Richard Yates writes > I transcribed a few Kapsberger pieces for the GFA Soundboard a few years > ago. Part of that article said: "Among Kapsberger's works, the toccatas > show the boldest ventures into the new era. The one I have chosen, from the > Libro Primo d'intavolatura di Chitarone (Venice, 1604), is actually one of > his more conservative. Unlike most of his others, it is in the form of a > series of arpeggios, much like the lute preludes of S.L. Weiss.
This might have made it conservative had it been written a century later, but it seems pretty avant-garde for 1604. > In the > original manuscript the arpeggiation pattern is not indicated and so this is > left to the performer to invent. As I noted in another post that I haven't seen on the list yet, Kapsberger gave examples of how to arpeggiate in the introductory part of the book, so the arpeggiation is not left to the performer. > The two recordings that I have heard each > use a different pattern. Paul O'Dette plays a simple pima-pima-pima-pima for > each chord while Hopkinson Smith uses the more complex pimi-aimi-paim-paim. I take it you meant that O'Dette used a pattern that would translate to pima in your guitar transcription. It is decidedly not what Paul actually did with his fingers. I haven't heard Smith's recording. HP
