Jonas, A couple of weeks ago Bernd Haegemann posted on his web site a copy of an article by Paul O'Dette, that discusses this issue. (I have the JPGs, but I no longer have the link.) The article contains examples precisely from your "Piva a due liuti." O'Dette states that these changing articulations are used to create rhythmic interest. He also mentions that Dalza sometimes creates the same effect by changing the texture, as in the second measure of
-------|-------|-0-----| -0-2-3-|---3---|-2-----| -----*-|-0---0-|-2-3-2-| -3-----|-3---3-|-----*-| -------|-------|-------| -------|-------|-------| Of course, for extra effect, occasional errors are tossed into the mix :-( BTW, in this article POD also discusses the infamous "alla breve 3" time signature, but not in the context of the piece I was looking at. Peter. On Sun, 19 Nov 2006, Jonas Wellendorf wrote: > Greetings to you all! > > I have been lurking on the list the last couple of months, but my name is > Jonas and I have taken up the lute fairly recently. I have a question > concerning the right hand fingering in this passage from the book with > pieces by Dalza: > > > |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ > | | | | | | | | | | | | > | | | | | | | | | | | | > _________ _________ _________ _________ > |_________|_________|_________|_________| > |_________|_________|_________|_________| > |____3____|_________|____2____|____3____| > |_2_______|____3____|_0__*____|_2_______| > |_______0_|_2__*__0_|_______0_|_______0_| > * * > > > > |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ > | | | | | | | | | | | | > | | | | | | | | | | | | > _________ _________ _________ _________ > |_________|_________|_________|_________| > |_________|_________|_________|_________| > |____7____|____3____|____2____|____3____| > |_5_______|_2__*____|_0_______|_2_______| > |_______0_|_______0_|_______0_|_______0_| > * * * > > > > |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ > | | | | | | | | | | | | > | | | | | | | | | | | | > _________ _________ _________ _________ > |_________|_________|_________|_________| > |_________|_________|_________|_________| > |____8____|____8____|____3____|____2____| > |_7__*____|_7__*____|_2_______|_0__*____| > |_______0_|_______0_|_______0_|_______0_| > * > > > > |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ > | | | | | | | | | | | | > | | | | | | | | | | | | > _________ _________ _________ _________ > |_________|_________|_________|_________| > |_________|_________|_________|_________| > |____3____|____5____|____3____|____2____| > |_2_______|_3__*____|_2_____3_|_0_______| > |_______0_|_______0_|_______*_|_______0_| > * * > > > > |\ |\ |\ > | | | > | | | > _________ > |_________| > |_________| > |____3____| > |_2_______| > |_______0_| > * > (Thank you for that TAB manual!!!) > > Elsewhere in the piece (piua a due liuti) it is obvious that all the > undotted notes are to be played with the thumb, but in this section I am a > bit confused about the irregularity with which the index finger is to be > used. So how should I play in this section? An is there a good explanation > for the irregularity? > > Thank you, > Jonas > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > the next auto-quote is: We have one party -- we have the party of essentially corporate America. It has two right wings, one called Democratic, one called Republican. (Gore Vidal) /\/\ Peter Nightingale Telephone (401) 874-5882 Department of Physics, East Hall Fax (401) 874-2380 University of Rhode Island Kingston, RI 02881
