Interesting conversation, and I'm sure it will all be solved for me when my copy of Damiani's "Method" arrives from Ut Orpheus Editzioni (but can I trust Italian mail).
And my little McFarlane tutor mentions using the non adjacent fingers, and as Leonard has said that can leave the others free for an upper or lower string (I seem to have found). But I have a question on Mat's notation. The one Dowland I've downloaded from one of the sites Jose-Luis mentioned seems to show an "r" where I would expect a "c" (second fret). I thought that was print face, but from Mat's layout it seems to be official. My little tutorial names the frets as "a" (open), then b, c, d, e, etc. through the alphabet. From the notation below it appears that it is a,b,r,d, e, etc.. Or else Mat has very large hands. > --------------------------------------a-r2-d4- > ------------------------------a-b1-d4--------- > ----------------------a-b1-d4----------------- > -----------------a-r2------------------------- > ---------a-r2-d4------------------------------ > -a-r2-d4-------------------------------------- > > is just as good to me as > > --------------------------------------a-r1-d3- > ------------------------------a-b1-d4--------- > ----------------------a-b1-d4----------------- > -----------------a-r1------------------------- > ---------a-r1-d3------------------------------ > -a-r1-d3-------------------------------------- > Now to the notation as you all set it on the email. Both the above appear to be a run from bass to treble, but the location of the "a" on the next string seems to imply that the (in the first case, d3 and a on the next course) is played as a diad. Is it the spacing? (the transition from 4th course to 3rd course looks like a step, but the others look like note, note, chord). What is the protocol for typing an example on this list, given that the email isn't formatted. Best, Jon
