Sorry-just noticed an error in my post (near the end)! "The result is that the melodic move Bb-A is reversed."
For "Bb-A", please read "C-B"! Unless, of course, you play a theorbo in G! Martin On 28/2/10 21:38, "Martin Eastwell" <eastwe...@mac.com> wrote: > Hi! > > Looking through Francesca Torelli's excellent theorbo tutor (published by Ut > Orpheus Edizioni), I was a little surprised by two of her recommendations > for right hand arpeggiation. She explains (p 23)the technique in which 4 > note arpeggios, for example, are played p i m i, with the index finger > playing the highest note of the chord last, on the third course. So the > first bar of Kapsberger's Toccata Seconda Arpeggiata becomes... > > ----------- |------------- > ----------- |------------- > ---0------- |-0------------ repeated 4 times > ---3------- |----------3--- > ---3------- |----3--------- > ---2------- |-------2------ > ./. p i m i > > However, she suggests that once you have played the second note, you should > rest the index finger on the third course ready to play the final note of > the 4 note pattern. I don't play this way myself (though I can make it work) > and wonder if other people do. Also, if there is any mention of this "rest > stroke" technique in the original sources. > > On p 24, she prints the above mentioned Toccata, with the recommendation > that the student should vary the RH fingering patterns so as to ensure that > all the notes in each chord are played in ascending order. The trouble with > this recommendation is that very often in the piece, the notes on the first > and third courses have a melodic function as well as an harmonic one. The > pattern in bar 6, for example, is notated as follows; > > > -------- ---------------- > ---2---- which could be realised either as ---2------------ or as > -------- ---------------- > ---0---- ------------0--- > ---3---- ------3--------- > ---3---- ---------3------ > ./. p i m i > > > ------------------ > -----2------------ > ------------------ if you follow Torelli's suggestion > -----------0------ > --------3--------- > --------------3-- > p m i m > > Or perhaps-p i i m ? > > The result is that the melodic move Bb-A is reversed. > > She admits that "This technique may seem complex and difficult in the > beginning..." ! To my ear, it also alters the piece significantly, in this > bar and a number of other places. What do people think? I wonder if anyone > can think of passages like this in the Italian theorbo repertory where the > arpeggiation is written out in full, thus giving us a hint? > > > Best wishes > > martin > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
