I guess the most logical way is to play the run with index and middle
finger (not dedillo), it's also most convenient. Sounds great if played
with panache.
Albert de Rippe has some similar dotting in his style and it makes
sense. For my taste, this gives more control over the brightness and
clarity of the notes.
What strikes me more with Rotta's works is the detailed instructions
which notes to hold, sometimes three notes, which leave you with few
ways to go to the next chord, or none, if you put the wrong fingers on
them. :)
His Ricercars are very good practice material for voice leading.
Am 04.08.2018 um 01:15 schrieb Sean Smith:
Antonio Rota in his first book has a Saltarelo and Piva in the Dm
Antico dance cycle that includes the passage (more or less similar in
each)
I2 0.2.3.5.7.I
I3 2.3.5.7.8.I etc.
It may not be clear above but it's a run of thirds where each cipher
has a dot following. The passage continues into the 2nd and third
courses and the initial downbeat in each measure is undotted. Is he
suggesting both notes are
a) played with the index
b) some non-thumb finger
c) something else? brushed? strummed? two-note dedillo? lighter?
AR is quite liberal in his right-of-cipher dottage in this print while
the Gardane print (same year) strips them all away.
AR also uses dots beside rootless chords on off-beats, including
non-adjacent strings. I'm suspecting the innocuous dot may have other
meanings beside "index finger here" but I'm not sure what. Suggestions?
Speculation?
Here is the facsimile link to the book [with thanks to Jo Bringmann].
The passages are on 13v and 15r.
[1]http://daten.digitale-sammlungen.de/0007/bsb00071965/images/index.ht
ml?id=00071965&groesser=&fip=193.174.98.30&no=&seite=26
Sean
--
References
1.
http://daten.digitale-sammlungen.de/0007/bsb00071965/images/index.html?id=00071965&groesser=&fip=193.174.98.30&no=&seite=26
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