Capirola uses his own system of ornamentation & fingering, and there is even a system for dividing the the paired courses and playing some extra "impossible" notes. If you look at the color facsimile, you will see some of these in red. For this reason, the trills are often left out or misinterpreted.
The edition, transcription, translation & commentary by the iconoclast & musicologist Otto Gombosi Otto Gombosi, "Compositione di Meser Vincenzo Capirola", Societe' de Musique d'Autrefois, 1955 Is currently the gold standard. Any good library will have it. Several interesting points here: 1. The earliest occurence of the juxtaposition of "above note trill" and "main note trill" spelled out, even though this is routinely cited as being from 1680, 160 years later. 2. Gombosi as a teacher produced some of the greatest musicologists and lute scholars. 3. The ricercares are different from other early lute sources, and exhibit an unique structure 4. The fact that there is a vast range in the skill level of the pieces suggests that the book was a tutor of some sort. 5. A number of details, such as the split courses, suggest that this book represents at least a generation of development in technique & style back into the unknown repertory of the 15th century. One could therefore do a reconstruction based on earlier sources, using capirola as a logical endpoint. Everyone should read the introduction, it is crucial to an understanding of the early repertory. Marincola's palimpsest, by Marincola, Bailes & Wilson (that would be a fun concert) is a fine place to start, though Gombosi's translation is fine and the diagrams are easier on the eyes. http://www.marincola.com/lutebot1.txt As a somewhat younger lute player in 1971, I read the introduction and was shocked that the information was different from what all my teachers were telling me, so I switched to thumb under. At that time, there were very few thumb under players: they were like three-wheeled Morgans. dt At 10:42 AM 7/22/2007, you wrote: >Try Frederico Marincola's web site. Lutebot #1 has a translation of at least >part of the Capirola text. http://www.marincola.com/ > > >Guy > > >-----Original Message----- >From: Orphenica [mailto:[EMAIL PROTECTED] >Sent: Sunday, July 22, 2007 5:12 AM >To: Bernd Haegemann >Cc: lute@cs.dartmouth.edu >Subject: [LUTE] Capirola question > >Oh, collective Lute Wisdom of the world, > >Im trying to get into the works of Vinzenco Capirola and bought a >facsimile of his works. > >Apart from struggling with the "antipodal" charme of Italian tab, I >stumbled accross some fingering hints (?) in the Richerchar primo. Here >my questions: >Is a dot to the upper (left) of a number a thumb indicator and a double >dot under a cypher a suggestion to use the middle finger (the latter >might be flyspeck). > >A scan of the first tab line from R1 can be found here (it's the last >two bars, I refer to): >http://bogulamedia.de/aa/capi1.jpg > >Another miracle is the last line of the first page of the Richerchar >primo, does anybody out there in lute space know, what this means: >http://bogulamedia.de/aa/capi2.jpg > >Some answers might be found in the preface of the lute manuscript, but >unfortunately my Italian is not even sufficient to distinguish >Parpadelle from Orichiette. Is there an English translation of the foreword? > > >Thank your for your time and expertise > > Werner > > > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
