Peter,
--- Peter Nightingale <[EMAIL PROTECTED]> wrote:
> Dear list,
>
> Is there a rationale for Piccinini's suggestion that
> chords, e.g. like
> this
> ---
> -0-
> ---
> -3-
> -2-
> -0-
> be played by striking the courses in the order 5/p,
> 2/i ,1/m, 3/i.
>
This is what most people call a "Kapsperger roll"
after his usage of it on theorbo. This kind of roll
makes perfect sense on a double re-entrant theorbo
since the pitches go from low to high. On an archlute
it doesn't seem to make as much sense. Maybe
Piccinini was advocating this only for his theorbo
works since he wrote for that instrument too?
> Then there also is the other strange thing in his
> instructions. I wonder,
> did he loose his ring finger in a duel? After
> acknowledging in passing
> that finger's existence --maybe only in others?-- he
> seems to completely
> ignore it.
>
Another parallel with Kapsperger: he doesn't call for
the use of the ring finger at all because he
apparently planted it on the soundboard along with the
pinky.
Kapsperger is fairly clear about marking where he
wants these rolls to be done (basically any chord with
more than three notes). I must admit that I've
sometimes found Kapsperger's arp. suggestions
frustrating. Either these rolls are so technically
difficult to get all of the notes in quickly enough or
I find the constant ripples musically distracting.
(It reminds me of many intermediate level classical
guitarists who roll every single chord without
realizing they're doing it.)
Perhaps I'm ignoring an essential clue to the tempo
and style of some of these pieces, but I'll admit to
occasionally using my ring finger in order to have a
better overall flow or a nice stacatto chord - even
where it is contrary to Kapsperger's technical
indication.
Chris
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