David,
Its rare, but he does use it. Seems to show up
mostly in ascending arpeggios within preludes. This
happens very prominently in the E Minor Prelude on
p.308 of Saizenay after the first chord and bass note,
the is a 5-note arpeggio marked
thumb-thumb-index-middle-ring (| | . .. ...).
Ascending broken chords of five or more notes happen
frequently throughout this prelude and only the thumb
notes are indicated, leaving the right hand fingering
for the top three notes unmarked. My guess would be
that he means for the initial figure utilizing the
ring finger to be employed in these chords.
Three dots also show up in the G Major prelude on
page 298 within the same kind of rising figure. Those
were two places I found just doing a quick skim
through Saizenay. It is probably used elsewhere as
well. I would gather that folks probably used it more
places than it was marked, but not often.
Chris
--- LGS-Europe <[EMAIL PROTECTED]> wrote:
> I haven't done the statistics, but was under the
> impression that De Visée
> asks for thumb, index and middle only, that means no
> ring finger. See the
> sources for fingerings.
>
> David
>
>
> ----- Original Message -----
> From: <[EMAIL PROTECTED]>
> To: "Nigel Solomon" <[EMAIL PROTECTED]>; "Lute
> Net"
> <lute@cs.dartmouth.edu>
> Sent: Thursday, May 03, 2007 11:36 PM
> Subject: [LUTE] Re: theorbo
>
>
> > Nigel,
> >
> >
> > I'm going to leave the "virtually the same
> > instrument" part out of the question for the
> moment.
> > The whole debate over double vs. single string as
> well
> > as Italian vs. French performance practice could
> get
> > ugly.
> >
> > I use the essentially the same technique for
> > Castaldi, Pittoni, Hurel and de Visee. What I do
> is
> > basically thumb-over using thumb-index-middle
> maybe
> > 75-80% of the time. The re-entrant tuning of the
> > theorbo means that I use the ring finger more
> > frequently on theorbo than, say, baroque lute.
> >
> > We know that Kapsberger did not use the right
> > hand ring finger at all since he planted it along
> with
> > the little finger on the top. He also uses the %
> sign
> > - meaning some variation of individually-fingered
> (as
> > opposed to strummed or raked) arpeggio depending
> on
> > the number and disposition of notes in the chord -
> on
> > all chords with more than three notes. He does
> this
> > even on four-note chords that could easily have
> been
> > blocked using the ring finger. I make a real
> effort
> > not use the ring finger in Kapsberger's music
> because
> > I find that it has a huge effect on the
> interpretation
> > and sound of the music. I don't remember what
> > Piccinini specifies, but the three-finger approach
> > seems to work pretty well for everything I've
> played
> > by him, too.
> >
> > In general, other than the case of
> Kapsberger, I
> > try not to be too pedantic about it. I think
> right
> > hand fingering for theorbo needs to be the most
> > flexible and indiosyncratic approaches to a lute
> > instrument - just look at how many times you end
> up
> > using the index or even ring finger on the strong
> > beat!
> >
> >
> > Chris
> >
> >
> > --- Nigel Solomon <[EMAIL PROTECTED]> wrote:
> >
> >> I have been following the thread of how lute
> >> technique changed over the
> >> years to suit new instruments and fashion. Does
> this
> >> mean we should not
> >> use the same right hand technique to play the
> >> theorbo (chitaronne)
> >> pieces by Piccinini as for De Viséé over a
> century
> >> later, even though
> >> virtually the same instrument is being played?
> >>
> >> Nigel
> >>
> >>
> >>
> >> To get on or off this list see list information
> at
> >>
> >
>
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >>
> >
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> >
>
>
>
>
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