It's interesting to compare the two and thanks for putting them both against the music. Personally, I like your playing without the dedillo as the run becomes a little clearer and fits better with the nature of the rest of the piece.
I'm not sure of purpose of dedillo in Milan's approach. Is it a faux plectrum? Does it help with speed or volume? Why _does_ Milan introduce or use it? For me and since I don't know its antecedents, I don't use the dedillo so much for help in speed but for a shading of character. It's quite handy on the renaissance guitar, especially for the bass runs (such as they are) in some of the dances in the LeRoy books. Most times you will want a refined sound for pavans, intabs or fantasies and for that the conventional is, no doubt, preferable. But for a bit more volume and, dare I say excitement, the dedillo trick works very well. Both parts of the bass course are strongly engaged and, while sounding somewhat rustic and loud, fit nicely in the branles near the end of book 3. No, there is no written precedent for this as far as I know in the french literature so caution is strongly advised. My reason is that organalogically and by literature, or at least to my eye, the r guitar fits in a halfway point between the lute and cittern. To offer it a few strums without a plectrum, ie, with a finger or thumb in either direction over two more courses, is not too difficult to imagine. To take in a 2nd course - or three - during those runs becomes quite simple and flows smoothly enough. Having practiced it with the guitar I introduced it to lute through Dalza. Again it seems to work - to my ear - to liven up a bass or tenor run and accentuate the downbeats. It does get more difficult having more courses below it, tho. And listening to the Milan just now I wonder if it would be so out-of-place on the triple flags of the Caldibi Castigliono. I have no idea whether Milan saw it this way either so my apologies for leaning in to this thread with my guitar nonsense. Again, caution! Sean On May 25, 2015, at 4:02 PM, Robert Barto wrote: Here are two versions of Milan's Fantasy #10. One with dedillo and one with figueta (p-i thumb under)(Fantasies 10, 11 and 12 are the introductory dedillo pieces if I understand correctly.) There is actually not that much dedillo in this piece. It seems to be an exercise for an irregular dedillo run that happens fairly often in Milan. It involves sliding the forefinger over the first two courses and then again over the 2nd and 3rd courses in the middle of the run. This runs occurs 6 times in the piece with slight variations (the first time is in measure 4). None of the other runs seem to be designed for dedillo. (The two voice sequences at the end could be done with dedillo but I see no advantage to that technically or soundwise. If anyone sees that in the Spanish text Milan says otherwise, please let me know.) [1]https://youtu.be/MZ4rItMvq1Y [2]https://youtu.be/lVVpGYoOG3M __________________________________________________________________ [3]Avast logo Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft. [4]www.avast.com -- References 1. https://youtu.be/MZ4rItMvq1Y 2. https://youtu.be/lVVpGYoOG3M 3. http://www.avast.com/ 4. http://www.avast.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
