Seventeenth-Century Guitar Music: Notes on Rasgueado Performance

Author(s): Sylvia Murphy

Source: The Galpin Society Journal, Vol. 21 (Mar., 1968), pp. 24-32
Published by: Galpin Society
Stable URL: http://www.jstor.org/stable/841425 .
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SYLVIA MURPHY
Seventeenth-Century
G ui ta r
Mus i c : N o tes o n
Ra s guea do
Perfo rma nc e
M
o s t
o f thei nfo rma ti o n
c o nc erni ng ra s guea do
i s fo und i n
ea rly
s eventeenth-c entury
bo o ks fo r the
gui ta rc o nta i ni ng pi ec es
no ta ted
enti rely
i n
a lpha bet
ta bla ture. The
s ubjec t
ha s henc ebeen
a s s o c i a ted
bymus i c o lo gi s ts o nly
wi ththe
perfo rma nc e
o f
s i mples o ng
a nd da nc e
a c c o mpa ni ments
fo und i nthes e
bo o ks ,
a nd a lmo s ti nva ri -
a bly
di s mi s s ed wi th
c o ntempt.
In
fa c t,
everyma jo rc o mpo s er
fo rthe
gui ta r
i nthes eventeenth
c entury
us ed
ra s guea do
fo r
s i ngle
c ho rds o r
who le
pa s s a ges
wi thi nhi s
wo rks ,
a nd i f thetra ns c ri bera nd
perfo rmer
a reno tto
neglec t
thi s fi eld o f
s eventeenth-c entury
mus i c s o mekno w-
ledge
o f the
tec hni que
o f
ra s guea do perfo rma nc e
mus tbe
a c qui red.
The
Spa ni s h
term
ra s guea do ,
i nthec o ntexto f
gui ta r
mus i c ,
refers
to the
hi tti ng
o f the
s tri ngs
o f the
gui ta r
wi tho neo rmo re
fi ngers
o f
the
ri ght
ha nd.1
Thes tri kec a nbema deei theri na n
upwa rds
di rec ti o n
(i .e.
fro m
the
hi ghpi tc hed s tri ngs
to thelo w
o nes )
o ri na do wnwa rds
di rec ti o n. Inthec a s eo f the
ba ro quegui ta r
a ll thefi vec o urs es c o uld
bes truc k wi tho ne
blo w,
a ltho ugh
threeo rfo ur
a dja c ent
c o urs es
mi ght
a ls o be
pla yed
i nthi s ma nner.
Ra s guea do
wa s kno wni nthe
s i xteenth
c entury,
a s i s s ho wn
by
Bermudo 's s ta tement
c o nc erni ng
a
tuni ng
fo rthefo ur-c o urs e
gui ta r:
'Es te
teple
ma s es
pa ra
ro m-c es
vi ejo s , y
Mus i c a
go lpea da : quepa ra
Mus i c a
de
el
ti empo .'2
(Thi s tuni ng
i s betters ui ted to o ld
ro ma nc es ,
a nd s truc k
mus i c ,
tha nto
mus i c o f o ur
ti me.)
Survi vi ng
mus i c a l s o urc es o f thi s
peri o d,
ho wever,
c o nta i n
o nly
puntea do 3
mus i c
fo rthe
gui ta r, pri nted
i nfret
ta bla ture,
li ketha tfo r
theluteo r
vi huela .4 Ra s guea do
wa s
gi ven
new
i mpetus by
thei nven-
ti o no f the
gui ta ra lpha bet
a ttheend o f thes i xteenth
c entury.
It
a ppea rs
tha tthi s s ho rtha nd
s ys tem
o f no ta ti o n
o ri gi na ted
i n
1596
wheni twa s
expla i ned byJua n
Ca rlo s Ama ti nhi s trea ti s eG ui ta rra
Es pa no la y
Va ndo la 5
a nd c a lled a new i nventi o n.
Bri efly,
the
gui ta r
a lpha bet
deno ted themo rec o mmo n
gui ta r
c ho rds
by
a
s i ngles ymbo l,
24
us ua lly
a lettero rnumera l. Thus
ra s guea do perfo rma nc e
bec a mea
s i mple
ma ttero f
s tri ki ng
thec ho rd
a ppro pri a te
to the
s ymbo l.
A
s ys tem
fo r
no ta ti ng unc o mpli c a ted
ti meva lues wa s
gi venby
Mo nte-
s a rdo i n16066 a nd a fterthi s da teunti l well i nto the
ei ghteenthc entury
numero us
publi c a ti o ns emplo yi ng
the
gui ta ra lpha bet a ppea red.
Fro m
c .
1602
to
1629
ra s guea do
i s us ed
a ppa rently
to theexc lus i o no f
puntea do ,
a fterthi s da tethetwo
s tyles
a re
us ua lly
c o mbi ned.
Amo ng
theexta nt
publi c a ti o ns c o nta i ni ng
the
gui ta ra lpha bet
a rec o llec ti o ns o f Ita li a n
po ems
wi ththe
gui ta ra lpha bet
butno o therfo rm o f mus i c a l no ta ti o n
a nd c o llec ti o ns o f
ma dri ga ls
wi ththe
gui ta ra lpha bet
i nc luded a s a
c o nti nuo
pa rt.
Therea rewell o ver
fi ftypri nted
wo rks fro m the
s eventeenth
c entury
wri ttenfo rthes o lo
gui ta rc o nta i ni ng pi ec es
no ta ted
enti rely
i n
a lpha bet
ta bla ture. Thi s
mus i c ,
ma i nly
da nc es ,
c o ns i s ts o f c ho rd
pro gres s i o ns
i n
s i mple
ti mes c hemes . Of mo s tmus i -
c a l
s i gni fi c a nc e
a rethe
gui ta r
wo rks o f s uc h
c o mpo s ers
a s
Co rbetta ,
G ra na ta , Ro nc a lli ,
de
Vi s ee, Sa nz, G uera u,
de
Murc i a ,
to
na me
o nly
themo re
pro mi nent,
whi c h,
whi le
ba s i c a lly
i n
puntea do s tyle,
ma ke
us eei thero f the
a lpha bet
i ts elf o ro f
ra s guea do tec hni que.
Thus the
rules
go verni ng
the
perfo rma nc e
o f
a lpha bet
ta bla ture,
pa rti c ula rly
tho s e
c o nc erni ng
o rna menta ti o n,
a reo f
i mpo rta nc e
i nthe
perfo rma nc e
o f themo re
s o phi s ti c a ted
mus i c
c o mpo s ed
fo rthe
gui ta r
i nc o ns i der-
a ble
qua nti ti es
a fter
1630.
Ama t's trea ti s eo f
1596
i s thes o lekno wn
s urvi vi ng exa mple
o f
s i xteenth-c entury ra s guea do
mus i c fo rthe
gui ta r.
Inthefi rs tthi rd o f
thes eventeenth
c entury
ho wever,
i t
a ppea rs
tha t
puntea do tec hni que
wa s c o ns i dered the
pro vi nc e
o f thelute
pla yer,
the
gui ta rbei ng
mo re
s ui ted to
ra s guea do perfo rma nc e.
In
fa c t,
between
16o 6
a nd
1629 there
do es no ts eem to ha vebeena
s i nglepubli c a ti o n
o f fretta bla turefo r
the
gui ta r, a ltho ugh
i nthes a me
peri o d
a tlea s t
fi ftypubli c a ti o ns
a re
kno wn
c o nta i ni ng
the
gui ta ra lpha bet
i ns o mefo rm. In1620 Benedetto
Sa ns everi no wro te:
'...
mi
pa re,
c hela Chi ta rra a lla
Spa gnuo la ,
s i debba s uo na re c o nlebo tte
pi ene,
eno n
a ltri mente,
perc he
s uo na ndo la c o n
di mi nuti o ni ,
lega ture,
6
di s s o na ze,
s a rebbe
pi ui
to s to s uo na r di
Li uto ,
c hedi Chi ta rra a lla
Spa gnuo la ,
& di mi nuendo ta l' i ns tro meto no ns o lo s i
li
vi ene
"
leva rei l
pro pri o ,
na tura le,
& a nti c o
s ti le,
ma a nc o s eli
to gli e
a ffa tto
l'a rmo ni a ;
ta lc heba s ta
a c i a s c heduno di va ri a rla ma no i ndi vers i
mo di ,
s ec o ndo
1'ha bi li ta del s uo
i ngegno ,
& i n
ques to
mo do s o di s fa re a l
s ti le,
& to ta leo s s erva ti o ne del vero
mo do di s uo na re la
s o pra detta
Chi ta rra a lla
Spa gnuo la .'"
(It
s eems to metha to ne
o ught
to
pla y
the
Spa ni s h
G ui ta rwi thfull
s tro kes ,
a nd no t
o therwi s e,
bec a us e
pla yi ng
wi th
di mi nuti o ns ,
lega ture
o r
di s s o na nc es i s mo res ui ted to the
pla yi ng
o f theLutetha nto the
Spa ni s h
25
G ui ta r,
a nd i n
s o fteni ng
s uc ha ni ns trument no t
o nly
do es o neremo vei ts
o wnna tura l a nd a nc i ent
s tyle,
buta ls o the
ha rmo ny
i s
c o mpletely
c ut
o ff;
thus i ti s s uffi c i ent fo rea c h
pers o n
to
va ry
hi s ha nd i ndi fferent
wa ys ,
a c c o rd-
i ng
to hi s
a bi li ty,
a nd thus s uc c eed i nthema ttero f
s tyle
a nd i na ll the
o bs erva ti o ns o f thetruemetho d o f
pla yi ng
thea bo ve-menti o ned
Spa ni s h
G ui ta r.)
Fo s c a ri ni ,
who s ewo rk II
pri mo
s ec i do eterzo li bro della c hi ta rra
s pa gno la ,
publi s hed
c .
1629
underthe
pen
na me
Ca li gi no s o ,
i s thefi rs tkno wn
to c o nta i na mi xtureo f freta nd
a lpha bet
ta bla ture,
s a ys :
'DelleSo na te,
dette
Pi zzi c c a te,
no nne
pa rlo
pi di
c he
ta nto ,
ha vendo le
po s te
pi di per
a bbelli mento dell'
o pera ,
c he
per
a ltro
ri s petto ; po i c he
s o beni s s i mo
es s er
pi di pro pri e
del
Leuto ,
c hedella
Chi ta ra ....'
(Of
the
So na te,
c a lled
pi zzi c a to ,
I
s a y
no mo retha n
tha t,
ha vi ng put
them
i nmo refo rtheembelli s hment o f thewo rk tha nfo ro ther
rea s o ns ;
s i nc eI
kno w well tha t
they
a remo res ui ted to theLutetha nto theG ui ta r
....
)
Whethero rno t
Ca li gi no s o
wa s thefi rs tto rei ntro duc efretta bla ture
fo rthe
gui ta r,
a fter
1629
a numbero f wo rks
a ppea red
i nwhi c hi t
wa s us ed
extens i vely,
s o meti mes to theexc lus i o no f
a lpha bet
ta bla -
ture,
buto fteni n
c o njunc ti o n
wi thi t.
Puntea do mus i c c a nno tbeno ta ted
by
the
gui ta ra lpha bet.
Ho wever,
i ti s
i mpo rta nt
to remembertha tthec o nvers ei s no t
true;
tha tno ta ll
fretta bla turei ndi c a tes
puntea do perfo rma nc e.
Fo rva ri o us
rea s o ns ,
perha ps
bec a us ethe
c o mpo s er
di d no twa ntto burdenthe
pla yer
wi th
theta s k o f
lea rni ng
the
a lpha bet,
o rmo re
o bvi o us ly,
bec a us ethe
a lpha bet
wa s li mi ted i ni ts
ra nge
o f
c ho rds ,
ma nyc o mpo s ers
no ta ted
c ho rds i nfretta bla turewhi c hmus tbe
pla yed ra s guea do .
Thes ec ho rds
c a n
us ua lly
bei denti fi ed
by
a di rec ti o ns tro ke
pla c ed
bes i de
them,
ei thera n
ups tro ke
-L
o ra do wns tro ke
-F-.
Jo hn
Co meKi s s Me
I I I
A
c i s --TI
t
61
-t...
JI
-'7
__

c . I t T
In
thea bo ve
exa mple
thedi rec ti o ns tro kes mus tbe
di s ti ngui s hed
fro m
the
a li gnment
ma rks . Thes tro kebes i dethefi rs tc ho rd i ndi c a tes a
do wnbea t,
thes tro kewi thi nthela s tc ho rd o f
the
fi rs tba r
s i mply
a i ds
26
the
rea di ng
o f tha tc ho rd.
Upbea ts
i nthi s MS. a re
a lwa ys
i ndi c a ted
by
s tems
(o r
enti reno tes i nthec a s eo f no tes held fo ra
mi num)
s ta ndi ng
o nthe
to p
li ne
(ba r
2,
bea t
3).
Stems
ha ngi ng
fro m the
to p
li ne,
o rmi nums wi ththei rs tem
po i nti ng
do wn,
deno tedo wnbea ts .
Itwi ll beno ti c ed tha tthefi rs tc ho rd o f ba r2 a nd thela s tc ho rd o f
the
extra c t,
when
s truc k,
wi ll behea rd no twi ththreebutwi tha ll
fi vec o urs es
s o undi ng.
The
o peni ng
c ho rd i s s o mewha tunus ua l fo ri t
i nvo lves the
hi tti ng
o f
o nly
thethreei nnerc o urs es . Thefi rs tc o urs e
(e')
i s
c lea rlyfo rei gn
to the
c ho rd,
a nd thefa c ttha tthe
s o undi ng
o f
thefo urthc ho rd i s i ndi c a ted
by
thelettera lea ds o neto a s s umetha t
thefi fthc o urs ei s no ts truc k. G rea tc a rewo uld beneeded i n
pla yi ng
thi s c ho rd to a vo i d
hi tti ng
theo uterc o urs es . Thi s
ra s guea do pla yi ng
o f threei nnerc o urs es i s a ls o fo und i nCo rbetta 's La
G ui ta rre
Ro ya lle
(1671).
Severa l s o urc es
gi ve
di rec ti o ns fo rthe
ho ldi ng
o f the
ri ght
ha nd
fo r
ra s guea do .
Mi lli o ni ,
i nhi s Sec o nda
i mpres s i o ne
del
qua rto
li bro d'i nta -
vo la tura di c hi ta rra
s pa gno la (Ro me, 1627),
wro te:
.
..
s i
po tra
i nc o mi nc i a re
'
s o na re
les o na te. . . s o na ndo c o nla ma no
des tra ,
per6
c o n
tre,
6
qua ttro
di ta ,
tenendo ledi s ti nte
a lqua nto
l'una
da ll'
a ltra ,
a c c i 6
rendi no
pi ui
do lc ezza ,
to c c a ndo
per6
tuttele
c o rde, e
s o na ndo
tr~ la
ro s a ,
& i l ma ni c o
....'
(...
o ne
begi ns
to
pla y
thes o na te. ..
pla yi ng
wi ththe
ri ght
ha nd,
wi th
threeo rfo ur
fi ngers , ho ldi ng
them a s
di s ti nc tly
a s
po s s i ble
o nefro m the
o ther,
thus
expres s i ng grea ter
s weetnes s ,
to uc hi ng
a ll the
s tri ngs
a nd
pla yi ng
betweenthero s ea nd thenec k
....
)
Thec ho i c eo f
fi ngers
wi thwhi c hto s tri keva ri ed. Severa l s o urc es
menti o ntheus eo f the
thumb,
pa rti c ula rly
i nthe
perfo rma nc e
o f
o rna ments ,
s o i t s eems tha tthethumb a nd thefi rs ttwo o rthree
fi ngers
wereus ed. Inthe
perfo rma nc e
o f o rna ments a
s i nglefi nger
wa s s o meti mes
emplo yed.
A
s i gni fi c a nt
di fferenc ebetween
puntea do
a nd
ra s guea do tec hni ques
a ri s es i nthe
perfo rma nc e
o f o rna ments . TheIta li a nba ttentebo o ks
des c ri be
two ,
the
repi c c o
a nd the
tri llo ,
whi c hwerebo th
perfo rmed by
pa tterns
o f va ri o us
c o mplexi ty
o f the
ri ght
ha nd,
wherea s
puntea do
mus i c
(a nd
mus i c
c o mbi ni ng puntea do
a nd
ra s guea do tec hni ques )
em-
plo yed
o rna ments s i mi la rto tho s eo f the
lute,
perfo rmed
wi ththe
leftha nd. The
repi c c o
i s des c ri bed i na numbero f
s eventeenth-c entury
Ita li a n
s o urc es ;
ma ny
o f the
des c ri pti o ns unfo rtuna tely
a re
a mbi guo us .
Oneo f thec lea res ti s tha t
gi venby
Pi c o i nhi s N uo va Sc elta di So na te
(1608): 8
27
'Perfa run
Repi c c o
s i da nno
qua ttro
bo tte,
c i o edo i i n
gi rd,
edo i i n
s ui ;
la
pri ma
i n
gui
v~ da ta c o ni l
medi o ;
la s ec o nda i n
gi r
c o ni l
po lli c e;
la terza
i n
s ui
va da ta c o ni l
po lli c e,
la
qua rta
i n
s ui
c o n
l'i ndi c e,
to c c a ndo
per6
s o lo
i l
Ca nti no ,
eun
Repi c c o
s erve
per
duebo tte.'
(To pla y
a
Repi c c o
o ne
pla ys
fo ur
s tri kes ,
tha ti s two do wna nd two
up.
Thefi rs tdo wni s
pla yed
wi ththemi ddle
fi nger,
thes ec o nd do wnwi ththe
thumb,
thethi rd
up
i s
pla yed
wi ththethumb a nd thefo urth
up
wi ththe
i ndex
fi nger, pla yi ng
ho wever
o nly
the
to p s tri ng,
a nd a
Repi c c o
la s ts fo r
two
bea ts .)
Thes ta tement tha t a
repi c c o
la s ts fo rtwo bea ts i s
mi s lea di ng,
fo rthe
repi c c o a c tua lly
la s ts fo ra do wnbea t a nd a n
upbea t
-T
-L- o ro ne
bea t.
Thus to
perfo rm
a
repi c c o
o nthec ho rd A o newo uld
pla y:
_____
M
= mi ddlefi nger
P
=
thumb
I = i ndex
fi nger
Others o urc es whi c hdes c ri bei ns i mi la rterms the
perfo rma nc e
o f the
repi c c o
a reII
pri mo
li bro
d'i nta vo la tura (Ano n,
Ro me,
1618)
a nd Vero
e
a c i l
mo do
d'i mpa ra re
.
.
. la Chi ta rra
Spa gno la (Mi lli o ni
a nd
Mo nte,
Ro me,
1637).
Di fferent metho ds o f
perfo rma nc e
werea ls o
des c ri bed,
o f whi c h two fo und i nCo rbetta 's La G ui ta rre
Ro ya lle (1671)
a re
pa rti c ula rlyi nteres ti ng.
The
fo llo wi ng pa s s a ge
i s fo und i nCo rbetta 's
prefa c e:
'Vedra i
les empi o
dun
repi c c o po s to
i nuna
Ci a c c o na ,
do vela no ta
pi ulo nga
s i gni fi c a
i l
po lzo ,
c o mi nc i a ndo
pri ma
i di ti
po i
c o ni l
po lzo
fa c endo li s tes s o
a ll i n
s i e
o s s erva c hele
qua tro
no te
lega tes i gni fi c a no
do vers i fa r
pri ma
c o n
i l s ec o ndo di to e
po i
c o ni l
pri mo a ppres s o ,
ec o s i a ll i n
s h'
s o tto a un
tempo
pi upres to ,
e
po i s egui ta
c o ni di ti eti l
po lzo .'
Thi s
pa s s a ge
i s mo re
ea s i ly
unders to o d wi ththea i d o f theta bla turei n
ques ti o n(f 72).
Li ?s ea -
(Thi s rhythmi c pa ttern
i s
repea ted
o ndi fferentc ho rds three
ti mes .)
Thus thetra ns la ti o nc a nbeta kena s :
28
'Yo us ha ll s eethe
exa mple
o f a
repi c c o
i na
Ci a c c o na ,
wheretheno tewi th
theextended s tem i s
pla yed
wi ththethumb.
Ha vi ng begun
fi rs twi ththe
fi ngers ,
thethumb then
pla ys
thes a mea nd thi s i s
repea ted
a s
upbea ts .
N o ti c e
tha tthefo urti ed bea ts i ndi c a tetha to nemus t
pla y
thefi rs twi ththes ec o nd
fi nger,
a nd thenextwi ththe
fi rs t,
a nd s o
a ga i n
a s
ups tro kes ,
a ll a ta fa s ter
s peed,
a nd thenc o nti nuewi ththe
fi ngers
a nd thumb.'
The
tra ns c ri pti o n
o f thi s
pa s s a ge
wo uld
a ppea r
a s :
Ili lt I
1 -
I L L I Ltt
Thec o nnec ti o nbetweenthi s
repi c c o
a nd tha tdes c ri bed
by
Pi c o i s
c lea r. Thec ho rd i s
repea ted
wi thi nthe
bea t,
va ryi ng
the
fi nger
wi th
whi c hi ti s
s truc k,
a nd the
predo mi na nt pa ttern
i s two
do wns tro kes
fo llo wed
by
two
ups tro kes .
Ina no therc i a c c o na
(f 75)
Co rbetta i n-
c ludes the
fo llo wi ng pa s s a ge:
~f~i ~p~
S f f f S'
whi c hhedi s c us s es
a ga i n
i nthe
prefa c e.
'nel
a ltra c i a c c o na
da ppres s o
vedra i una ltro
repi c c o
... la do vevedra i s ei
ba ttutedi
tempo
di
c ro me,
nefa ra i
qua ttro
da lla terza i n
gi t
e
po rta ndo
la
ma no fa ra i la ltredueba ttutes ula ltredueCo rde
pri ma
es ec o nda s enza
to c c a r
la ltre,
do po
muta ndo i l di to s ul ta s to fa ra i i l medes i mo a llea ltres ei e
muta ndo i l di to a llea ltre
qua ttro da ppres s o ,
ba ttera i la
pri ma
ba tuta
fo rte,
elea ltre
tre,
pi a no
c o s i a ll a ltrei nmuta ri l di to fa ra i i l
Medes i mo ,
s i no c he
c o mi nc i les ei
pri me,
o ndetro vera i un
f.
c hevo l di rfo rtenella
pri ma
ba ttuta
delle
qua ttro ,
ec o s i ti ri us c i ra i l
repi c c o pi u
bello .'
(In
thenext
c i a c c o na
yo u
wi ll s eea no ther
repi c c o
. . . where
yo u
s ees i x
qua ver
s tro kes
pla y
fo uro f them fro m thethi rd c o urs e
do wnwa rds ,
a nd
mo vi ng
theha nd
pla y
thenexttwo s tri kes o ntheo thertwo
c o urs es ,
the
fi rs ta nd
s ec o nd,
wi tho ut
to uc hi ng
theo ther
(thi rd,
fo urtha nd
fi fth)
o nes .
After
c ha ngi ng
the
fi ngers
o nthe
frets ,
pla y
i nthes a me
wa y
fo rtheo ther
s i x
(qua vers ),
a nd
c ha ngi ng
the
fi ngers
a tthenext
fo ur,
hi tthefi rs t
qua ver
lo udly,
a nd theo therthree
s o ftly.
Do thes a meo n
c ha ngi ng
the
fi ngers
a t
theo ther
(gro ups
o f
fo ur)
unti l thefi rs ts i x
begi na ga i n.
Where
yo u
fi nd a n
f
thi s mea ns
pla y
thefi rs to f thefo urbea ts
lo udly,
a nd i nthi s
wa yyo u
wi ll
a c hi evea bea uti ful
repi c c o .)
29
Thus a
tra ns c ri pti o n
o f thi s
pa s s a ge
wo uld
a ppea r:
~ I~) p ~L )Lt tL I 1 01tItIT L
U5 qq"
3: f
f
Thi s i s s i mi la rto Pi c o 's o rna ment i ntha tthec o urs es whi c ha reto be
s truc k a reva ri ed a s
pa rt
o f theo rna menta ti o n.
A les s
c o mpli c a ted
o rna ment wa s the
tri llo ,
whi c h i nvo lved the
s i mple
rei tera ti o no f a c ho rd i na lterna te
up-do wn
mo ti o n. Fo ur
s tri kes o f thec ho rd fo rmed o netri llo a nd thi s la s ted fo ro nebea t. The
tri llo c o uld be
pla yed bya lterna ti ng
thethumb a nd themi ddle
fi nger,
o r
s i mplybyus i ng
thei ndex
fi nger.
Fo s c a ri ni
(II pri mo
s ec o do eterzo
li bro della c hi ta rra
s pa gno la )
wro te:
'Benc hevi s i a di vers i ta de
Tri lli ,
&
Repi c c hi per
li
mo lti
mo di di muo verla
ma no ;
Io di r6,
c he
qua ndo
i l So na to res i s a ra es s erc i ta to nel
po rta r
benla
ma no ,
& ha vra buo na
pra tti c a
del ma ni c o della
Chi ta ra ,
es s endo s i
i mpa tro -
ni to di tuttele
Lettere,
s a ra
bi s o gno
di va ri a ra nc o ra la
ma no ,
c o n
qua lc he
s o rtedi
tri llo ,
&
repi c c o .
E c i rc a i l mo do del tri llo e
d'a vverti re,
c hec o l di to
po li c e,
&
medi o
s i fa ra una bo tta . Per
es s empi o .
A:
--T-
--
c hefa ra i n
gi r
po li c e,
& i ns
i
c o nl'i s tes s o
po li c e;
& s i mi lmentec o l
medi o ,
e
ques to
mo do di
perc us s i o ne
tri na ,
s i di ma nda tri llo .
Di
pi ei &
d'a vverti re,
c hea nc o i l tri llo s i
fi
c o l di to i ndi c e
pa rtendo
la
bo tta i n
qua ttro pa rte,
c i o e,
s efa ra una
mi ni ma ,
i n
qua ttro
c ro me,
la
pri ma
i n
gi r,
la s ec o nda i ns
i ,
la terza i n
gi u,
la
qua rta
i n
s i u;
ma tutto s i do vra fa re
c o nvelo c i ta
perc o rri s po nder
a l
tempo
delles o na te.'
(Altho ugh
therea re
ma ny
tri lli a nd
repi c c hi
a s a res ulto f thenumero us
wa ys
o f
mo vi ng
the
ha nd,
I s ho uld
s a y
tha twhenthe
pla yer
i s
pra c ti s ed
i n
thec o rrec t
c a rri a ge
o f the
ha nd,
a nd i s well
experi enc ed
wi ththe
fi nger-
bo a rd o f the
gui ta r, ha vi ng
ma s tered a ll the
letters ,
theni twi ll be
nec es s a ry
to
va ry
theha nd wi tha few s o rts o f tri llo a nd
repi c c o .
And
c o nc erni ng
the
metho d o f
tri lli ng
i s thea dvi c etha twi ththethumb a nd themi ddle
fi nger
o nema kes a s tri ke. Fo r
exa mple:
A
-T
I-
whi c hthethumb
pla ys
wi th
a do wns tro kea nd thena n
ups tro ke,
a nd
s i mi la rly
wi ththemi ddle
fi nger,
a nd thi s metho d o f
perc us s i o n
tri lls ,
i f a tri ll i s
requi red.
Furtheri ti s a dvi s ed tha ta tri llo i s a ls o
pla yed
wi ththei ndex
fi nger,
di vi di ng
thebea ti nto fo ur
pa rts ,
tha t
i s ,
i f thebea ti s a
mi num,
i nto fo ur
qua vers ,
thefi rs t
do wn,
thes ec o nd
up,
thethi rd do wna nd thefo urth
up,
buta ll mus tbe
pla yed
a tthe
s peed c o rres po ndi ng
to the
tempo
o f the
s o na te.)
As thetri llo va ri ed themus i c
rhythmi c a lly
ra thertha n
melo di c a lly
i t
c o uld beus ed wi th
grea t
freedo m,
eveno n
every
bea t o f the
pi ec e.
30
Mi lli o ni
(Sec o nda i mpres s i o ne
del
qua rto li bro )
i nc ludes the
fo llo wi ng
Teno rdi
N a po li
c o n
pi h
Tri lli :
""t t t tttIt t ttt tt tt tt t Ittttt
The
tra ns c ri pti o nbegi ns :
I L j LL
I
j I I J 11
-
Thetri llo wa s
o nlyra rely
i ndi c a ted i nthi s
fa s hi o n,
i nmo s tc a s es the
a utho r
s i mply
di s c us s es the
perfo rma nc e
o f thetwo
ra s guea do
o rna -
ments a nd lets the
pla yer
dec i dewhento us ethem.
Bo ththeo rna ments des c ri bed
requi re
c o ns i dera ble effo rta nd a c c u-
ra c y
i nthei r
exec uti o n,
a nd therei s no do ubttha ta n
i mpres s i ve
s ki ll
c o uld be
di s pla yed bypla yers
o f the
gui ta rperfo rmi ng
fro m
a lpha bet
ta bla ture. The
s i mples trummi ng
wea re
li kely
to
i ma gi ne
when
exa mi ni ng
theba ttente bo o ks
ma y
befa rremo ved fro m thevi rtuo s o
ri ght-ha nd tec hni que
o f s ki lled
perfo rmers .
As
puntea do pla yi ng ga i ned
i n
po pula ri ty
i nthes ec o nd ha lf o f thes eventeenth
c entury
menti o n
o f thes eo rna ments
a ppea red
les s
frequently,
Co rbetta
wri ti ng
hi s o ut
a nd
expla i ni ng
them i ndeta i l a nd o ther
c o mpo s ers , e.g. G a s pa r
Sa nz,
o nmi tti ng
a ll menti o no f them.
N evertheles s ,
they
s ho uld beno ted
by
a nyperfo rmer
o f
s eventeenth-c entury gui ta r
mus i c
wi s hi ng
to do
jus ti c e
to thi s s ti ll o bs c ure
fi eld.9
N OTES
1
TheIta li a nterm fo rthes a me
tec hni que
i s ba ttente.
Jua nBermudo ,
Dec la ra c i tn
dei ns trumi to s
mus i c a les , 1555,
f.
28b.
3
The
Spa ni s h
term
puntea do (Ita li a npi zzi c a to )
refers to the
tec hni que
o f
pluc ki ng
the
s tri ngs .
4
Si xteenth-c entury pri nted
s o urc es o f
puntea do
mus i c fo rthefo ur-a nd fi ve-
c o urs e
gui ta r
a rea s fo llo ws :
Alo ns o
Muda rra ,
Tres li bro s demus i c a en
c i fra s pa ra
vi huela , 1546.
Melc hi o re
de
Ba rberi i s ,
Inta bo la tura di la uto ... li bro
dec i ma ,
1549.
Mi guel
de
Fuenlla na ,
Orpheni c a lyra , I554.
Fi vebo o ks fo rthefo ur-c o urs e
gui ta rpubli s hed by
Le
Ro y
a nd Ba lla rd
(1551-56).
Fo urbo o ks
publi s hed
between
I551
a nd
1553 c o mpo s ed by
Si mo nG o rli er
a nd G ui lla ume
Mo rla ye.
SeeD.
Hea rtz,
'Pa ri s i a nMus i c
Publi s hi ng
under
Henry
II. A
Pro po s
o f Fo ur
Rec ently
Di s c o vered G ui ta r
Bo o ks ',
Mus i c a l
Qua rterly,
Vo l.
XLVI,
Oc to ber
I960,
p.
448.
P. Pha les ea nd
J.
Bellere,
Selec ti s s i ma
Elega nti s s i ma que,
Lo va ni i , 1570.
3I
1
Thefi rs tedi ti o ni s no
lo nger
exta nt,
tha tc o ns ulted
by
the
pres ent
a utho r
bei ng pri nted
i nG ero na
byJo s eph
Bro . Theda te
I586
gi ven
i na letterto
Ama tfro m
Fra y
Leo na rdo deSa nMa rti n
(pri nted
i na
1639
edi ti o no f the
trea ti s e)
a s theda teo f thefi rs tedi ti o no f thetrea ti s eG ui ta rra
Es pa no la ...
i s
a ppa rently
a
mi s pri nt.
Thes a meletterrevea ls tha ti n
1639 Ama t
wa s
s i xty-
s even
yea rs
o ld a nd i ti s
unli kely
tha tAma twro tethi s wo rk whenfo urteen
yea rs
o f
a ge.
Fo ra full di s c us s i o no f thewo rk a nd i ts numero us
edi ti o ns ,
s ee
Emi li o
Pujo l, 'Si gni fi c a c i 6n
de
Jo a n
Ca rlo s Ama t
(1572-1642)
enla hi s to ri a
dela
gui ta rra .'
Anua ri o
Mus i c a l,
Vo l.
V, 1950,
p.
125.
6
N uo va Inventi o ne
d'Inta vo la tura , Fi renze,
16o 6. See
J.
Wo lf,
Ha ndbuc hder
N o ta ti o ns kunde, Vo l. 2,
Lei pzi g, 1919, pp.
171-2.
7
Inta vo la tura
fa c i le,
Mi la n,
1620.
8
Therei s s o medo ubta s to theda teo f Pi c o 's
wo rk,
pri nted
i n
N a ples by
G i o va nFra nc es c o
Pa c e,
the
c o py
i nthe
Bi bli o theque
N a ti o na le
bei ng s li ghtly
da ma ged
a tthefo o to f theti tle
pa ge. Ma c ha bey('Les Ori gi nes
de
la Cha c o nne
etdela
Pa s s a c a i lle',
Revuede
Mus i c o lo gi e,
Vo l. 25,
N o .
77-8, 1946, p.
I)
c o n-
s i ders theda teto be
1628,
fro m a nexa mi na ti o no f the
c o py
i n
Pa ri s ,
a nd fro m
evi denc e
pres ented by
Sa rto ri
(Di zi o na ri o degli
Edi to ri Mus i c a li
Ita li a ni , Flo renc e,
1958,
p. I12)
thi s a utho ri s i nc li ned to theea rli erda te.
9
I
wo uld
li keto tha nk
Jo hn
Ro berts fo r
ma nyhelpful
di s c us s i o ns o nthi s
to pi c .
32