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Giovanni Paolo Foscarini
101 Pieces for baroque guitar
From “Li Cinque Libri della Chitarra alla Spagnola” (1640)
Transcribed and edited by Monica Hall
2010
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Introduction
The final edition of Foscarini’s work, ‘Li cinque libri della chitarra alla spagnola’ is a cumulation of his previous four books printed, from the original engraved plates, with the addition of a fifth book. His dedication to the French nobleman, Charles III of Lorraine, Duke of Guise is dated from Rome on 25th September 1640. There are no separate title pages indicating where each book begins but the first section - pages 2-14 includes some but not all of the pieces from Books 1 and 2; Book 3 starts on page 15, Book 4 on page 79 and Book 5 on page 103. I have included pieces from each section. The pieces from Books 1 and 2 are entirely strummed with the exception the Spagnoletta which has occasional auxiliary notes inserted between the chords. Most of the pieces in Books 3, 4 and 5 are in "mixed" style, combining strummed chords with lute style counterpoint but a small number of them are entirely in lute style. These may well be arrangements of pre-existing lute pieces which will eventually be identified which makes attempts to reconstruct them a bit risky!
Notation
Foscarini's notation is difficult to interpret as his use of time signatures, barlines and note values is inconsistent. Many of the pieces are unbarred, and those that are, are sometimes barred in an unhelpful way. Note values are ambiguous, wrongly aligned with the tablature or missing altogether and a clear distinction is not always made between black and white note values. This may be due to problems with the engraving but it may also reflect changes in notation taking place more generally at the time. Due to wear and tear on the plates, some of the note values are difficult to read. There are numerous obvious misprints of one sort or another. In some places his intentions can only be a matter of guess work. Foscarini does include quite detailed instructions explaining how his notation works. All the pieces are in Italian tablature with alfabeto for the basic strummed 5-part chords. The direction of the chords to be strummed, whether represented by single letters or notated in tablature, is indicated by stroke marks like this - ���� - down from the lowest line of the tablature for a bass to treble stroke and up from the lowest line for a treble to bass stroke. In his instructions he also makes it clear that auxiliary or passing notes between the chords should be played as single notes and he regularly places stroke marks under auxiliary notes which can only be played as single notes. He also adds stroke marks to single chords and in passages in two or three part counterpoint which are probably intended to be played in lute style. His reason for doing this may be because it
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makes the music easier to read especially when there are no bar lines or note values. I have omitted the stroke marks wherever it seems to me that the chords or passages are not clearly intended to be strummed. (I think this does highlight the fact that the music is easier to read when they are included!) Chords represented by alfabeto have been transcribed fully in tablature. The letters which represent them have been inserted below the tablature stave to help players familiarise themselves with this type of notation. The figures 4 - 3 following a letter indicate that a 4 - 3 suspension has been inserted into the first chord and resolves in the second. This particular feature of Foscarini’s notation cannot be reproduced with Django software. Django will not reproduce the symbol & to represent a chord either so I have used the sign $ in places where this chord occurs. Zeros representing open courses have been filled in both in the alfabeto chords and elsewhere where this seemed appropriate.
Ornaments
Foscarini uses four signs for ornaments –
t. indicates a trill (represented by this sign .T. in the original). Foscarini does not explain how this should be played but a trill starting with the main note is probably the most appropriate
x is not explained in the preface but probably indicates a mordent % is not explained but is used in the “Taste grata” on p.113. It seems
to indicate that the chords to which it is attached are to be arpeggiated
x indicates vibrato (actually a double cross or double sharp sign in
both the original and the transcription)
Ornaments are indicated quite sparingly; it is not always clear which notes they are meant to be attached to and they sometimes appear in unlikely places (and in places where it is difficult to insert them with Django software). I have not added any ornaments but the music was probably much more elaborately ornamented than the original notation suggests and some sort of ornament at least at a cadence was de rigeur. Foscarini does also put in slur marks to indicate groups of notes which should be played by the left hand only, although he does so in a somewhat random way.
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He tends to put the slur above the notes if they ascend and below the notes if they descend but does not do so consistently. I have not attempted to reproduce these literally but have put them in the most convenient place. I have occasionally added slur marks where these seemed appropriate but have not done so very consistently. For a more detailed discussion of Foscarini's notation see the relevant section on my web site - www.monicahall.co.uk
Stringing The standard Italian tuning instructions and tuning charts are included in the typeset introduction found at the beginning of each edition of Foscarini’s book and much has been made of the fact that he has included in these a check which he says is in octaves. This seems to imply that both the fourth and fifth courses of the guitar were octave strung, although if interpreted literally it would actually indicate that the fourth and fifth courses were strung in unison in the lower octave. These instructions are included in Foscarini’s earlier surviving book, Intavolatvra di chitarra spagnola. Libro secondo, printed in Macerata in 1629 which is, at least in part, a plagiarized edition of Giovanni Ambrogio Colonna’s Intavolatura di chitarra alla Spagnuola printed in Milan in 1620. Foscarini may have copied the instructions either from a missing book of Colonna’s or another earlier alfabeto book. There is no reason to assume that he explicitly intended all the music in later editions to be played with octave stringing on both the fourth and fifth courses. His musical style develops quite considerably and the pieces in Book 5 exhibit some of the characteristics of later Italian and French guitar music. There are places, both in the three-part counterpoint and the passage work, where notes on the fifth course seem to belong in the upper octave and overall much of the music works well with octave stringing only on the fourth course. Later editions of the book were apparently printed in Rome, where if Sanz is to be believed, the fully re-entrant tuning was preferred and Roman guitarists may well have played some or all the music without low octave strings at all. With the possible exception of the lute style pieces in Book 3, the music really works well which ever method of stringing is selected. Players should feel free to experiment and chose the one which they feel works best. This is almost certainly what players would have done in the seventeenth century. For a more detailed discussion see the “The Stringing of the Baroque Guitar” of on my web site - www.monicahall.co.uk
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Please note that this is a working document. Comments, corrections and suggestions will be be gratefully received and can be sent to me at my page on www.earlyguitar.ning.com
Brief Notes on the Pieces
I would like to thank Martin Macdougall for his help in transcribing many of the pieces from Book 3. These transcriptions are not intended to be definitive so I have not detailed all the changes I have made where the original notation is confusing or incomplete. I have tried to adhere as closely as possible to what appears in the tablature even when this does not always produce the most convincing musical results. The idea is to provide versions which give some idea about how the music might be played and which seem to work reasonably well in practice. They can be used as a basis for more elaborate reworkings. The original is available in facsimile for anyone who wants to create their own arrangements. As a general rule Foscarini puts in the time signature 3 if the piece is in some sort of triple time; if there is no time signature the piece is usually in common time. Please note that it is sometimes necessary to have bars of different lengths to fit the rhythm. Django software seems to have a problem with numbering the bars when this occurs. Don’t be surprised if bar references in the following notes don’t always match up as you would expect. Note also that when numbering the bars Django does so according to bar lines so that even a short pick up beat will count as a full bar.
From Books 1-2. The pieces in Books 1-2 are in alfabeto. Most of the pieces are set out in several different keys represented by different alfabeto letters. p.1 Aria de Firenze – Seconda [G major] [p.6]. No time signature. There are no bar lines but it bars regularly. This is included in Foscarini's earlier "Libro secundo" (1629) and is probably the most popular piece in the alfabeto repertoire. p.2 Spagnoletta – Prima [D minor] [p.8]. Time signature = 3. There are no bar lines. The first phrase is only 7 bars long because Foscarini has not indicated that Chord M3 should either be sustained or repeated at the cadence to make up
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the regular number of bars found in other sources. This is not included in Foscarini’s "Libro secundo" (1629) and may therefore be from his missing “Libro primo” although this is uncertain.
From Book 3. There are some individual pieces but quite frequently two or three dance movements in the same key and based on similar material are grouped together. In turn some of the pieces are essentially re-workings of the same material in different keys. p.3 Capritio detto il Gratioso [p.15] No time signature and no bar lines. It should be in common time but is probably meant to be played in a very free manner. The 5-part chords should be spread rather than strummed. p.4 Corrente [p.15] Time signature = 3 and barred regularly. p.5 Aria di Firenze Passeggiata sopra l’A [p.16] No time signature or bar lines but in common time. This is an elaborate take on the Aria di Firenze in Books 1-2. p.7 La medema in Corrente [p.16] Time signature = 3. This is a re-working in triple time of the previous piece. Chord K5 in bar 5 has been changed to K2 (marked with an asterisk). p.8 Capriccio sopra la Ciaccona sul A [p.17]. Time signature = 3. Unbarred. p.10 Corrente [p.18] Time signature = 3. Not a very satisfactory piece. Bits of it are similar to the Corrente which follows on p. 19 and I have grafted in a phrase or two from this. p.11 Passacaglio Spagnola [p.18] Time signature = 3. p.12 Corrente [p.19]. Time signature = 3. Unbarred. The rhythm presents some problems. p.13 Balletto Polacco [p.19]. No time signature. In common time and unbarred. p.14 Passacalli passeggiati [p.21] Time signature = 3. Unbarred.
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p.15 Galiarda detta la liberale [p.25]. Time signature = 3. Unbarred. There are nine galliards in Book 3. All have the time signature 3 which indicates three minims or six crotchets to a measure. Three of them consist of a single section attached to other movements. Six of them are in two sections which are repeated. All of them are unbarred and the ones in two sections include at least some measures comprising only four crotchets, usually in the second section. In addition, interpreting the note values is sometimes problematic because Foscarini does not always make a clear distinction between white notes and black notes. This is particularly apparent in the opening bars of the pieces where what appears to be the same rhythmic pattern is notated differently in each galliard. This should comprise two measures with the basic rhythm –
The problem seems to arise when the first measure is divided into six crotchets, or dotted crotchet/quaver x 3. In this particular galliard the note values are unclear but the rhythm of the first measure is probably intended to be
Otherwise it can be barred regularly. p.16 Pass’e mezzo sopra l’C Passeggiato [p.26]. No time signature – in common time. Although there are no bar lines the rhythm is reasonbly clear. p.18 La sua Gagliarda [p.26]. In triple time with six crotchets to a bar. A single section. There are no bar lines but it bars regularly. p.19 Gagliarda [p.27]. In triple time with six crotchets to a bar. There are no bar lines. The note values or lack of them in the second half creates some problems. It is possible to force the music into regular bars of six crotchets but from bar 16 onwards this results in strong beats falling in the wrong place and it seems fairly clear that the piece comes to a climax with Chord N2 in bar 18. From that point onwards I have grouped the crotchets in fours until the cadence is approached at bar 22. p.20 Corrente [p.27]. Time signature = 3. Unbarred bars fairly regularly. Paired with the preceding gagliarda.
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p.21 Ciacona variata [p.28] Time signature = 3. Unbarred but will bar regularly [with an anacrucis] although the stress sometimes falls on the first beat of the bar and sometimes on the second. In bar 26 Foscarini has indicated that the first chord [marked with an !] should be strummed but has left the third course blank. It makes more sense harmonically to stop it at the 2nd fret – a D major chord. In bar 31 he has included the fifth course in the second chord [marked with an !] which should also be the same D major chord. This is probably a misprint. p.23 Passacagli passegiati sopra l’E [p.32]. Time signature = 3. Unbarred but bars fairly regularly. Throughout Foscarini has used Chord I+ from his alfabeto falso and written in the altered note on the fourth course at the cadence as well – an example of the inconsistent way in which he uses his notation. p.25 Pass’e mezzo passeggiato [p.33]. Time signature = 3. Foscarini has put in the bar lines correctly all the way through. p.27 La sua gagliarda passeggiata [p.33]. Time signature = 3. Unbarred but straight forward. A single section paired with the preceding Pass’e mezzo. p.28 Baletto il Fedel Amante [p.35] No time signature – in common time. The baletto is in binary form. Each section is followed by a variation, or double in lute style. The strummed sections are unbarred but the variations are barred. The piece is loosely based on the chord sequence of the folia also known in Italy as the fedele. The title is perhaps intended as a play on words. p.29 Capriccio sopra E : il passacaglio [p.35]. Time signature = 3. There are no bar lines. It forms a coda to Il Fedel Amante. p.30 Alemanda [p.40] No time signature but barred fairly regularly in common time. I have added a couple of quavers in bar 5 in order to bring the the F major chord aftert the cadence onto a strong beat. The two crotchets in the bar at half way mark have been halved to compensate for this. The piece and the two correntes which follow may be arrangements of lute pieces. p.31 Corrente con la sua uariatione [p.41] Time signature = 3. Barred regularly. p.33 Toccata [p.43]. No time signature. Unbarred but in common time. The auxiliary notes inserted between the two chords in bars 18 and 19 (marked with exclamation marks in the transcription) seem to have been placed on the first course instead of the second. I have also altered the auxiliary note between the
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two Chords M+4 in bar 20 from F sharp (which is unplayable unless the chord is released) to G sharp which matches the overall melodic sequence. p.35 Corrente [p.43]. Time signature = 3. Unbarred. At the mid cadence Chord B has a cross + immediately above it. This is one of the chords from Foscarini’s alfabeto dissonante but as notated in the table on page 1 it makes no sense harmonically. It is possible that the chord is misprinted in the table and that the first course should be unstopped. This would make it a dominant 7th chord. It is possible that here the + is supposed to be above the Chord C which follows. Although Foscarini has actually put in the suspended 4th as a separate note he often duplicates this information. A simple Chord B sounds better. In bar 18 the auxiliary note between the two chords has been changed from g# to f# . p.36 Passacaglio Passeggiato sopra la + [p.44]. Time signature = 3. Unbarred. The rhythm and barring of the last two variations before the final one (bars 43 – 54 in this edition) is problematic. It is possible that there is a stroke mark missing from Chord M+2 at the beginning of bar 44. If this is included there are ten full bars which can be divided into either two five bar sections or a four plus six bar ones. At the cadence the first Chord H2 has been changed to M+2. I have provided an alternative version with two four bar variations by eliminating what seems to be unnecessary repetition of the 3-part chord in bar 50. p.39 Gagliarda [p.45]. Time signature = 3. Unbarred. The rhythm of this galliard presents a number of problems. Foscarini has notated the opening figure and that which follows the semibreve Chord M5 (bar 9 in this edition) as dotted minims + crotchets which creates a hiatus in the music. I have halved the note values in both places. From bar 4 – 6 I have doubled the note values for the same reason. Apart from the opening phrases of each half of the first two sections the music seems to bar more logically in common time. p.40 [Corrente] [p.45]. Untitled. Time signature = 3 seems to indicate three minims to a measure and it bars regularly in spite of the cross rhythms. At bar 6 there is another example of Chord B+ from Foscaini’s alfabeto dissonante and as in Corrente [p.43] it makes no sense harmonically. See above. p.41 Balletto [p.46]. No time signature but seems to be in triple time. Foscarini has put trills on Chord G3 in bars 3 and 20 which are impossible to play. Feel free to leave them out. p.42 [Corrente] [p.46]. Untitled. Time signature = 3. In the second half there are three places (bars 25, 31 & 34) where Foscarini seems to intend there to be four beats in a bar, a minim and two crotchets. These could be changed to a
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dotted crotchet and a quaver. I have added a pick up beat at the beginning for luck. p.43 Sarabande variate [p.47]. Time signature 3. Unbarred but bars fairly regularly. p.45 Tastegiata detta la Feretti [p.48]. No time signature. Unbarred. This piece and the Corrente, Fantasia and Volta francese which follow seem to be arrangements of pieces for the lute. p.46 Corrente [p.48]. Time signature = 3. Foscarini’s regular barring works in spite of the cross rhythms. p.47 Fantasia [p.49]. No time signature. Barred regularly. Although this has been inserted between the Corrente and Volta francese it doesn’t really seem to belong with the other pieces. It is in E major rather than E minor and in places doesn’t (in my opinion) work very well on the guitar. p.48 Volta francese [p.49]. Time signature = 3. Barred regularly. p.49 Passacaglio passeggiato sopra il’D [p.50] Time signature = 3. Unbarred but bars regularly. p.51 Gagliarda detta la Crudele [p.58] Time signature = 3. Unbarred. This galliard bars regularly. p.52 Balletto Polacco [p.58] Unbarred. There is no time signature which usually indicates that the piece is in common time and the other Balletto Polacco on p. 19 [p. 13 in this edition] does fit easily into common time. However this example will not bar regularly in either common or triple time because of the elaborate cross rhythms. It is fairly obvious when playing the piece where the strong beats should fall but in order to indicate this it is necessasry to have bars of differing lengths. Even then it is necessary in two places to amend the note values found in the original version. It should be noted that Django software has a problem with irregular bar lines and the bar numbering is up the creek in this piece. p.53 Corrente detta la fauorita [p.60]. Time signature = 3. Unbarred. Originally the favorita was a dance form based on the chord sequence of the romanesca. Although several of Foscarini’s pieces have the title “La fauorita” none of them seem to be based clearly on this chord scheme.
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p.54 Redopro della Corente [p.121]. [From Book 5.] Time signature = 3. Barred regularly. A note "Detta redopro della Corente la Trouarete a Carte 60" indicates that it belongs to the "Corrente detta la Favorita." p.56 Corente (1) [p.61]. Time signature = 3. Unbarred. p.57 Corente (2) [p.61]. Time signature = 3. Unbarred and will not bar regularly in either 3/4 or 3/2 time. p.58 Gagliarda Francese [p.63] Time signature = 3. Unbarred. There are a few problems in the second section. The hemiola in bar 15
is typical of the galliard but in this example Foscarini has notated it as
Unfortunately it is not clear whether when the same note values occur further on (at bar 16 in this transcription) they should should be taken at face value or played undotted. I have opted for the latter and doubled the value of N5 to try a create a balance. Other alternatives are possible! p.59 Corrente [p.63] Time signature = 3. Unbarred. p.60 Capriccio sopra la Ciaccona [p.63] Time signature = 3. Unbarred. This forms a coda to the preceding Corrente. p.61 Corrente noua Inuentione [p.68] Time signature = 3. Unbarred. p.62 Baletto Francese [p.68] No time signature but seems to be in common time. p.63 Toccata Seconda [p.69] Time signature = 3 but it is difficult to bar consistently in triple time of any kind. I have opted for 6/4 with some minor changes to the note values to make it fit. There are 5-part chords in bars 13, 20 and 23 (marked with exclamation marks) which are unplayable as written and make no sense at all musically. I have substituted a dominant 7th chord in each place.
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p.64 Ciacona [p.69] Time signature = 3. Difficult to decide whether it should have an anacrucis or not. p.65 Gagliarda la Passionata [p.74] Time signature = 3. This can be barred regularly in triple time throughout although Foscarini seems a bit haphazard in indicating the correct value of notes at cadences. p.66 Corrente [p.74] Time signature = 3. Unbarred. p.67 Passacaglio passeggiato sopra l’X [p.76] Time signature = 3. Unbarred but bars regularly. In bar 4 chord K2 has been substituted for the implied Chord +. In bar 64 the chords have been filled in to create 4-part chords. In bar 76 Foscarini has indicated that the fifth course should be stopped at the 2nd fret. This may be intentional, but the correct chord should be Chord &2 ($2 in this edition) which is slightly more difficult to play. Some changes have been made to the last three sections. The passage in bar 64-5 which occurs towards the end of line six in Foscarini’s original has been transferred to the penultimate variation. The original ending is shown at the end of the piece. From Book 4. Book 4 comprises a series of Passacaglie and Ciacone in different keys together with a group of pieces in scordatura. The Passacaglie are in minor keys - E minor, G minor, C minor, A minor, D minor and B minor; the Ciacone in major keys - C major, D major, F major and B flat major Otherwise there is not much to chose between them. Each is in two sections. All are in triple time and unbarred. They tend to be repetitive, reworking the same motifs in each key but are a useful way of learning the chords. p.70 Passacaglio Variato sopra l’+ [p.79]. Time signature = 3. The note values in the passages in lute style are chaotic and a certain amount of “re-composition” has been necessary especially from bar 13-23. p.74 Passacaglio passeggiato sopra l’D [p.85]. Time signature = 3. p.78 Passacaglio Variato sopra l’E [p.87]. Time signature = 3. In the Seconda parte at bar 9 the first chord (marked with an exclamation mark) is notated as 1/6 ; 2/0 ; 3/0 i.e. B flat ; B natural ; G which makes no real sense; the note on the second course should be D played at the 3rd fret. However, since Foscarini has indicated that the note on the first course is to be played with vibrato it is possible that he does actually intend a major chord to be played with an exaggerated slide between the B flat and B natural.
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p.82 Ciacona Variata sopra l’B [p.91]. Time signature = 3. Sections of this will sound familiar as they recur in later Ciacone notably those by Corbetta. They are probably stock- in-trade formulae which everyone felt free to use. It also makes a feature of a dissonant form of Chord D with the first course fretted at the first fret. This converts it from a plain A minor chord to a major 7th chord on the fourth degree of the scale. p.86 Capriccio sopra la Ciacona variata del C [p.93]. Time signature = 3. In the Seconda parte at bar 34 I have changed Chord G4 to G5. At bar 53 the plain Chord G could be G3 although both ways sounds a bit odd. p.90 Ciacona con Variationi sopra l’G [p.95]. Time signature = 3. An interesting feature of both parts of this Ciacona is Chord B with a suspended 4th on the fourth course sounding simultaneously with the 3rd of the chord on the open first course at the cadences. This is almost certainly intentional. In the first part between bars 43-47 the minims seem to indicate a kind of hemiola and are not intended to be taken absolutely literally. In the Seconda parte three of the alfabeto chords have the wrong figure above them placing them at the wrong fret. These are marked with an exclamation mark. In bar 5 G3 has been changed to G; in bar 14 H2 has been changed to H3; and in bar 25 M5 has been changed to M3. In bar 22 the first chord is given as H5 but N5 makes more sense harmonically. In bar 12 the first chord (marked with an exclamation mark!) is notated as 1/6 ; 2/0 ; 3/0 i.e. B flat ; B natural; G; which makes no sense, The note on the second course should be D played at the 3rd fret. Cf. bar 9 of the Seconda parte of the Passacaglio Variato sopra l’E.
From Book 5. The pieces in Book 5 are grouped by key – usually two or three dance movements or a toccata with one or two dance movements - together with a few miscellaneous pieces. They follow a logical sequence – G major, G minor, C major, C minor, D major, D minor, E major, E minor, F major, F minor, A major, A minor, and B minor. Foscarini does frequently indicate that a piece is in common time by placing a C at the beginning. This usually takes the form of a reversed C with two dots which looks like a bass clef but he also uses the usual sign C. Most (but not all) of the pieces have barlines although these are not always as helpful as they might be. Pieces in G major (A) p.95 Tocatta [p.103]. No time signature at the beginning but as the middle section is in triple time it is fairly obvious that the opening and closing sections are in common time. Unfortunately the notes and note values are not always
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very helpful. In order to make up the full quota of notes in a bar it is sometimes necessary to insert a few extra ones. It is possible that Foscarini intended there to be bars of irregular duration or more complex cross rhythms but if so he has failed to make this clear. This is the case with most of the pieces which follow. p.97 Alemanda [p.104]. No time signature. In common time. p.98 Alemanda 2.da [p.104]. No time signature. In common time. Pieces in G minor (O) p.99 Toccatta [p.105]. Time signature = C. Barred irregularly in the first part; regularly thereafter. Although Foscarini has not mentioned this as an option the chords on long note values could be arpeggiated. p. 101 Alemanda [p.106]. No time signature. In common time. The barring is erratic. p. 102 Corente [p.106]. Time signature = 3. Foscarini has barred it as if it was in simple triple time. However it is probably meant to be in compound 6/4 – 3/2 time. I have compromised by barring it in groups of three crotchets except in places where there should probably be three minims to a bar. I have inserted an extra Chord P3 on the first beat of bar 4 (marked with an exclamation mark) although there is no stroke mark in the original, as it seems to work out better like that. Pieces in C major (B) p.103 Ciacona [p.107]. Time signature = 3. Barred regularly. This is an abridged arrangement for guitar of the Chiaccona Mariona alla vera Spagnola from Piccinini’s Intavolatura di liuto (1639). p.106 Baletti [sic] [p.108]. No time signature. In common time. Barred fairly regularly although there are a few problems. p.107 Alemanda [p.108]. No time signature. In common time. Barred fairly regularly although there are a few problems with rhythm. The ending seems rather feeble but I have left it more or less unaltered in the hope that someone else can come up with a better solution. p.109 Corente noua Inuentione con parte una Sopra l’altra redoppiata [p.109]. Time signature = 3. Barred erratically. The title translates roughly as “Newly composed Corrente with each part above the other doubled”. The first section is
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the same as that of the Corrente noua Inuentione on p.68 (p. 61 in this edition). The second part is different although in places it echoes other pieces by Foscarini. The doubles to each section meander rather aimlessly. At bar 50 the fourth quaver – 9 on the fourth course = B natural - has been changed to 9 on the third course = E. At the end (bars 59-60) the fourth and fifth quavers have been changed from 4..3 on the third course = B natural/B flat to 5..4 = C/B natural. The final chord has been changed from H8 (an F major chord) to H3 (a C major chord). Chord N5 has the first course stopped at the 8th fret which may account for Foscarini’s error. p.111 Alemanda detta la Fauorita [p.110]. No time signature. In common time but barred somewhat erratically. In bar 19 I have changed the note on the open third course to the fourth course (marked with and asterisk) which makes more sense melodically. p.112 Sarabanda (detta la Fauorita) [p.110]. Time signature = 3. Pieces in C minor (K3/L) p.113 Toccatta [p.111]. Time signature = C. Unbarred but works out fairly logically. p.114 Alemanda sopra la letera de L [p.111]. Time signature = C. Chord L is the most awkward of alfabeto chords to play and a dissonant form of it (shown at the end of the first line) was often substituted for the correct chord. Foscarini has included both forms in his table of chords at the beginning but it is not clear which should be used in bar 2. Chord K3 which is easier to play is almost always used instead of Chord L. Pieces in D major (C) p.116 Taste Grata [p.116]. Time signature = C. The title translates more or less as “To be played pleasantly” and the piece is probably meant to be played with a very free rhythm. A few of the chords have a sign rather like this % beneath them which probably means that they are to be arpeggiated as in Bartolotti’s Secondo Libro(ca.1656). p.117 Alemanda [p.113]. No time signature. In common time. The slightly odd chord in bars 6 and 19 is a species of unresolved ascending appoggiatura. p.118 Cicona [p.113]. Time signature = 3.
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Pieces in D minor (E) p.119 Toccatta [p.114/115] Time signature = C. This is two parts which seem to be intended to be performed continuously. It has the makings of a spectacular piece but because of the ambiguity in the barring and note values – which is probably due to the fact that it is intended to be played in a free and rhapsodical style - it is not easy to reconstruct convincingly. It does also have several sections of rather aimless two-part counterpoint. This makes it difficult to decide whether the odd harmonic shifts, which are vaguely reminiscent of Frescobaldi, are intentional. The passage towards the end of the first section features some fancy strumming. There are numerous places where passing notes are introduced between the chords and marked to be strummed with up-strokes. These are probably intended to be included in the chord as it is repeated but I have notated them as single notes because it makes it easier to pick them out. It also makes sense to include the open courses throughout even when these are not indicated in the original. An exception to this is at bar 50 where including the open fifth course sounds crude. In the previous bar 49 I have added the 7th to the chord, stopped at the 5th fret on the third course although Foscarini has implied that the open third course should be included instead. He is rather fond of doing this but to my ears it is a dissonance too far. To balance with bar 50 the fifth course could be omitted. The second part includes a similar strummed section in the middle. Surprisingly Foscarini has notated both the tricky rhythmic scheme and the stroke symbols consistently and accurately throughout! Django does not allow for a single chord to be represented followed by the appropriate note values and strokes as in the original. To make it easier to read (I hope) I have put in the full chord once, followed by the note on the first course only for the rest of each bar; the chord must of course be repeated for each stroke. In bars 29-31 the auxiliary notes between the chords should be included in the chord; this is just about possible in bar 29 if you are adept at using 4th finger half barrés. The section which follows is interesting because it includes indications for contrasting dynamics. p.126 Alemanda con variation [p.116] No time signature but obviously in common time and barred after a fashion. Each section is supplied with a running variation in semiquavers. Unfortunately these don’t seem to be running in anywhere in particular. The second variation especially lacks any clear harmonic logic although the scale passages foreshadow campanellas. Foscarini probably expected players to remedy the deficiencies in his notation.
xvii
Pieces in E major (F) p.128 Preludio [p.117] Time signature = C. Unbarred. It can be barred fairly regularly but is probably meant to be played with a very free rhythm. p.129 Alemanda [p.117] There is both a reversed C clef and the time signature C at the beginning. The piece is fairly obviously in common time but is barred irregularly. p.130 Corrente [p117] Time signature = 3. Barred regularly throughout. Pieces in E minor (+) p.131 Alemanda [p.118] No time signature. In common time. p.132 Corente [p.118] Time signature = 3. Pieces in F major (G) p.133 Preludio [p.119] No time signature. In common time. The note values are unhelpful. I have padded it out in places to maintain the momentum. p.134 Alemanda [p.119] Time signature = C. The note values are unhelpful in places. I have inserted a few notes in bars 10-11 to make up a full complement of bars. In bar 17 the first note in the original is an A flat stopped at the 9th fret on the second course. I have changed this to B natural stopped at the 7th fret on the first course which seems to me to make better sense of the passage work. p.135 Corrente detta la funebre [p.120] Time signature = 3 indicates 3 crotchets in a bar and it is barred like this throughout although the underlying rhythm is more complex. There are places where the accents fall on what are weak beats – for example at the half way cadence but changing the time signature isn’t particularly helpful. p.136 Zarabanda detta la favorita [p.120] Time signature = 3. Most of the single notes on the first course could be incorporated into the chord. It is really a matter of taste which way they are played. Pieces in F minor [P] p.137 Tocata [p.122] No time signature but bars regularly in common time. p.138 Alemanda [p.122] Time signature = C. Bars regularly.
xviii
p.139 Passacaglio [p.122] time signature = 3. Bars regularly. Pieces in A major (I) p.140 Tocatta [p.123] No time signature and no bar lines. In common time and bars fairly regularly. p.141 Corrente con le parte redopiata [p.123] Time signature = 3. Bars regularly in triple time. Pieces in A minor (D) p.143 Toccatta sopra l’D [p.124] No time signature. In common time. The note values are not terribly helpful. p.144 Alemanda [p.124] Time signature = C. Fairly straight forward. p.145 Sarabande [p.124] Time signature = 3. Pieces in B minor (K2) p.146 Toccatta [p.125] Time signature = C. There are problems with the note values. These three pieces are perhaps not among his best. p.147 Alemanda [p.125] Time signature = C. p.148 Sarabanda [p.125] Time signature = 3
Appendix
Pieces in scordatura from Book 4 The next six pieces are for the guitar tuned as follows
i.e. the fifth course is tuned up a tone and the first course down a tone. Foscarini occasionally seems to get notes at the wrong fret and sometimes includes the open fifth course where it might be better to omit it. It is difficult to
xix
tell whether this is intentional because of difficulties in fretting the chord or whether they are simply errors. p.1 Tocata [p.99] No time signature – in common time. Bar 8 – the note on the fifth course in the third chord could be omitted. p.2 Corrente [p.99] Time signature = 3. A variant is included in Granata’s Soaui concenti di sonate musicali (Bologna, 1659) p.90. p.3 Passacaglio variato in cordatura diferente [p.100] Time signaure = 3. Bar 17 – the third quaver has been corrected from D# to E. I have slightly amended Foscarini’s attempts at writing campanellas in b. 21-23. The original version is at the end.
p.5 Alemanda [p.101] Foscarini has indicated that the open fifth and first courses should be included in the first chord in bar 3. I have changed these to second fret – playing the chord with a barré. Foscarini has included the fifth course stopped at the 2nd fret in the second chord in bar 12 which makes no sense – I have omitted it. p.6 Sarabanda [p.101 Time signature = 3. A variant is included in Granata’s Soaui concenti di sonate musicali (Bologna, 1659) p.92 with the title Passacagli. p.7 Passo è mezo musicale (p. 102). No time signature – in common time. Rhythm a bit uncertain.
xx
Contents
Book 1-2 Aria de Firenze, Seconda [p.6] 1 Spagnoletta, Prima [p.8] 2
Book 3 Capritio detto il Gratioso [p.15] 3 Corrente [p.15] 4 Aria di Firenze Passeggiata sopra l’A [p.16] 5 La Medema in Corrente [p.16] 7 Capriccio sopra la Ciaccona sul A [p.17] 8 Corrente [p.18] 10 Passacaglio Spagnola [p.18] 11 Corrente [p.19] 12 Balletto Polacco [p.19] 13 Passacalli passeggiati [p.21] 14 Galiarda detta la liberale [p.25] 15 Pass’e mezzo sopra l’ C Passeggiato [p.26] 16 La sua Gagliarda [p.26] 18 Gagliarda [p.27] 19 Corrente [p.27] 20 Ciacona variata [p.28] 21
xxi
Passacagli passegiati sopra l’E [p. 32] 23 Pass’e mezzo passeggiato [p.33] 25 La sua Gagliarda passeggiata [p.33] 27 Baletto il Fedel Amante [p.35] 28 Capriccio sopra E : il Passacaglio [p.35] 29 Alemanda [p.40] 30 Corrente con la sua uariatione [p.41] 31 Toccata [p.43] 33 Corrente [p.43] 35 Passacaglio passeggiato sopra la + [p.44] 36 Gagliarda [p.45] 39 Untitled [Corrente] [p.45] 40 Balletto [p.46] 41 Untitled [Corrente] [p.46] 42 Sarabande variate [p.47] 43 Tastegiata detta la Feretti [p.48] 45 Corrente [p.48] 46 Fantasia [p.49] 47 Volta Francese [p.49] 48 Passacaglio passeggiato sopra il’D [p.50] 49 Gagliarda detta la Crudele [p.58] 51 Balletto Polacco [p.58] 52
xxii
Corrente detta la Fauorita [p.60] 53 Redopro della Corente [p.121] 54 Corrente (1) [p.61] 56 Corente (2) [p.61]. 57 Gagliarda Francese [p.63] 58 Corrente [p.63] 59 Capriccio sopra la Ciaccona [p.63] 60 Corrente noua Inventione [p.68] 61 Baletto Francese [p.68] 62 Toccata Seconda [p.69] 63 Ciacona [p.69] 64 Gagliarda la Passionata [p.74] 65 Corrente [p.74] 66 Passacaglio passeggiato sopra l’X [p.76] 67
Book 4 Passacaglio variato sopra l’+ [p.79] 70 2dª Parte del passacaglio variato sopra l’+ [p.80] 72 Passacaglio passeggiato sopra l’D [p.85] 74 2da Parte del Passacaglio Variato sopra l’ D [p.86] 76 Passacaglio variato sopra l’ E [p.87] 78 2ª Parte del passacaglio variato sopra l’E [p.88] 80
xxiii
Ciacona variata sopra l’B [p.91] 82 2dª Parte delle Ciacone Variate sopra l’B [p.92] 84 Capriccio sopra la Ciacona Variata del C [p.93] 86 2dª Parte della Ciacone Variate sopra l’C [p.94] 88 Ciacona con Variationi sopra l’G [p.95] 90 2dª Parte della Ciacona Variata sopra l’G 93
Book 5 Pieces in G major (A) Tocatta [103] 95 Alemanda (1) [p.104] 97 Alemanda (2) [p.104] 98 Pieces in G minor (O) Tocatta [p.105] 99 Alemanda [p.106] 101 Corente [p.106] 102 Pieces in C major (B) Ciacona [p.107] 103 Baletti (sic) [p.108] 106 Alemanda [p.108] 107 Corente noua Inuentione con parte una Sopra l’altra 109 redoppiata [p.109] Alemanda detta la Fauorita [p.110] 111
xxiv
Sarabanda (detta la Fauorita) [p.110] 112 Pieces in C minor (K3/L) Toccatta [p.111] 113 Alemanda sopra la letera del L [p.111] 114 Pieces in D major (C) Taste Grata [p.113] 116 Alemanda [p.113] 117 Cicona [p.113] 118 Pieces in D minor (E) Toccatta [p.114] 119 Toccatta (second part) 123 Alemanda con variation [p.116] 126 Pieces in E major (F) Preludio [p.117] 128 Alemanda [p.117] 129 Corrente [p.117] 130 Pieces in E minor (+) Alemanda [p.118] 131 Corente [p.118] 132 Pieces in F major (G) Preludio [p.119] 133 Alemanda [p.119] 134
xxv
Corrente detta la funebre [p.120] 135 Zarabanda detta la fauorita [p.120] 136 Pieces in F minor [P] Tocata [p.122] 137 Alemanda [p.122] 138 Passacaglio [p.122] 139 Pieces in A major (I) Tocatta [p.123] 140 Corrente con le parte redopiata [p.123] 141 Pieces in A minor (D) Toccatta sopra l’D [p.124] 143 Alemanda [p.124] 144 Sarabande [p.124] 145 Pieces in B minor (K2) Toccatta [p.125] 146 Alemanda [p.125] 147 Sarabanda [p.125] 148
Appendix Pieces in scordatura Book 4
Tocata [p.99] 1
Corrente [p.99] 2 Passacaglio variato in cordatura diferente [p.100] 3
xxvi
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Corrente [p.27]
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Gagliarda detta la Crudele [p.58] New
51
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Balletto Polacco [p.58] New
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Corrente detta la Fauorita [p.60]
53
35
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20
Redopra della Corente [p.121]
54
6
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Corrente (1) [p.61]
56
31
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Corrente (2) p.61 New
57
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Gagliarda Francese [p.63] New
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Corrente [p.63] New
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Capriccio sopra la Ciaccona [p.63]
60
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Corrrente noua Inuentione [p.68]
61
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Toccata Seconda [p.69] New
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Gagliarda la Passionata [p.74]
65
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Passo e mezo musicale [p.102]
7
