The Lute Society's guide to Santiago De Murcia

22/10/2014 The Lute Society: Santiago De Murcia
THE LUTE SOCIETY: SANTIAGO DE MURCIA
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Santiago de Murcia Resumen
about the lute de acompaar
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up the lute? INTRODUCTION
about the society
become a member "Resumen de acompaar", printed
meetings and
in 1714, is the earliest of three
events collections of music for five-course
guitar composed and arranged by INTRODUCTION
publications and
online shop Santiago de Murcia. NOTES - Introduction
lutes for hire RESUMEN DE
Very little is known about Murcia. ACOMPANAR - PART 1
small ads In "Resumen de acompaar" he is
NOTES - Part 1
makers referred to as "Master of the guitar
RESUMEN DE
teachers to the queen, our lady, Doa Maria ACOMPANAR - PART 2
other listings Luisa Gabriela of Savoy." Maria
NOTES - Part 2
Luisa was the first wife of the first
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Bourbon king of Spain, Philip V,
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who succeeded to the throne on the death of Charles II in 1700.
advice and tips Their marriage place by proxy in Turin on 11th September 1701
free downloads when she was just thirteen years old. On 3rd November the
archive couple met for the first time and the marriage was re-
baroque guitar celebrated at Figueras in Catalunya. They remained in
Catalunya until April 1702. Philip then left on a tour of his
contact us
Italian posessions appointing Maria Luisa as regent in his
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absence. She proceded first to Zaragossa where she presided
site-map over the Corts and then to Madrid, arriving there for the first
search time on 30th June.
There are two references to Maria Luisa learning the guitar,

neither of which mentions Murcia. In a letter dated 30th
September 1704 the Duc de Gramont informed Louis XIV that
she was learning to play the guitar and in a letter to her
grandmother dated 3rd July, 1705, she herself mentions that
she is learning to play the guitar and studying music. Murcia
probably obtained his appointment sometime between June,
1702 and September, 1704. After giving birth to several
children Maria Luisa's health deteriorated and she died on 14th
February, 1714 before "Resumen de acompaar" had appeared
in print. Presumably Murcia's appointment had terminated by
then if not earlier.
No reference to Murcia has yet come to light in any official

documents relating to the period in question. It was however
an unsettled period in Spanish history. Philip's title to the
Spanish throne was challenged by the Hapsburg dynasty in the
person of the Archduke Charles of Austria, known to his
supporters as Charles III of Spain, and later emperor Charles
VI. The ensuing War of the Spanish Succession was waged
intermittently until 1714. Murcia's employment may therefore
http://www.lutesociety.org/pages/santiago-de-murcia 1/16
have been occasional rather than continuous and any record of

it could have disappeared either at the time or in later
upheavals.
Two other Murcias, Gabriel and Antonio, were active as luthiers

in Madrid and are mentioned in official records between 1682
and 1717. The first reference to Gabriel is on 22nd February,
1682. A document mentions that his wife, Juliana de Leon, had
deputized for her father, Francisco de Leon, as violero to the
Queen (Marie Louise de Orleans, first wife of Charles II, who
died in1689) after his death, and appoints Gabriel to succeed
her. The wording of the document suggests that the marriage
had taken place recently. There are further references to
Gabriel in 1685, 1689, 1690 and 1695. His employment
probably terminated in 1701 when Philip V restructured the
Royal Chapel. He was not paid his outstanding expenses for the
period 1st January 1696 to 31st October 1700 (the day on which
Charles II died) until 10th July 1717. There are no references
to him after that date. Antonio de Murcia's name first occurs as
a witness to the examination of the instrument maker, Juan
Lpez de Ana on 2nd May 1694, and he was a co-signatory to
the agreement between Gabriel de Murcia and two other
violeros in 1695. On 25th November, 1704 he was appointed to
succeed Marcos Ximnes as violero to Queen Luisa Maria
Gabriela. He died in 1709 and was succeeded by Juan de
Campos. It is possible that Gabriel and Antonio were brothers
and either might have been Santiago's father. However any
relationship between the three men is unproven. (Note1)
"Resumen de acompaar" is dedicated to Jacome Francisco

Andriani, knight of the Order of St. James and Extraordinary
Envoy of the Catholic Cantons (those areas of Switzerland
which remained catholic after the Reformation) whose
patronage Murcia seems to have enjoyed after the death of
Maria Luisa. It also includes a recommendation from the
composer Antonio Literes. Presumably he and Murcia were
acquainted. Literes refers to the book as having been engraved
(and presumably printed) in Antwerp. Murcia may have done
the engraving himself. In the introductory letter to the reader
he seems to be claiming credit personally for the attractive
appearence of the tablature and says that the work was carried
out abroad. (Note2). As the name of the printer is lacking and
the book has no licences, it may have been printed privately.
(Note3)
The two later manuscript collections of Murcia's music, Codice

Saldivar no. 4" (c.1730) and GB:Lbl Ms.Add "Passacalles y
obras" (1732) both came to light in Mexico in relatively modern
times. "Passacalles y obras" is described in the British Library's
"Catalogue of additions to the manuscripts...1876-1881" as "a
volume of tablature purchased in Mexico." It has always been
assumed that the purchase in Mexico was made by the previous
owner, the book collector, Julian Marshall, who sold the
manuscript to the British Library in 1880 although this is not
certain. "Codice Saldivar no. 4" was purchased in Leon, in the
province of Guanajuato by the Mexican musicologist, Gabriel

Saldivar in 1943. Because it lacks a title page its connection
with Murcia was not recognised until 1980. It is possible that
Murcia and the dedicatee of "Passacalles y obras", Joseph
Albarez de Saavedrra, spent their later years in Mexico.
However, it is just as likely that the manuscripts were taken
there at a later date, by a subsequent owner. (Note4)
"Resumen de acompaar" includes one of the most

comprehensive treatises on accompanying a bass line with the
guitar. It was evidently much admired. There are three
complete 18th century manuscript copies of it. Biblioteca
nacional, Madrid Ms.M881, dated 1726, is a straightforward
copy. In Biblioteca nacional, Madrid Ms.1233 (1763) and
Granada University Ms.16972 it is combined with excerpts from
Sanz's "Instruccion de musica"(1674). Minguet y Irol (Note5)
reproduces Murcia's notes on Tiempos (p.42-43) without the
musical examples and the text and music from p.28 separately
with an ingenious device for reproducing the scales on p.29-34.
The musical examples illustrating the different keys are
included in Mexico City: Biblioteca Nacional Ms.1560. Vargas y
Guzman mentions "Resumen de acompaar" as one of the
works which he has consulted when writing his own
"Explicacion para tocar la guitara" (1776) (Note6) and is clearly
influenced by Murcia's work.
"Resumen de acompaar" also includes much attractive music

which has been somewhat neglected in favour of that in Codice
Saldivar no. 4. There are six fine sets of variations, three
suites and a large number of simple arrangements of French
ballroom dances.
NOTES - Introduction
1. It has been suggested that Gabriel de Murcia was the father

of Antonio and Santiago. However as children were apprenticed
in instrument making at around the age of 14, and the
apprenticeship lasted five or six years, Antonio must have been
at least 20 years of age in 1694 and was probably older. If, as
seems likely, Gabriel married between 1679 and 1682, his sons
would have been too young to have qualified as luthiers by
1694. Return to text
2. It is known that Sanz did the engraving for "Instruccion de

musica" (Zaragoza, 1674) and Corbetta for "Guitarre royale"
(Paris, 1671). This may have been common practice. It
certainly makes good sense as the composer could work
directly onto the plates, whereas anyone else would need a fair
copy to work from. Antwerp was an important centre for the
printing of Spanish books in the 16th, 17th and early 18th
centuries. A special type of press, known as an intaglio press,
is needed to print from an engraving. The availability of such a
press in Antwerp may have prompted Murcia to have his work
printed there. Return to text
3. Books printed in Spain required licences from both the

Church and the State. In theory books printed abroad were
subject to scrutiny on being brought into the country but this
was enforced erratically. Murcia may have solicited Antonio
Literes' "Aprobacion" in order to comply with these
requirements. It should be emphasised that Spain was no
different from most other European countries in exercising
censorship. Return to text
4. It has been asserted that Julian Marshall purchased his

manuscript in the city of Puebla in Mexico and that it was there
that Murcia and Joseph Albarez de Saavedrra were living when
the manuscripts were copied. It is not known however where
Marshall purchased the manuscript. Los Angeles Public Library
possesses a copy of "Resumen de acompaar" which was
purchased from the dealer Francis Borton in Puebla in 1910 and
it seems that the two have been confused. A "Joseph Alvarez"
buried in the Parish of Analco in Puebla, has been identified as
Murcia's patron but the name is too common for this to be
regarded as certain. Return to text
5. Minguet y Irol, Pablo, "Reglas y advertencias generales"

(Madrid, 1752) Return to text
6.Newberry Library, Chicago Ms.VMT 582 V29e - Vargas y

Guzman, Juan Antonio, "Explicacion para tocar la guitara"
(1776). An earlier version (manuscript in the collection of Angel
Medina Alvarez dated 1772) does not mention Murcia. Return to
text
This translation is in two parts. Part 1 is the introductory

material as far as page 4; Part 2 is the treatise from page 4 to
44. The translation is text only, to be used in conjunction with
the facsimile edition published in Monaco by Editions
Chanterelle (1980.)
RESUMEN DE ACOMPANAR - PART 1
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 Seor 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, Doa Mara 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 Gara [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 Doa Mara
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 SEOR 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 Seora Doa
Francisca de Chavarri, Seora 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.
NOTES - Part 1
(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
RESUMEN DE ACOMPANAR - PART 2
p.5 [ALFABETO IN TABLATURE WITH THE ROOTS OF THE

CHORDS SHOWN IN STAFF NOTATION]
p.6 DIAGRAM
showing to which notes [of the scale] both the open strings,
and the strings stopped at each of the frets correspond, so that
you may understand the whole range of the guitar. To achieve
this it must be understood that a G represents G sol re ut, an
A, A la mi re, the B, B fa b mi, the C, C sol fa ut, the D, D la
sol re, the E, E la mi, the F F fa ut. This sign # indicates that
the note is sharpened; this b that it is flattened.
The five open strings. First fret. Second fret. Third fret.
Fourth fret. Fifth fret. Sixth fret. Seventh fret.
Eighth fret. Ninth fret. Tenth fret. Eleventh fret. Twelfth fret.
p.7 EXPLANATION OF THE ABECEDARIO AND OF THE SECOND

DIAGRAM
The symbols of the Abecedario are explained by writing them

out in fret tablature. In this the five lines are assumed to be
the five strings of the guitar, beginning to count from the
lowest [line], which represents the first course. Ascending in
this way, the second line will be the second course of the
guitar, and the third line will coincide with the third course, and
likewise the fourth and fifth [lines will be] the fourth and fifth
courses.
The numbers which are found on the lines [of the tablature]
indicate the frets which have to be stopped, so that if there is a
1, the first fret has to be stopped (on the string where it [the 1]
is placed); if there is a 2, the second fret will be stopped, and
so on for the rest.
The small dots are supplied so that you may know with which
fingers the strings should be stopped to achieve the best
position of the left hand. When one dot is found [the strings]
are stopped with the index finger; when there are two, with the
middle finger; if there are three, with the ring finger; if there
are four, with the little finger.
The stave (below the letters) is supplied so that you may know
to which note, in the bass clef, each letter [of the Abecedario]
corresponds.(Note1) Note that this sign - 3# - above [the bass
note] indicates that that note is accompanied by a major third;
and this sign - 3b -, that it is accompanied by a minor third.
Even if these signs are found above the [bass] note ( as has
been explained) without a 3 before them, they indicate the
same thing, for then the sign # indicates that note sharpened;
and if it has this b, it is flattened.
EXPLANATION OF HOW TO FIND THE NOTES WHICH THE BASS

REQUIRES TO ACCOMPANY IT, AND ALSO HOW TO KNOW BY
MEANS OF GENERAL RULES (WHICH ARE NECESSARY FOR
COMPOSITION) THE WAY OF ACCOMPANYING ANY
SUSPENSIONS WHICH MAY OCCUR.
p.8 Having memorized the whole fingerboard of the guitar, to

which the notes of music correspond, (both those on the open
strings and those stopped at each of the frets), the diligent
aficionado (who wishes to make progress in their use) will be
able to transpose whatever chords he likes to any part of the
instrument. He will also be able to find easily the notes which
the [bass] note requires to accompany it. For this purpose it is
necessary to know with which note[s] the bass note ought to be
accompanied. This is impossible, if the accompanist does not
understand the rules of composition, unless he makes use of
general principles. In spite of the extensiveness of the
problems involved, these will be set out here, for all the notes
without accidentals, and for all those with them, which the
aficionado may encounter in any music, whether Spanish or
foreign. They will include, as will be seen, all kinds of
suspensions and chords.
First of all, to find the note which the [bass] note requires to
accompany it, one has to count from the [bass] note itself to
the right (Note 2) from note to note until it is found. Then the
string nearest to where it occurs will be chosen according to
the place where the hand happens to be, without displacing it;
for one of the most important points to which he who
accompanies or plays must pay attention, is the proper position
of the left hand.
For example, if a 6 is found above the note G sol re ut, it needs

a sixth to accompany it, and to find this, you will count six
[notes] from that note saying G sol re ut, one; A la mi re, two;
B fa b mi, three; C sol fa ut, four; D la sol, five; E la mi, six;
which is either the open first course, or the second course
stopped at the fifth fret. Then you will choose from these two
the one most suited to the position in which the hand is found.
If it is a 6b it will be given E la mi flat, and so on for any other
note which the [bass] note may require.
All that remains for you to understand now is that if the bass
note is on the fifth course of the guitar, from the fourth course
downwards can be used to look for the accompanying voices; if
it is on the fourth, from the third course downward; if on the
third course, on the second and first courses.
As to the general rules for harmonizing the voices, it should be

noted that with suspensions of a fourth resolving on to a third
(which are the most usual), the fifth should be used, or in its
place, on some occasions, the octave, so as not to displace the
hand.
In suspensions of the sixth resolving on to a fifth (when the

[bass] voice makes a cadence) the sixth is accompanied by a
fourth and afterwards the sixth resolves on to a fifth, leaving
the fourth suspended, and then the fourth resolves on to the
third.
All sixths and sevenths should be accompanied by a major or

minor third, as the key signature demands or the note
indicates.(Note 3)
The diminished fifth is accompanied by the third or sixth, and if

possible by both.
The ninth is also always accompanied by the third.
Suspensions of an augmented fourth are accompanied by a

second or a sixth, and if possible in any place by both. The said
suspensions [of an augmented fourth] resolve on to a sixth in
the next chord.
The diligent reader will see all this put into general practice in
the following pages.
p.9 DIAGRAM
to illustrate all the modes, both the eight standard ones and the
other transposed ones, according to the final note on which the
bass part ends.
p.10 First mode - 1st mode a tone lower - 2nd mode - 2nd
mode a tone lower
3rd mode - 4th mode (little used) - 5th mode
6th mode - 6th mode a tone lower - 7th mode - 7th mode a
tone higher
p.11 8th mode natural - 8th mode "por el final"
8th mode a tone higher - "Segundillo" - "Segundillo" a tone

lower
"Segundillo" with a flattened third - Third mode a tone higher -

8th mode "por el final" a tone higher.(Note 4)
p.12 The note of G sol re ut with the chords and suspensions
which commonly accompany it.
p.13 On G sol re ut sharp as it is found in sharp keys
On G sol re ut flat
p.14 On A la mi re natural
p.15 On A la mi re sharp
On A la mi re flat
p.16 On B fa b mi natural
p.17 On B fa b mi flat
p.18 On C sol fa ut
p.20 on C sol fa ut sharp - Suspensions on this note with a

sharp
p.21 On D la sol re
p.23 On D lasolre sharp.......The rest of the suspensions for this

note are the same as for E la mi flat as can be seen under that
note
On D lasolre flat.........The rest of the suspensions for this note

are the same as for C sol fa ut sharp
p.25 On E la mi sharp - On F fa ut.................The rest of the

suspensions for this note are the same as for F fa ut natural
p.26 On F fa ut sharp
Suspensions on this note sharpened
p.28 Scale [in the clef] of F faut without any flats.
Note that although the scales ascend a long way, and the notes
descend as far as the tenth fret, this is only in order to give the
full range of natural notes. In practice the accompanist may
repeat the same thing from the second G sol re ut.
[Second stave] Scale in the clef of C sol fa ut as it is

accompanied transposed in the melodies of Spain in the old
style.
[Third stave] Scale in the clef of C sol fa ut as it is

accompanied untransposed in the Italian style.
In all the scales in this clef of C sol fa ut untransposed in the

Italian style it should be understood that of the two rows of
notes set out in this first example, the one in the lower register
is the one which is at the same pitch as the notes of the other
two scales. They will be arranged in the same way in all the
other examples. Then the example on last stave illustrates
what to do when it rises further.
In cantatas in the Italian style, composers use the clef of C sol

fa ut untransposed, because the clef of F fa ut does not rise far
enough [without the use of ledger lines]. For this reason note
that when the treble assumes the role of [the bass part] , (that
is when it [the real bass part] has a rest), the accompaniment
is better played as on a single string [i.e. as a single line] if the
note values are short. However if the note values are long and
the voice [continues to] sing, the accompaniment is is played
with full chords as is demonstrated.
The last stave in each of the [sets of] scales serves as an

example for when it [the accompaniment] is on a single string.
p.29 With one flat
p.30 With two flats
p.31 With three flats
p.32 With one sharp
p.33 With two sharps
p.34 With three sharps
p.35 Diagram showing how to write out a treble part for the
guitar, both in the clef of G sol re ut and in that of C sol fa ut.
Note that this first example is transposed up a fifth. This is the
way of writing in this clef in the Spanish style when it is used
for vocal music.
Notes with sharps
Notes with flats
When there is a B flat in the key signature
When there are sharps in the key signature
As far as here the clef of G sol re ut transposed has been

explained. What follows shows how the music is written out
when composing for the violin in the Italian style.
p.36 Notes with sharps
With flats
When there is a B flat in the key signature
p.37 With two flats - With three flats
The rest of the notes will be played as has already been

explained. If the said clef [of G sol re ut] is found with more
flats, examine the accidentals to see which space or line the
flat occupies, so as to give its equivalent when it rises or when
it falls.
With one sharp
With two sharps
With three sharps
Here will be understood the same as was noted for the flats.
p.38 Example of the same clef of G sol re ut placed on the first

line [of the stave] from below, which is how it is used only in
France. This is the equivalent of the clef of F fa ut on the
second line from above. [That is, if the bass clef is substituted
for the G clef the series of notes will be the same].
Notes with flats
Notes with sharps
The rest of the notes are played as the examples illustrate
p.39 Example of the clef of C sol fa ut on the first line.
Notes with sharps
Notes with flats
The rest of the notes will be played in this clef both with flats
and with sharps, as it is set out in the first example of the said
clef of C sol fa ut.
p.41 VARIOUS EXAMPLES IN THE USUAL METRES (Note 5) OF

MUSIC, WHICH SERVE AS A GUIDE FOR THE ACCOMPANIST,
AND ILLUSTRATE WHEN IT IS NECESSARY TO PLAY FULL
CHORDS , AND WHEN TO PLAY THE BASS ALONE WITHOUT
ACCOMPANYING VOICES (ACCORDING TO THE METRE)(Note 6)
p.42 EXAMPLE 1 IN THE METRE OF COMPASSILLO(Note 7)
This metre, when it goes very slowly, is called de nota negra

[of the black notes] in Spain and largo in Italy. Then because of
its gravity, the crotchets are harmonized in full, the quavers in
pairs and the semiquavers in groups of four. They should
always be treated in this way, both in this example and in all
the others, depending on the technical skill of the accompanist.
EXAMPLE 2 IN THE SAME METRE
When the said metre goes in half the time, that is rather
quickly, the down-beat and the upbeat of the bar only are
harmonized in full, together with such [bass] notes as may
need a particular note [to accompany them]. Its movement
[i.e. that of the bass line] will always be the reason for
executing them in this way in any of the metres, if there is
occasion to and [the player has sufficient] skill for it.
EXAMPLE 3 IN THE METRE OF COMPS MAIOR
This metre in which the notes are double the value (of those in
the metres which have already been explained) is accompanied
rapidly. For this reason, the full chords will be played on all the
minims, the crotchets harmonized in pairs and the quavers in

groups of four. And it may be realized in this way if the player
is skillful. Otherwise the down- and up-beats will be
harmonized in full, considering it like compassillo ayroso(Note
8)
EXAMPLE 4 IN THE METRE OF 2 BY 4
There is another metre in Italian and French music called

gavotte metre, which is indicated by a 2 and a 4. This goes
very quickly, because there are half the number of notes in it
as there are in compassillo, since it is usually made up of one
minim, two crotchets, four quavers or eight semiquavers. The
full chords will be played on the down- and up-beats of the bar.
p.43 EXAMPLE 5 IN THE METRE OF PROPORCIN
There is variety in this metre (as will be seen in the examples),

especially in the Italian style. In the Spanish [style], when it
goes slowly, the semibreves, and the first and second minims,
or crotchets (which are of the same value in this metre (Note
9)will be given full chords, and also the last [minim] if it
requires a chord. The black semibreves (three of which equal
two bars) will be given full chords, or two chord to each one.
On the smaller note values, the down- and up-beats of the bar
[will be given full chords]. (Note10)
EXAMPLE 6 IN THE METRE OF PROPORCIONCILLA
This metre is the one which is usually used for the juegetes of
Spain, and it is so called because of its speed; but the notation
is the same (as in proporcin). Full chords will be played
depending on the skill of the accompanist, but it is essential, in
any metre (as is indicated in all the others) to play them on the
down- and up-beats of the bar. However taking into account
here the brevity [of the notes], they should be placed on [the
note which makes up] the greater part of the bar, being
governed in this as in all the others, by the examples at the
end.
EXAMPLE 7 IN THE METRE OF PROPORCIN MAYOR
In this metre, the dotted breve equals one bar; without a dot, a
semibreve is needed [to make up the bar]. Three semibreves,
six [white] crotchets, or twelve [white] quavers make up
another [bar]. Full chords are played on all the semibreves,
which are equal here to the minims [of the previous metre];
assuming these [the minims in this metre] to be crotchets, the
first and fifth are harmonized in full. Only the first of the
quavers, which are like semiquavers [is harmonized in full].
EXAMPLE 8 IN THE METRE OF 3 BY 4
As far as here the kinds of triple time used in the Spanish style
have been explained. However, these same [metres] are also
used (as can be seen) in foreign music, although with a
difference in the notation; as for example, the metre of 3 by 4,
whose tempo is the same, when it goes slowly, as that of

proporcin and [the same] as that of proporcioncilla when it
goes quickly. [The only difference is] that the minim is worth
two parts [of a bar]; when dotted, a bar. Three minims make
two bars, three crotchets, one. There are six quavers to a bar,
and twelve semiquavers. The full chords will be played
observing that which was said previously about proporcin.
p.44 EXAMPLE 9 IN THE METRE OF 3 BY 8
There is another metre [used] in Italian music which is

indicated by a 3 and an 8, in which the dotted crotchet is worth
one bar; without the dot, [it is worth] two thirds of it. It is
made up of three quavers and six semiquavers. This metre, for
the most part, is for fast arias, and then the first note of the
bar will be harmonized in full. If it is used in arias which go
slowly, full chords will be given to the down- and up-beats, or
wherever a particular note demands it, treating it [in the same
way] as the metre of proporcin.
EXAMPLE 10 IN THE METRE OF SEXQUIALTERA
There are other metres which are called sexquialtera,

sexquidozena and sexquinovena. These three metres differ in
the way in which they are notated. Thus sexquidozena, which is
the metre most commonly encountered in many cantatas or
tocatas is indicated with a 12 and an 8. If [the tempo] is very
fast, the full chords will be played on those notes which fall on
the down- and up-beats of the bar, when this is composed of
quavers; but if it is composed of dotted crotchets, these will all
be harmonized in full. An example of this metre is placed at the
end.
Sexquialtera is indicated by a 6 and a 4, and often with a 6 and

an 8. The full chords will be given to the down- and up-beats of
the bar.
Sexquinovena (less often used) is indicated with a 9 and a 6.

The full chords in this metre will be played, following the same
rules as the preceding ones for sexquialtera and sexquinovena.
As well as reading the theoretical explanation, the diligent

player who wishes to put it into practice should study the
examples [which follow] with care. In these the music is placed
above, and the tablature below; they will provide him with
enlightenment, and rules for those [similar] situations which he
may come across in other accompaniments.
NOTES - Part 2
(1.) The notes in question represent the roots of the chords.

Return to text
(2.) That is, as if the intervening notes were set out

successively on the stave. Return to text
(3.) That is, as the figures in the bass line indicate, or

according to whatever degree of the scale the bass note falls
on. Return to text
(4.) The terms "Por el final" and "segundillo" do not have

English equivalents. Literally they mean "by the final" and "little
second. Return to text
(5.) Tiempo = metre. In seventeenth century Spanish, the word

conveys the idea both of metre, i.e. the number of beats in a
bar, and their denomination, and to some extent, the speed or
tempo at which they are to be executed. Return to text
(6.) I.e. which notes of the bass line should be harmonized,

and which treated as unessential or passing notes. Return to
text
(7.) Compassillo = compas menor. Return to text
(8.) Compassillo ayroso - possibly a name for the metre

illustrated in Example 2. Return to text
(9.) As all the notes are written as white notes, a minim = a

crotchet, of which there are three to a bar. There are then six
white quavers or twelve white semiquavers to a bar. Return to
text
(10.) Black notes are used when syncopation occurs. They are
otherwise of the same value as the white notes of the same
denomination. Return to text
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22/10/2014 The Lute Society: Santiago De Murcia

THE LUTE SOCIETY: SANTIAGO DE MURCIA

There are two references to Maria Luisa learning the guitar,

No reference to Murcia has yet come to light in any official

have been occasional rather than continuous and any record of

Two other Murcias, Gabriel and Antonio, were active as luthiers

"Resumen de acompaar" is dedicated to Jacome Francisco

The two later manuscript collections of Murcia's music, Codice

province of Guanajuato by the Mexican musicologist, Gabriel

"Resumen de acompaar" includes one of the most

"Resumen de acompaar" also includes much attractive music

1. It has been suggested that Gabriel de Murcia was the father

2. It is known that Sanz did the engraving for "Instruccion de

3. Books printed in Spain required licences from both the

4. It has been asserted that Julian Marshall purchased his

5. Minguet y Irol, Pablo, "Reglas y advertencias generales"

6.Newberry Library, Chicago Ms.VMT 582 V29e - Vargas y

This translation is in two parts. Part 1 is the introductory

RESUMEN DE ACOMPANAR - PART 1

p.1. Summary of how to accompany a bass part with the

Including all that is conducive to this end. In it the aficionado

to the illustrious Seor Don Jacome Francisco Andriani, Knight

Santiago de Murcia, Master of the Guitar to the Queen, Our

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 first treatise consists of a summary of how to accompany a

In the second treatise, which is written out in tablature, the

places at the beginning a full explanation of notable lucidity and

[p.iv] APROBACION OF DON ANTONIO LITERES, PRINCIPAL

With much pleasure and attention I have looked at a book of

Madrid, 1st August, 1717.

Don Antonio Literes

p.2. DEDICATION TO THE ILLUSTRIOUS SEOR DON JACOME

As I have received from Your Grace such diverse and contiuous

if aficionados were to cultivate it with repeated periods of

The second Artaxerxes triumphing over Cyrus (Note1)some

Much could be said of your lofty ancestors, and much of your

From this your house. Madrid, August 20th 1714.

Your Grace's most affectionate and grateful servant, who kisses

p.4. Passing from sacrificing to obeying, the Author is obliged

Number and accent are equivalent words, which explain

Sympathy for number and accent is frequent in musicians and

So alike are they, so related, that the same symmetries may

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.

(1.) Artaxerxes II and Cyrus, the grandsons of Artaxerxes I,

RESUMEN DE ACOMPANAR - PART 2

p.5 [ALFABETO IN TABLATURE WITH THE ROOTS OF THE

Fourth fret. Fifth fret. Sixth fret. Seventh fret.

p.7 EXPLANATION OF THE ABECEDARIO AND OF THE SECOND

The symbols of the Abecedario are explained by writing them

EXPLANATION OF HOW TO FIND THE NOTES WHICH THE BASS

p.8 Having memorized the whole fingerboard of the guitar, to

For example, if a 6 is found above the note G sol re ut, it needs

As to the general rules for harmonizing the voices, it should be

In suspensions of the sixth resolving on to a fifth (when the

All sixths and sevenths should be accompanied by a major or

The diminished fifth is accompanied by the third or sixth, and if

The ninth is also always accompanied by the third.