baroque guitarist, composer, and teacher.. Pesori was a renowned guitarist in his time, and had upwards of 140 students, including high-ranking nobility. [1]
His compositions provide some of the most important examples of popular Spanish baroque music for the guitar and now form part of classical guitar pedagogy. Sanz's manuscripts are written as tablature for the baroque guitar and have been transcribed into modern notation by numerous guitarists and editors; Emilio Pujol's edition of Sanz's Canarios being a notable example.
The early baroque guitar works of Granata are characterized by their French organization of dance suites (allemande, courante, and sarabande). [3] His style in the period around 1646 is very similar to that of his contemporary, Giovanni Paolo Foscarini. The works from Granata's middle period demonstrate his musical evolution and change in style.