Thanks Monica, I put my comments in line. On Jan 22, 2013, at 1:20 AM, Monica Hall <mjlh...@tiscali.co.uk> wrote:
> By chance I have a recording of Antonio Ligios playing this piece and as far > as I can tell he is doing exactly what the ornaments seem to imply… Does he have any web presence? I couldn't find his performance on YouTube. >> Has anyone any thoughts about the starting note of the x ornament signs in >> Corbetta's La Guitar Royal of 1671, particularly the Folia starting on >> page 79? On p.9 he gives an example of a prepared appoggiatura on the >> fifth line. but there are numerous places that could be confusing. > > The x indicates that the auxiliary note or starting note is from above. >> >> Examples: >> P.79, line 4, measure 1: It is kind of jarring to start the trill ( I play >> a couple of iterations rather than an appoggiatura when the x is on a >> dotted quarter) on the upper note (B) right after a Bb in the top voice. > > I think the point is that it is an A major chord and you can't play a B flat > auxiliary note. It must be B natural. Yes, B natural is a given. It just doesn't feel very natural to me to jump to that A chord and land with my third finger on a B, whereas starting with the A chord feels very natural. > The cross relations (if that is the correct terminology) are quite typical > of Corbetta's style. I guess he was pretty 'out there' with no preparation and all. It sounds jarring to me, but like you say maybe that was his style. >> The top line second measure of p.80 he indicates a slur f > e followed by >> x. The f > e is already an appoggiatura. The only thing I can think of is >> to reiterate the upper neighbor f from the e note, an upper mordant. > > I think that is what is intended here..and what Ligios seems to play....the > notes are a f f-e d We may or may not be talking about the same place. I was saying f e f e concerning the notes on the first string, with the e f e being like a mordant on beat two (2 32 notes and 1 16th note) and the initial e being pulled off from the f on the second half of beat one. Then, the same type of thing on beat three, a mordant with the initial note C# being pulled off from the D on the second half of beat 2. I'm wondering if other people do this as this case isn't illustrated on his ornaments page. Perhaps he gives an example like this in another book? I don't see anything in Varii Capricii 1643. >> P.80 third line from bottom, 2nd measure: What's this about? X on a 16th >> note but preceded by an appoggiatura from above or below? > > From above I think -the notes are g g-f e. Well, there is an A at the end of the previous measure so that would make a nice prepared appoggiatura. The problem though is, then you have another appoggiatura on the F which means switching out of the third position (3rd fret) and all four notes happen in half a beat. Someone with very long fingers could perhaps sustain the D with the second finger and pull off pinky-ring and then reiterate the G and pull off ring to index. I interpret the line below as an appoggiatura from below as indicated on the ornaments page and then do a quick mordant on the F which comes out as a 32 note triplet in order to land on the E on the second half of the beat. This sounds pretty nifty with no ugly cut off like I would get trying to do an upper neighbor appoggiatura. I'm just not sure if this wasn't some kind of mistake, two ornaments on two 16th notes seems pushing it. The basic problem I'm having, well two really, is 1. you can't do an appoggiatura from above if a slur from the same neighbor precedes it. 2. Many places call for reiterations to my ear, especially cadences where there is a dotted quarter note followed by an eighth (quaver). An appoggiatura sounds wimpy there IMO. Ed Durbrow Saitama, Japan http://www.youtube.com/user/edurbrow?feature=watch http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
