〖The Renaissance Guitar (文艺复兴时期的吉他音乐，Frederic Noad)〗

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〖The Renaissance Guitar (文艺复兴时期的吉他音乐，Frederic Noad)〗
Music for the Guitar（文艺复兴时期吉他相关作品）
　　Juan Bermudo, in the work mentioned above, states that the only difference between the vihuela and the guitar was in the number of courses, the guitar having four while the vihuela had six. The tuning of the Renaissance guitar was the same as that of the top four strings of the modern guitar; the actual pitch was usually a tone lower. The strings were usually doubled although the highest string was sometimes a single (as in the lute). The limited amount of strings called for more ingenuity from the composer, and the small surviving literature shows that the challenge was not very well met, at least on the part of the French composers. In addition, the surviving fantasias of the Italian Melchior de Barberiis are disappointing for their poverty of invention.
　　A brighter moment from the extensive collections of Adrien Le Roy is given in "Branle de Bourgogne" on p. 30 . But by far the most sophisticated handling of this limited instrument is shown by Miguel de Fuenllana who devotes a section of Orphe-nica Lyra to the guitar. His "Fantasia," transcribed on p. 74, has the quality of a beautifully executed miniature and leads one to believe that the Spaniards were more familiar than the other nationalities with the guitar. Further evidence for this is afforded by some guitar works in Mudarra's Tres Libros de Musica which, although of only average interest, are at least competently constructed.
　　It is probably correct to assume that the four-course guitar was used mainly for chording in song accompaniment and for this reason was more a popular than a sophisticated instrument.
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〖The Renaissance Guitar (文艺复兴时期的吉他音乐，Frederic Noad)〗