p.1. Summary of how to accompany a bass part with the guitar.
Including all that is conducive to this end. In it the aficionado will find all kinds of chords and suspensions on the seven degrees of the scale, natural and with accidentals, set out in different positions on the instrument.
DEDICATED
to the illustrious Señor Don Jacome Francisco Andriani, Knight of the Order of Santiago and Envoy Extraordinary of the Catholic Cantones [of Switzerland].
BY
Santiago de Murcia, Master of the Guitar to the Queen, Our Lady, Doña María Luisa Gabriela of Savoy, Whom may God have [in his keeping].
In the year 1714.
[p.i] Dear Reader,
The prologue is as necessary in any book which is printed as is the address in any letter which is written; these [addresses] have to say to whom they [the letters] are sent, and I have to explain for whom my work is intended. Assuming such unavoidable circumstances, I will go on to say that in having laid open these pages, I have as my sole end my wish to encourage the taste of aficionados of the guitar, giving them, with novelty, the most appropriate incentive for application. To those of this persuasion, the book which now sees the light of day is offered. And in case I do not achieve in it that which may merit their esteem, it will be well that they understand that I [hope to] bestow some merit on it with the knowledge of my shortcomings; and that it is not my fault that those who favour me have judged it with their own partiality. At their request, my modest labours are today brought out for public judgement. I assume that those who know me will believe without compulsion that I set about this task intending to please, not craving applause. Insofar as it is appropriate for me with my shortcomings to seek praise, I would look for it on account of the cleanness and clarity of the tablature, in which my care achieved that which at least carries [p.ii] some excellence, although at the cost of foreign toil.
The first treatise consists of a summary of how to accompany a bass part, which will be understood not [only] as rules for accompanying, but as a whole. For in it will be found all the suspensions most used in music, on all the notes, natural, or with accidentals, and all these in different positions on the instrument, so that each one may choose that which pleases him, according to the technical ability which he possesses, and may be able to use the guitar with knowledge of the whole fingerboard. In it will also be found other interesting matters, for these too are conducive to this end.
In the second treatise, which is written out in tablature, the skill of the aficionado, and the pleasure of the listener will find a variety of pieces, following the present fashion, including French dances and contradances, different minuets and canciones, and for those who may be advanced [players] several difficult works of some originality. I have not included any passacalles, because of the many [sets of variations] that there are written on them with great skill by well-known composers. Nor have I detained myself in explaining the ornaments which are executed in playing, which are the salt of that which is played (although they are notated [in the tablature]), for I am persuaded that there is no aficionado who has not seen the most exceptional book of Spanish pieces and exquisite passacalles which Don Francisco Garaù [i.e. Francisco Guerau's Poema harmonico, 1694] has had printed, in which he places at the beginning a full explanation of notable lucidity and intelligence for those who wish to play [p.iii] this instrument with all the filigree work which someone with consummate skill is capable of. If the aficionado considers himself well served by this offering of my work which I make to him, I will have obtained the greatest applause, this having been the sole object upon which my ambition has set its sights.
Vale
[p.iv] APROBACION OF DON ANTONIO LITERES, PRINCIPAL VIOLONE/VIOLA DA GAMBA PLAYER OF THE CHAPEL ROYAL.
With much pleasure and attention I have looked at a book of guitar tablature, engraved in Antwerp. Its author, Don Santiago de Murcia, who was master to the queen, our Lady Doña María Luisa Gabriela of Savoy (whom God has [in his keeping]) performs in it a very considerable and useful service to any aficionado, both in the harmoniousness and variety of his compositions, and in the examples with which he explains the method of accompanying any bass line, leaving no doubt without an answer. In the carefulness and hard work of its rules and principles, the master will be found not [just] portrayed, but living. For which reason I am of the opinion that the said book should see the light of day.
Salvo &c.
Madrid, 1st August, 1717.
Don Antonio Literes
p.2. DEDICATION TO THE ILLUSTRIOUS SEÑOR DON JACOME FRANCISCO ANDRIANI, KNIGHT OF THE ORDER OF ST. JAMES, AND ENVOY EXTRAORDINARY OF THE CATHOLIC CANTONES [OF SWITZERLAND].
Illustrious Sir,
As I have received from Your Grace such diverse and contiuous favours, both in Your Grace's expressions of kindness and lavishness of generosity, my gratitude cannot refrain from repaying you with some vote [of thanks], which, being mine, will be inadequate. However the number of the victims does not make the sacrifice, but the genuineness of the sentiments. They say that the Apostles gave up everything, yet in their [own] estimation, little or nothing - only a few nets; for it may be seen what little substance these enclose in themselves, nor do they have to be anything [substantial]. I might say the same of myself, but in the opposite sense, because I desire to offer a whole, yet I am contributing little more than nothing. For my musical labours and my harmonic endeavours are little harmony for the eyes, and much visibility for the ears; if they are to be seen, nothing; if they are to be heard, a great deal. p.3 This vote [of thanks], which my gratitude expresses for the honour of Your Grace, is nothing if it is to be seen, a great deal if aficionados were to cultivate it with repeated periods of application.
The second Artaxerxes triumphing over Cyrus (Note1)some [the followers of Artaxerxes] offered him rich gifts, others [the followers of Cyrus] innumerable jewels; and in the midst of the former, and on the fringes of the latter, a worthy peasant arrived with a simple offering. He offered to him [Artaxerxes] a pitcher of water saying "King, accept the sentiments, even if you despise the gift for its humbleness". My offering can say the same when dedicating this work to Your Grace - that it is a pitcher of the water which my labours have sweated, and of the liquor which my waking hours have distilled; one in the imaginitiveness of my ideas, and the other in the skill of my performances.
Much could be said of your lofty ancestors, and much of your excellent virtues; but let one and the other remain in the bosom of modesty and in the mansions of silence, so that a better tongue [than mine] may recommend them, and a better pen express them. All that remains for me [to do] is to offer to Your Illustrious Grace immortal thanks, because as a result of your being for me an exception to the rule of the fixed star, who with timely efficacy influences my adverse fortunes, I may make use of your kindness, honour and favour, so that my labours may leave the obscurity of preliminary sketches for the uncertain lights of the press, and so that there may remain engraved on tablets of bronze the liberality of Your Grace, and this gift from me, who desires that God should keep you at the height of prosperity.
From this your house. Madrid, August 20th 1714.
Your Grace's most affectionate and grateful servant, who kisses your hand,
Santiago de Murcia
p.4. Passing from sacrificing to obeying, the Author is obliged to place eulogies in his work, which were composed in this sonnet by an admirer and benefactor of his, the Señora Doña Francisca de Chavarri, Señora de Aramayona de Muxica.
SONNET
Number and accent are equivalent words, which explain melodies
Sympathy for number and accent is frequent in musicians and poets.
So alike are they, so related, that the same symmetries may be heard
Since music is sweet poetry, or verses will be measured solfas.
Your virtuosity says it on the lyre, Oh Murcia, when you explain its secrets, in which the quiet poets lie mute.
And hearing your supreme conceits, they say that you make poetry with your fingers, or that you versify with your hands.
(1.) Artaxerxes II and Cyrus, the grandsons of Artaxerxes I, fought for the crown of Persia on the death of their father, Darius, in 404 B.C. Plutarch [Lives, vol.11] refers to two occasions on which Artaxerxes was offered water as a gift to quench his thirst. Return to text