> in some way. Not quite lute, but Carcassi stated that all > all chords should be > rolled in his early 19th-c. guitar method. The same holds for ornaments. Piccinini says:
"In tutti li luoghi dove si deve fermare assai, o poco, quivi si deve fare il Tremolo, & hora si f� un sorte di Tremolo, hora un'altra, secondo che la commodit� insegna, & in ogni tasto, � corda, & ancor nelle crome, havendo tempo, far� buonissimo effetto sempre." "In all places where one must stop a long time, or a short time, there one must do a trill, and now one does a kind of trill, now another, as the opportunity teaches, and on every fret, or string, and in the quavers too, having the time, it will do a very good effect always" The same appears if one looks at contemporary manuscripts as the Board, where the ornaments are written down. There is barely a single note or chord where an ornament is possible that is not ornamented. And what about French Baroque music? It's really filled of ornaments and they are part of the style we consider adequate for this music both on the harpsichord and lute. No one would play French music cutting the ornaments. Perhaps we have simply to rediscover a style for ornamentation in late Renaissance music, we are always too ready to apply a vocal polyphonic style to all this music. It might be appropriate for early Renaissance recercares and fantasies but not for later music as mss. prove. Also passing to a completely unormamented music in the first half of the century to a full ornamented style in the second half without intermediate steps seems strange to me, so who knows if early pieces were not much more ornamente than we play now. About rolled chords, if one looks at Perrine ms., that contains some Gaultier music, and where the rolling chords are notated, one can see that almost every chord is to be "rolled", sometimes by use of the first finger from the higher to the lower course, sometimes using the thumb from low to high, but sometimes also using the first finger from the low to the high, as it's done playing the baroque guitar. My point is that it's difficult to draw a rule when rolling and the "rule" should change accordingly to the epoch and geographical provenience of the music. In some music too much rolling doesn't work in some other music seems to be mandatory, the same for ornaments. Of course all must be filtered by our modern feeling and by the player interpretation if we want to be musicians and not musical archeologists but the suggestions that come form the sources should probably be taken in account. Francesco To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
