Wow thanks! I've been meaning to look more into spanish fandango. There's a related group of european pieces titled retraite espagnol. Also thanks for the C. Eulenstein piece, another composer I've been meaning to look more into.DonaldSauter wrote: ↑Wed Sep 13, 2017 8:09 pmI've added a batch of pieces in another popular tuning of the era: D G d g b d'. This is the tuning for the so-called "Spanish Fandango" that was the Spanish Romance of the 19th Century. The piece and the tuning lived on in American folk guitar. Peter Danner, in an old Soundboard article, speculated this piece came about from Americans diddling with a European piece called Bolero, by Luigi Castellacci.
Besides the Spanish Fandango, there's the Spanish March, which you might know. In addition to original works, there are arrangements of Blue Bells of Scotland, Nearer My God To Thee, and Home, Sweet Home. Retune once, and you get all of that!
As always, no claim that the music is of the absolute highest sophistication, but, hey, it's a lot of fun, and it's the American guitarist's heritage. Also, good reading practice, and some tough or tricky spots that will make you a better guitarist. For example, see The Merry Makers for a good study for controlled strums with the i finger.)
http://donaldsauter.com/american-guitar ... unings.htm
Hi Donald, I'm copying my reply from the other thread just in case.DonaldSauter wrote: ↑Sun Sep 17, 2017 5:25 pmThanks, very interesting! I've also fired up a couple of versions of "Retraite Espagnol" on youtube. Yes, they share lots of characteristics with "Spanish Fandango" and other open tuning guitar pieces that I thought were strictly 19th C. American. It'd be fun to find out I've been wrong about that. Can you supply any history of "Retraite Espagnol"-type European guitar pieces? Is there a connection going back to the 19th century?
Thanks for bringing me up to speed here. I see now that "Retraite Espagnol" by Bosch dates back to 1887 or earlier. For the curious, here's a direct link:sxedio wrote: ↑Sun Sep 17, 2017 8:19 pmThere's Jacques (or Jaime?) Bosch's Retraite Espagnol opus 16, you can find it on Boijes . In a weird other tuning rather than open G but part of the same family of pieces. I wish I had a more complete picture of the relationship with the american versions and indeed with any spanish originals.
Regarding open tuning european classical 19th century pieces, there was a whole thread that has now disappeared but I did a recording of a Carcassi piece back then which I should propably revisit and record again viewtopic.php?f=113&t=41322
Let me link properly to my Carcassi recording viewtopic.php?f=113&t=41322 . The whole of opus 25 is in open E, you can find it on Boije http://urn.kb.se/resolve?urn=urn:nbn:se ... kverk-4119 . Carcassi is definitely someone who influenced rather than was influenced by american guitar in terms of his publication dates. Another one who wrote a lot in open E later is the originally German but British based madam Pratten, she even published 'Oh Susanna' in open E apparently!DonaldSauter wrote: ↑Fri Sep 22, 2017 7:36 pm
> Regarding open tuning european classical 19th century pieces, there was a whole thread that has now disappeared
Darn, wish I could see it. In my 40 years of playing everything I could get my hands on, I mostly remember just a few European pieces in the open E major chord tuning. I also have the highest regard for Peter Danner's contributions on guitar subjects, and he wrote, "One trait that tends to distinguish early American guitar music from the music of Europe and Latin America is its propensity for unusual scordaturas--for what today are commonly called "open" tunings." (Soundboard, Summer 1987, p109.)
I see that out of 18 Bosch editions on the Boije site, he uses the same tuning in one other piece, La Rose for mandolin and guitar; nothing in the most popular American scordaturas. It would be fun to find that there was more influence on 19th C. European from America than generally recognized, but I'm inclined to view Bosch's experimentation in scordatura as more or less anomalous until somebody presents a bigger list of such pieces.
thanks, specially for this one.DonaldSauter wrote: ↑Mon Nov 06, 2017 6:47 pm3. Greenville, tune by Jean Jacques Rousseau, arr. by J. C. Smith
http://www.donaldsauter.com/american-gu ... greenville
The last one is a hymn tune which you may recognize as "Go Tell Aunt Rhody" (the old grey goose is dead.) I like J. C.'s spirit; he was composer, artist, engraver, and publisher of his music.
Isn't that standard for violin scordatura?Jeremiah Lawson wrote: ↑Tue Nov 07, 2017 6:23 amI only got around to open chord tunings because I love old blues recordings and wanted to pick up bottleneck/slide techniques. Interesting that the Fandago is scored with the notes placed as if the work were in standard tuning but with the scordatura specified. I never would have thought to score any scordatura compositions that way so it's interesting to see.
Thanks for bringing that up, Jeremiah. In my view, whoever invented the "tune this way but play as if tuned regular" (TTWBPAITR) system should get his deserved recognition. It seems like an American invention. (Darn, I'll bet Matanya would have known if there were any early 19th C. European guitar pieces notated this way.)