I think Valdambrini's 1646 and 1647 guitar books might also add to
this topic. He gives performance information in his introduction and
uses signs that Kapsberger previously used.
Valdambrini's two arpeggio examples suggest to me that Chris may well
be correct -- that the finger pattern may trump ascending note order.
Kapsberger's right hand fingering pattern seems to be used, but the
notes do not sound low to high.
You can download either Valdambrini edition from my Ning page to see
my summarization of Valdambrini's
http://earlyguitar.ning.com/profile/RockyMjos
-- R
On Oct 20, 2010, at 8:02 AM, Christopher Wilke wrote:
The confusion arises from the fact that HK is always using the same
examples in his prefaces. The 4-note arp. is always demonstrated p-
i-m-i, but illustrated on strings that result in low to high. So,
what if the arp. needs to happen on strings other than those in the
preface? Does HK want us to use the same pattern or break the
chord with some other right hand pattern so as to achieve the same
type of note order? Picininni doesn't help: his examples are
almost identical to Kapsperger's. I tend to think, keep the
pattern, but that's just a guess.
There are two examples in which Kapsperger deviates from p-i-m-i.
The six note arp. is played p-p-p-i-m-i on strings 6-5-4-2-1-3.
With re-entrant tuning, this results in the notes proceeding bass-
ten-alto-ten-alto-sop. (To add to the confusion, in Libro IV it
says to play it p-p-p-m-(i)-m!) More interestingly, HK's advice
for the 3-note arp. is to start on the TOP note and descend to the
bass: i-m-p.
Chris
Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com
--- On Wed, 10/20/10, R. Mattes <[email protected]> wrote:
From: R. Mattes <[email protected]>
Subject: [LUTE] Re: Toccata
To: "howard posner" <[email protected]>, "Lute List"
<[email protected]>
Date: Wednesday, October 20, 2010, 6:42 AM
On Tue, 19 Oct 2010 20:39:10 -0700,
howard posner wrote
Some of the posters are seem unaware that Kapsberger's
Third Book
was found a few years ago. Diego Cantalupi not
only recorded it,
but included a pdf facsimile of the book on the
CD. Any theorbo
player who doesn't have it already should start
dropping hints with
loved ones for the next gift-giving occasion:
Kapsberger: Libro
Terzo d’Intavolatura di Chitarrone
I guess _you_ are unaware of the fine facsimile edition of
said work :-)
Libro Terzo D'Intavolatura Di Chitarrone
Introduzione di / Introduction by
Franco Pavan
Arnaldo Forni Editore 2009
Not only a good facsimile but also a well written
introduction
and study of the print.
Relevant to this thread's starting point:
There's a small introduction by Kapsberger explaining the
notation
used (trillo signs et al.) as well as some examples of
propper arpegiation.
If i read correctly they all are sounding bottom to top or
reversed.
More interesting: Kapsberger writes that whenever there a
"more than
three notes without an arpeggiation sign" the first note
(bass in all
his examples) has to be played with the thumb _on_ the
beat, the other
(three) afterwards. I take this as a rather strong evidence
for
using only p,i and m on the chitarrone.
Cheers, Ralf Mattes
--
R. Mattes -- Systemeinheitsstreichler
Hochschule fuer Musik Freiburg
[email protected]
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