Abstract
This research aims to play vihuela pieces on classical guitar in their original church modes.
In the first part, tonic differences on vihuela transcriptions will be identified and problem state about performing vihuela works which are written in their own church modes will be put forth.The second part will cover the methods of scanning sources to reach findings of the research.Then, explanations will take place about church modes, Guido’s hexachord system, vihuela, vihuela repertoire, vihuela tuning, imaginary tuning and vihuela tablature due to questions asked in the problem state.The third part will include the findings with their interpretation about the transcriptions of vihuela works that are chosen as samples in consideration of their original church modes and imaginary tunings. Finally, there will be results about the findings obtained, along with suggestions for classical guitar performers, teachers and students to benefit.
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