Upload
lia-pestana-roche
View
212
Download
0
Embed Size (px)
Citation preview
7/29/2019 Foscarini2011
1/283
Giovanni Paolo Foscarini
Li Cinque Libri della Chitarra alla Spagnola(1640)
Transcribed and edited by Monica Hall
2011
7/29/2019 Foscarini2011
2/283
ii
Introduction
The final edition of Foscarinis work, Li cinque libri della chitarra alla spagnolais a cumulation of his previous four books printed from the original engravedplates, 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 25 th September1640. There are no separate title pages indicating where each book begins butthe first section - pages 2-14 includes some but not all of the pieces from Books 1and 2; Book 3 starts on page 15, Book 4 on page 79 and Book 5 on page 103.
The pieces from Books 1 and 2 are entirely strummed apart from occasionalauxiliary notes inserted between the chords. Most of the pieces in Books 3, 4 and5 are in "mixed" style, combining strummed chords with lute style counterpointbut a small number of them are entirely in lute style. Some of these have beenidentified as arrangements of pre-existing lute pieces and it is likely that the
others are too and will eventually be identified.
Notation
Foscarini's notation is difficult to interpret as his use of time signatures, barlinesand note values is inconsistent. Many of the pieces are unbarred, and those thatare, are not always barred in a helpful way. Note values are ambiguous,wrongly aligned with the tablature or missing altogether and a clear distinctionis not always made between black and white note values. This may be due toproblems 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 thenote values are difficult to read. There are numerous obvious misprints of onesort or another. In some places his intentions can only be a matter of guess work.One added complication is that many of the pieces are probably meant to beplayed with a very free sense of rhythm and what Foscarini has tried to do is tonotate the music in the way that he played it himself rather than with the correctnote values. Unfortunately this doesnt work in practice. Setting a beat andthen trying to reproduce the note values exactly as written is contrary to thespirit in which the music should be played.
Foscarini includes quite detailed instructions explaining how his notation works.All the pieces are in Italian lute tablature with alfabeto for the basic strummed 5-part chords. The direction of the chords to be strummed, whether representedby 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 strokeand up from the lowest line for a treble to bass stroke. In his instructions he alsomakes it clear that auxiliary or passing notes between the chords should be
7/29/2019 Foscarini2011
3/283
iii
played as single notes and he often places stroke marks under auxiliary noteswhich can only be played as single notes. He also adds stroke marks to singlechords and in passages in two or three part counterpoint which are probablyintended to be played in lute style. His reason for doing this may be because itmakes the music easier to read especially when there are no bar lines and few
note values. In at least one place the Capriccio on p.89 he has put a stroke markunder three notes which are slurred and obviously intended to be played assingle notes.
I have omitted the stroke marks wherever it seems to me that the chords orpassages are not clearly intended to be strummed. (I think this does highlightthe fact that the music is easier to read when they are included!)
Chords represented by alfabeto have been transcribed fully in tablature. Theletters which represent them have been inserted below the tablature stave to helpplayers familiarise themselves with this type of notation. The figures 4 - 3following a letter indicate that a 4 - 3 suspension has been inserted into the firstchord and resolves in the second. This particular feature of Foscarinis notationcannot be reproduced with Django software. Django will not reproduce thesymbol & 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 chordsand 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 trillstarting 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 toindicate that the chords to which it is attached are to be arpeggiated
7/29/2019 Foscarini2011
4/283
iv
x indicates vibrato (actually a double cross or double sharp sign inboth the original and the transcription)
Ornaments are indicated quite sparingly; it is not always clear which notes theyare 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 notadded any ornaments but the music was probably much more elaboratelyornamented than the original notation suggests and some sort of ornament atleast at a cadence was de rigeur.
Foscarini does also put in slur marks to indicate groups of notes which shouldbe played by the left hand only, although he does so in a somewhat random way.He tends to put the slur above the notes if they ascend and below the notes ifthey descend but does not do so consistently. I have not attempted to reproducethese literally but have put them in the most convenient place. I have
occasionally added slur marks where these seemed appropriate but have notdone so very consistently.
For a more detailed discussion of Foscarini's notation see the relevant section onmy web site - www.monicahall.co.uk
Stringing
The standard Italian tuning instructions and tuning charts are included in thetypeset introduction found at the beginning of each edition of Foscarinis book
and much has been made of the fact that he has included in these a check whichhe says is in octaves. This seems to imply that both the fourth and fifth coursesof the guitar were octave strung, although if interpreted literally it wouldactually indicate that the fourth and fifth courses were strung in unison in thelower octave.
These instructions are included in Foscarinis earlier surviving book,Intavolatvra di chitarra spagnola. Libro secondo, printed in Macerata in 1629which is, at least in part, a plagiarized edition of Giovanni Ambrogio ColonnasIntavolatura di chitarra alla Spagnuola printed in Milan in 1620. Foscarini may
have copied the instructions either from a missing book of Colonnas or anotherearlier alfabetobook. There is no reason to suppose that he explicitly intended allthe music in later editions to be played with octave stringing on both the fourthand fifth courses. His musical style develops quite considerably and the piecesin Book 5 exhibit some of the characteristics of later Italian and French guitarmusic. There are places, both in the three-part counterpoint and the passagework, where notes on the fifth course seem to belong in the upper octave andoverall much of the music works well with octave stringing only on the fourth
7/29/2019 Foscarini2011
5/283
v
course. Later editions of the book were apparently printed in Rome, where ifSanz is to be believed, the fully re-entrant tuning was preferred and Romanguitarists may well have played some or all the music without low octave stringsat all. With the possible exception of the lute style pieces in Book 3, the musicreally 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 isalmost certainly what players would have done in the seventeenth century.
For a more detailed discussion see the The Stringing of the Baroque Guitar ofon my web site - www.monicahall.co.uk
Brief Notes on the Pieces
Please note that this is a working document. Comments,corrections and suggestions will be be gratefully received and canbe sent to me at my page on www.earlyguitar.ning.com
I would like to thank Martin Macdougall for his help intranscribing many of the pieces from Book 3.
These transcriptions are not intended to be definitive so I have not detailed allthe 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 evenwhen this does not always produce the most convincing musical results. Theidea is to provide versions which give some idea about how the music might beplayed and which seem to work reasonably well in practice. They can be usedas a basis for more elaborate reworkings. The original is available in facsimilefor anyone who wants to create their own arrangements.
As a general rule Foscarini puts in the time signature 3 if the piece is in somesort of triple time; if there is no time signature the piece is usually in commontime.
Please note that it is sometimes necessary to have bars of different lengths tofit the rhythm. Django software seems to have a problem with numbering thebars when this occurs. Dont be surprised if bar references in the followingnotes dont always match up as you would expect. Note also that whennumbering the bars Django does so according to bar lines so that even a shortpick up beat will count as a full bar.
7/29/2019 Foscarini2011
6/283
vi
Books 1-2. (Working)
The pieces in Books 1-2 are in alfabeto. Most of the pieces are set out in severaldifferent keys represented by different alfabeto letters.
p.1 Aria de Firenze Seconda [G major] [p.6]. No time signature. There areno bar lines but it bars regularly. This is included in Foscarini's earlier Librosecundo (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 barlines. The first phrase is only 7 bars long because Foscarini has not indicated thatChord M3 should either be sustained or repeated at the cadence to make up theregular number of bars found in other sources. This is not included in Foscarinis"Libro secundo" (1629) and may therefore be from his missing Libro primoalthough this is uncertain.
Book 3.
Overall the pieces are arranged by key. There are some individual pieces butquite frequently two or three dance movements based on similar material aregrouped together. In turn some of the pieces are essentially re-workings of thesame material in different keys.
Pieces in G major
p.3 Capritio detto il Gratioso [p.15] No time signature or bar lines. It shouldbe 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. Barred regularly.
p.5 Aria di Firenze Passeggiata sopra lA [p.16] No time signature or barlines but in common time. This is an elaborate take on the Aria di Firenze inBooks 1-2.
p.7La medema in Corrente
[p.16] Time signature = 3. Unbarred. This is are-working in triple time of the previous piece. Chord K5 in bar 5 has beenchanged to K2 (marked with !).
p.8 Capriccio sopra la Ciaccona sul A [p.17]. Time signature = 3. Unbarred.
7/29/2019 Foscarini2011
7/283
vii
p.10 Corrente [p.18] Time signature = 3. Not a very satisfactory piece. Bits ofit are similar to the Corrente which follows on p. 19 and I have grafted in a phraseor two from this.
p.11 Passacaglio Spagnolo [p.18] Time signature = 3. Unbarred.
p.12 Corrente [p.19]. Time signature = 3. Unbarred. The rhythm presentssome problems.
p.13 Balletto Polacco [p.19]. No time signature. Unbarred but in commontime.
Pieces in G minor
p.14 Tocatta detta la Inamoratta [p.20] No time signature. Unbarred but
more or less in common time. Interestingly the title in the earlier edition ofFoscarinis work is Toccata musicaledetta la TURCA and the piece is dedicated toMarc Antonio Turco rather than Jacome Despiotz. The titles do not necessarilygive any idea as to the nature of the pieces. Clearly it is meant to be played in arhythmically free manner. There are no note values in the last section of thepiece until the final phrase. I have notated the chords until that point ascrotchets but it is probably up to players to interpret them as they wish. In thecontext it makes sense to include all open courses in the first chord in bar 14 andthe last chord in bar 25 (marked with !) in spite of the unusual dissonance thiscreates.
p.15 Capriccio sopra il Passacaglio [p.20] Time signature = 3. Unbarred. Ithink the passages in bars 6-8 and 10-12 are best treated as 3-part counterpoint;the chords can be arpeggiated but it is not appropriate to include open courseswhere these are dissonant.
p.16 Passacalli passeggiati [p.21] Time signature = 3. Unbarred.
p.17 Corrente La Sprezzata [p.22] Time signature = 3. Unbarred. Therhythm is uncertain in places becasue of what appear to be written out trilli.
p.18 Alemanda 2a [p.22] No time signature. Unbarred but bars fairly easily incommon time. At the end there is an alternative title = Baletto Frances. In bar 18it is not clear where the notes marked with ! fit in in the original tablature.
p.19 Aria della Fulia variata [p.23] Time signature = 3. Unbarred but barsregularly.
7/29/2019 Foscarini2011
8/283
viii
p.21 Passemezzo passegiato sopra lO [p.24] No time signature. Unbarredbut bars regularly in common time.
p.22 La sua gagliarda [p.24] No time signature and no bar lines but in tripletime and bars regularly.
p.23 Galiarda detta la liberale [p.25]. Time signature = 3. Unbarred. There arenine galliards in Book 3. All have the time signature 3 which indicates threeminims or six crotchets to a measure. Three of them consist of a single sectionattached to other movements. Six of them are in two sections which arerepeated. All of them are unbarred and the ones in two sections include at leastsome measures comprising only four crotchets, usually in the second section.This seems to be a characteristic of the gagliarda. The following is an examplefrom Benedetto Sanseverinos Il primo libro d'intavolatura per la chitarra allaspagnuola. (1622), p.41 and although it is barred regularly in 3/2 the strumming
patterns and the way in which the harmony changes does result in some notesgrouped as four crotchets.
Gagliarda [sopra D. In tripla] Altro modo
In addition, interpreting the note values is sometimes problematic becauseFoscarini does not always make a clear distinction between white notes andblack notes. This is particularly apparent in the opening bars of the pieceswhere what appears to be the same rhythmic pattern is notated differently ineach galliard. This should comprise two measures with the basic rhythm
7/29/2019 Foscarini2011
9/283
ix
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 areunclear but the rhythm of the first measure is probably intended to be
Otherwise it can be barred regularly.
Pieces in D major
p.24 Passe mezzo sopra lC Passeggiato [p.26]. No time signature but incommon time. Unbarred but barring and rhythm is reasonbly clear.
p.26 La sua Gagliarda [p.26]. No time signature but in triple time with sixcrotchets to a bar. A single section. No bar lines but bars regularly.
p.27 Gagliarda [p.27]. Time signature = 3 with six crotchets to a bar.Unbarred. The note values or lack of them in the second half creates someproblems. It is possible to force the music into regular bars of six crotchets butfrom bar 16 onwards this results in strong beats falling in the wrong place and itseems 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 cadenceis approached at bar 22.
p.28 Corrente [p.27]. Time signature = 3. Unbarred but bars fairly regularly.Paired with the precedinggagliarda.
p.29 Ciacona variata [p.28] Time signature = 3. Unbarred but bars regularly[with an anacrucis] although the stress sometimes falls on the first beat of the barand sometimes on the second. In bar 26 Foscarini has indicated that the firstchord [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 majorchord. In bar 31 he has included the fifth course stopped at the 2nd fret in thesecond chord [marked with an !] which should also be the same D major chord.This is probably a misprint.
7/29/2019 Foscarini2011
10/283
x
p.31 Corrente [p.29] Time signature = 3. Unbarred. It is not entirely clearwhether this is two separate pieces. I have created a break at bar 18 to presevethe what seems to be the melodic pattern.
p.32 Zarabanda(1) [p.29] Time signature = 3. Unbarred but bars regularly.
p.32 [Zarabanda(2)] [p.29] Time signature = 3. Unbarred but bars regularly.Seems to be separate from the preceding as it starts with an anacrusis.
p.33 Battaglia [p.30] No overall time signature and unbarred. The piececonsists mainly of variations on Chord C imitating trumpet calls. The first halfis more or less in common time but I have barred it with 2 crotchets to a bar tomake it easier (I hope) to read. In the second half the different sections switchbetween common time and triple time. In bars 48-52 and 68-70 I have halved thenote values to maintain the momentum.
Pieces in D minor
p.35 Toccatta Musicalle Detta la fedelle [p.31] In common time changing to3. Unbarred but bars regularly.
p.36 Passacagli passegiati sopra lE [p.32]. Time signature = 3. Unbarred butbars fairly regularly. Throughout Foscarini has used Chord I+ from his alfabetofalso 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.38 Passe mezzo passeggiato [p.33]. Time signature = 3. Foscarini has putin the bar lines correctly all the way through.
p.40 La sua gagliarda passeggiata [p.33]. Time signature = 3. Unbarred butstraight forward. A single section paired with the preceding Passe mezzo.
p.41 Fulias con parti uariate [p.34]. Time signature = 3. Unbarred but barsfairly regularly although there are places where there are too many stroke marksto fit the correct number of beats in a bar.
p.43 Baletto il Fedel Amante [p.35] No time signature in common time. Thebaletto is in binary form. Each section is followed by a variation, or double in lutestyle. The strummed sections are unbarred but the variations are barred. Thepiece is loosely based on the chord sequence of thefolia also known in Italy as thefedele. The title is perhaps intended as a play on words.
7/29/2019 Foscarini2011
11/283
xi
p.44 Capriccio sopra E : il passacaglio [p.35]. Time signature = 3. Unbarred.It forms a coda to Il Fedel Amante.
p.45 Corrente [p.36]. Time signature = 3. Unbarred. It bars fairly regularlywith one irregular bar of four beats although there seems to be a superfluous
stroke mark in the pick up beat of the second section. Chord N3 at the midpointcadence has been corrected to N2.
p.46 Corrente la Granosa [p.37] Time signature = 3. Unbarred but bars fairlyregularly in 6/4 although some note values appeared to be misplaced. In bar 11the passing note between the two Chords N3 has been changed from B naturalto C natural i.e. first course stopped at the 8th fret rather than the 7th.
p.46 Passacaglio [p.37] Time signature = 3. Unbarred but bars regularly.Coda to the preceding corrente. In bar 25 Chord N has been changed to N5.
p.47 Toccata musicale [p.38] No time signature but in common time.Unbarred and note values unhelpful in places.
p.48 Pauaniglia con parti uariate [p.39] No time signature but barredregularly in common time. In bar 2 the note on the third course on the fourthcrotchet has been changed from A stopped at 2nd fret to open course G. In bar 3the notes on the fourth course on the second and third crotchets have beenmoved to the fifth course. In bar 29 the note on the fourth course on the secondcrotchet has been moved from the 5th fret to the 3rd. I can see no objection to the
augmented 2nd
between the B flat and C sharp in bars 15 and 29 although othersmight. In bar 44 the note on the third course on the third crotchet has beenmoved to the fourth course.
p.50 Alemanda [p.40] No time signature but barred fairly regularly incommon time. I have added a couple of quavers in bar 5 in order to bring thethe F major chord after the cadence onto a strong beat. The two crotchets in thebar at half way mark have been halved to compensate for this. The piece and thetwo correntes which follow may be arrangements of lute pieces.
p.51 Corrente con la sua uariatione [p.41] Time signature = 3. Barredregularly.
p.53 Corrente Francese con le sue parti doppie [p.42] Tme signature = 3.Barred regularly. This is a faithful arrangement of a courante for lute by[Ennemond?] Gaultier found in the manuscript known as Herbert of Cherbury'sLute Book, GB:Cfm Ms. Mus.689, f.37r.and in RUS: SPa Ms.O.124, f.58v-59v.
7/29/2019 Foscarini2011
12/283
xii
Pieces in E minor/major
p.55 Toccata [p.43]. No time signature. Unbarred but in common time. Theauxiliary notes inserted between the two chords in bars 18 and 19 (marked withexclamation 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 thetwo Chords M+4 in bar 20 from F sharp (which is unplayable unless the chord isreleased) to G sharp which matches the overall melodic sequence.
p.57 Corrente [p.43]. Time signature = 3. Unbarred. At the mid cadenceChord B has a cross + immediately above it. This is one of the chords fromFoscarinis alfabeto dissonante but as notated in the table on page 1 it makes nosense harmonically. It is possible that the chord is misprinted in the table andthat the first course should be unstopped. This would make it a dominant 7thchord. 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 separatenote he often duplicates this information. A simple Chord B sounds better. Inbar 18 the auxiliary note between the two chords has been changed from g# tof#.
p.58 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 markmissing from Chord M+2 at the beginning of bar 44. If this is included there areten full bars which can be divided into either two five bar sections or four plus
six bar ones. At the cadence the first Chord H2 has been changed to M+2. Ihave provided an alternative version with two four bar variations by eliminatingwhat seems to be unnecessary repetition of the 3-part chord in bar 50.
p.61 Gagliarda [p.45]. Time signature = 3. Unbarred. The rhythm of thisgalliard presents a number of problems. Foscarini has notated the openingfigure and that which follows the semibreve Chord M5 (bar 9 in this edition) asdotted minims + crotchets which creates a hiatus in the music. I have halved thenote values in both places. From bar 4 6 I have doubled the note values for thesame reason. Apart from the opening phrase and the phrase following theintermediate cadence on Chord M5 in the first section, the music seems to barmore logically in common time.
p.62 [Corrente] [p.45]. Untitled. Time signature = 3 seems to indicate threeminims to a measure and it bars regularly in spite of the cross rhythms. At bar 6there is another example of Chord B+ from Foscainis alfabeto dissonante and as inCorrente[p.43] it makes no sense harmonically. See above.
7/29/2019 Foscarini2011
13/283
xiii
p.63 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 toplay. Feel free to leave them out.
p.64 [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 befour beats in a bar, a minim and two crotchets. These could be changed to adotted crotchet and a quaver. I have added a pick up beat at the beginning forluck.
p.65 Sarabande variate [p.47]. Time signature 3. Unbarred but bars fairlyregularly.
p.67 Tastegiata detta la Feretti [p.48]. No time signature. Unbarred. Thispiece and the Corrente, Fantasia and Volta francese which follow seem to be
arrangements of pieces for the lute.
p.68 Corrente [p.48]. Time signature = 3. Foscarinis regular barring works inspite of the cross rhythms.
p.69 Fantasia [p.49]. No time signature. Barred regularly. Although this hasbeen inserted between the Corrente and Volta francese it doesnt really seem tobelong with the other pieces. It is in E major rather than E minor and in placesdoesnt (in my opinion) work very well on the guitar.
p.70 Volta francese [p.49]. Time signature = 3. Barred regularly.
Pieces in A minor
p.71 Passacaglio passeggiato sopra ilD [p.50] Time signature = 3. Unbarredbut bars regularly.
p.73 Corrente La Vignon [p.51] Time signature = 3. Barred regularly.
p.74 Sarabanda Francese [p.51] Time signature = 3. Barred regularly. This aversion of the Sarabanda found on p. 44 of Corbettas Varii scherzi di sonate(1648). Corbetta was accused by Granata of plagiaizing Foscarinis music butFoscarini in turn has probably copied pieces from earlier sources. He hasincluded another version of the same sarabanda on p.53. This version is entirelyin lute style and may not originally be by Foscarini either.
p.75 Corrente [p.52] Time signature = 3. Unbarred which creates a fewproblems.
7/29/2019 Foscarini2011
14/283
xiv
p.76 Zarabanda Francese [p.52] Time signature = 3. Unbarred but barsregularly.
p.77 Capriccio Musicale II [p.52] No time signature which implies commontime. However there are no bar lines and the note values are very unhelpful.
One of the most difficult pieces to reconstruct convincingly. It is clearly meantto be played in a very free manner. There is no Capriccio musicale I but theToccata musicale on p.38 is in a similar style. Other pieces which includecapriccio in the title arepassacaglias or ciaconas.
p.78 Corrente [p.53] Time signature = 3. Unbarred but bars fairly easily. Inthe first full bar the chord on the fourth crotchet has been obliterated in thefacsimile edition and has been supplied from an earlier edition.
p.79 Volte prima Francese [p.53] Time signature = 3. Unbarred but bars
fairly regularly. Although it is described as Volte prima the only other volte inthe book occurs on p. 49.
p.80 Zarabanda Francese uariata [p.53] Time signature = 3. Unbarred butbars regularly. This is another version of the Sarabanda found on p. 51 which wasalso included on p.44 of Corbettas Varii scherzi di sonate (1648) as notedabove.
p.81 Corrente Francese [p.54] Time signature = 3. Barred regularly. This isan arrangemnent of a courante for lute by Ren Mesangeau in CZ-Pnm IV.G.18,
fol. 70v; Corpus des Luthistes Franais/Ren Mesangeau no. 5.
p.82 Seconda corrente Francese [p.54] Time signature = 3. Barred regularly.This is an arrangement of a courante for lute by Ren Mesangeau in CZ-PnmIV.G.18, fol. 69v70r; Corpus des Luthistes Franais/Ren Mesangeau no. 4.
Pieces in F major
p.83 Tasteggiata Soaue [p.55] No time signature which implies that it is incommon time. It is unbarred and the note values are unhelpful. It is obviouslyintended to be played in a very free manner and Foscarini has tried(unsuccessfully) to indicate this literally. The note values have not thereforebeen reproduced exactly as they are in the original. They have been edited to fit4 crotchets into a bar with strong beats falling in line with the harmony andpause marks where there is meant to be a break in the music. The best way toplay it is to decide on a value for the crotchet beat and then deviate from it atwill.
7/29/2019 Foscarini2011
15/283
xv
p.84 Ciacona uariata [p.55] Tme signature = 3. Barred regularly withaccurate note values. Presumably it was like this in the source which he copiedit from.
p.85 Aria di Firenze passeggiatta [p.56] No time signature but in common
time. Unbarred. This piece and the Corrente which follows are versions of thesame two pieces found on p.16. They are based on the same sequence of chordsbut are in F major rather than G major.
p.87 [Corrente] [p.56] Time signature = 3. Unbarred. Unlike the version onp.16 there is no anacrucis. The stroke marks are not always well aligned with thealfabeto chords and are sometimes lacking. They have therefore been matched upin places with the earlier version.
p.88 Sinfonia Prima [p.57] No time signature but seems to be in common
time. The title doesnt give much away. The piece is in four sections; thesecond section is a variation on the first and the fourth section a variation on thethird. The note values pose some problems. The note values indicating thedotted rhythm in the first section are inconsistent. They have been regularizedinto a pattern of dotted crotchet quaver. The semi-quavers in the secondsection have been grouped in triplets; the last two semiquavers in bar 12 havebeen moved from the fourth course to the third. In the third and fourth sectionsChord P5 in bar 17 & bar 25 has been changed to N5 which seems to make moresense harmonically. The semi-quavers in the last section have been reduced todemi-semi quavers. There other equally likely interpretations.
p.90 Seconda Sinfonia [p.57] No time signature but bars regularly andunproblematically in triple time.
p.91 Gagliarda detta la Crudele [p.58] Time signature = 3. Unbarred. Thisgalliard bars regularly.
p.92 Balletto Polacco [p.58] Unbarred. There is no time signature whichusually indicates that the piece is in common time and the other Balletto Polaccoon p. 19 [p. 13 in this edition] does fit easily into common time. However thisexample will not bar regularly in either common or triple time because of theelaborate cross rhythms. It is fairly obvious when playing the piece where thestrong beats should fall but in order to indicate this it is necessasry to have barsof differing lengths. Even then it is necessary in two places to amend the notevalues found in the original version. It should be noted that Django softwarehas a problem with irregular bar lines and the bar numbering is up the creek inthis piece.
7/29/2019 Foscarini2011
16/283
xvi
p.93 Capriccio della Ciacona sul G [p.59]. Time signature = 3. No bar linesbut bars regularly.
p.95 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 Foscarinis pieces have the title La fauoritanone of them seem to be based clearly on this chord scheme.
p.96 Redopro della Corente [p.121]. [From Book 5.] Time signature = 3. Barredregularly. A note "Detta redopro della Corente la Trouarete a Carte 60" indicates thatit belongs to the Corrente detta la Favorita.
p.98 Corrente (1) [p.61]. Time signature = 3. Unbarred.
p.99 Corrente (2) [p.61]. Time signature = 3. Unbarred and will not bar
regularly in either 3/4or 3/2 time.
p.100 Corrente nuoua inuentione [p.60] Time signature = 3. Unbarred butbars regularly. This is a different version of the Corrente detta la fauorita on p.62.
p.101 Untitled [p.62] Time signature = 3. Unbarred but bars regularly. A kindof coda to the previous piece which veers between G major and G minor.
Pieces in C major
p.102 Gagliarda Francese [p.63] Time signature = 3. Unbarred. In bar 6 on thesecond crotchet the note stopped at the 3rd fret on the second course (D) has beenchanged to open first course (E). There are a few problems with the rhythm inthe 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 orplayed undotted. I have opted for the latter and doubled the value of N5 to try acreate a balance. Other alternatives are possible!
7/29/2019 Foscarini2011
17/283
xvii
p.103 Corrente [p.63] Time signature = 3. Unbarred.
p.104 Capriccio sopra la Ciaccona [p.63] Time signature = 3. Unbarred. Thisforms a coda to the preceding Corrente.
p.105 Baletto detto il Bizaro [p.64] No time signature which suggests that itshould be in common time but in fact it seems to bar fairly regularly in tripletime.
p.106 Corrente Francese [p.64] Time signature = 3. Unbarred. The secondphrase of the first section is irregular.
p.107 Zarabanda francese [p.64] Time signature = 3. Unbarred but barsregularly.
p.108 Corrente con parti uariate [p.65] Time signature = 3. Bars regularly.
p.110 Capriccio sopra la Ciacona [p.66] Time signature = 3. Unbarred butbars fairly regularly. In bars 28 and 50 Foscarini has a C sharp on the secondcourse (stopped at the 2nd fret) in the first chord which makes no sense. I havechanged it to D (stopped at the 3rd fret). In bar 35 the 5 over Chord P is missing.
p.112 Corrente con parti Variate [p.67] Time signature = 3. Barred regularly.This is an arrangement of an anonymous courante for lute found in CZ-PnmIV.G.18, fol. 160v161r.
p.114 Corrente noua Inuentione [p.68] Time signature = 3. Unbarred.
p.115 Baletto Francese [p.68] No time signature but seems to be in commontime.
Pieces in D major/minor
p.116 Toccata Seconda [p.69] Time signature = 3 but it is difficult to barconsistently in triple time of any kind. I have opted for 6/4 with some minorchanges to the note values to make it fit. There are 5-part chords in bars 13, 20and 23 (marked with exclamation marks) which are unplayable as written andmake no sense at all musically. I have substituted a dominant 7th chord in eachplace.
p.117 Ciacona [p.69] Time signature = 3. Difficult to decide whether it shouldhave an anacrucis or not.
7/29/2019 Foscarini2011
18/283
xviii
p.118 Corente Concertata a doi Chitare diferente [p.70] Time signature = 3.Barred fairly regularly with some bars of three crotchets and some of sixalthough there are a few anomalies. This is the only piece for two guitars in thebook. Foscarini has not given the relative pitches but the part on the lower staveis either a perfect 4th above the part on the upper stave or a perfect 5th below.
Otherwise the parts are to all intents and purposes identical. There are a fewproblems. In bar 7 the second chord in the first part has been changed from K5to P5 = A minor to match the second part. Bar 10 is a beat short in both parts; anadditional crotchet has been added on the last beat in each case. In bars 7 and 11Foscarini has indicated a 4-3 suspension in one part but not the other; I havecorrected these although it is possible the clash is intentional.
Pieces in C minor
p.120 Passacaglio Passeggiato sopra L [p.71] Time signature = 3. Unbarred
but bars regularly. There are two odd places in the music. In bar 23 the chordhas been changed to A flat E flat C (first course - 4th fret/second course - 4thfret/third course 5th fret]. In bar 29 the note on the first course has been changedfrom A natural stopped at the 5th fret to A flat stopped at the 4th fret.
p.122 Corrente prima [p.72] Time signature = 3.
p.123 Corrente Seconda [p.72] Time signature = 3.The first corrente is unbarred and is strummed throughout. The second is barredregularly and is entirely in lute style. On the face of it the first corrente appears
to be a strummed version of the second. However only the first sectionscorrespond more or less bars 7-10 vary with something of a hiatus in thestrummed version where Chord N3 is repeated and the rhythm is unclear. Thesecond sections are different.
p.124 Zarabanda Francese [p.72] Time signature = 3. Unbarrred but barsregularly. The last section is in a different key!
Pieces in B minor
p.125 Toccatta [p.73] No time signature but probably intended to be in common
time. The note values are erratic probably because it is meant to be played veryfreely.
p.126 Corrente [p.73] Time signature = 3. Bars regularly.
7/29/2019 Foscarini2011
19/283
xix
p.127 Gagliarda la Passionata [p.74] Time signature = 3. This can be barredregularly in triple time throughout although Foscarini seems a bit haphazard inindicating the correct value of notes at cadences.
p.128 Corrente [p.74] Time signature = 3. Unbarred.
Pieces in G minor
p.129 Corrente detta la Speranza [p.75] Time signature = 3. Unbarred butbars regularly. In bars 16 and 24 I have changed the last passing note to astopped at the 5th fret as this seems to make better melodic sense.
p.130 Passacaglio [p.75] Time signature = 3. Unbarred. The note values inthe first phrase are unhelpful. I have assumed that they follow the regularpassacaglio pattern.
Piece in B minor
p.131 Passacaglio passeggiato sopra lX [p.76] Time signature = 3. Unbarredbut bars regularly. In bar 4 chord K2 has been substituted for the implied Chord+ on the first crotchet. In bar 64 the chords have been filled in to create 4-partchords. In bar 76 Foscarini has indicated that the fifth course should be stoppedat 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 changeshave been made to the last three sections. The passage in bar 64-5 which occurs
towards the end of line six in Foscarinis original has been transferred to thepenultimate variation. The original ending is shown at the end of the piece.
Pieces in B flat major
p.134 Corrente [p.77] Time signature = 3. Barred regularly.
p.135 Sarabanda Francese [p.77] No time signature or bar lines but barsregularly. There is an alternative title Ciacona at the end. The odd dissonance(marked with !) bars 5 and 12 isnt resolved in the original. There is anotherodd chord (marked with !) in bars 18 and 21. I have assumed that this is meant
to be the same in both places i.e. the third course should be fretted at the 2 nd fretbut the fourth course should be omitted.
Piece in F minor
p.136 Passacaglio Passeggiato sopra P [p.78] Time signature = 3. Unbarred butbars regularly although the rhythm of the closing bars is uncertain.
7/29/2019 Foscarini2011
20/283
xx
Book 4.
Book 4 comprises a series of Passacaglie and Ciacone in different keys togetherwith 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 chosebetween 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 auseful way of learning the chords.
p.138 Passacaglio Variato sopra l+ [p.79]. Time signature = 3. The note valuesin the passages in lute style are chaotic and a certain amount of re-compositionhas been necessary especially from bar 13-23.
p. 140 2d parte del passacaglio variato sopra l+ [p.80]
p.142 Passacaglio Passegiato sopra La Lettera del O [p.81]. Time signature = 3.Fairly straightforward. There is one odd chord in b.25 [marked with a !] whereFoscarini has b flat and b natural sounding together. I have altered the note onthe second course to d.
p.144 2da parte de li Passacagli Variati sopra lO [p.82]. Time signature = 3. Inbar 13 chord P2 has been changed to P3. In bar 14, 3rd fret on the third course inwhat is fairly obviously a D major chord has been changed to 2nd fret.
p.146 Capriccio sopra lL Passacaglio uariata [p.83] Time signature = 3. In bar13 the note C stopped at the 5th fret on the third course has been substituted forthe open course which doesnt belong to the chord.
p.148 2d Parte del passacaglio Spagniolo sopra lL [p.84] Time signature = 3.The first chord in bar 18 includes both E flat on the second course and E naturalon the open first course; the latter has been omitted. The last two lines of theoriginal feature some rather idiocyncratic 2-part counterpoint.
p.151 Passacaglio passeggiato sopra lD [p.85]. Time signature = 3.
p.153 2da parte del Passacaglio Variato sopra l D [p.86] Time signature = 3.
p.155 Passacaglio uariato sopra lE [p.87]. Time signature = 3.
p. 157 2d parte del passacaglio uariato sopra lE [p.88] Time signature = 3. Inbar 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
7/29/2019 Foscarini2011
21/283
xxi
course has been changed to D played at the 3rd fret. However, since Foscarinihas indicated that the note on the first course is to be played with vibrato it ispossible that he does actually intend a major chord to be played with anexaggerated slide between the B flat and B natural.
p.159 Capriccio sopra il passaCaglio del X uariata [p.89] Time signature = 3.
p.161 2d Parte del capriccio uariato sopra lX [p.90] Time signature = 3. Thefirst alfabeto chord in bar 4 looks like a G but is probably a misprint as it reallymakes no sense to play an F major chord at that point. It has therefore beenchanged to Chord C = D major modulating to the relative major.
p.163 Ciacona Variata sopra lB [p.91]. Time signature = 3. Sections of thiswill 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 frettedat the first fret. This converts it from a plain A minor chord to a major 7th chordon the fourth degree of the scale.
p.165 2d Parte delle Ciacone Variate sopra lB [p.92] Time signature = 3.
p.167 Capriccio sopra la Ciacona variata del C [p.93] Time signature = 3.
p.169 2d Parte della Ciacone Variate sopra lC [p.94] Time signature = 3. Inbar 34 I have changed Chord G4 to G5. In bar 54 plain Chord G has been
changed to G2 although either way sounds a bit odd.
p.171 Ciacona con Variationi sopra lG [p.95]. Time signature = 3. Aninteresting feature of both parts of this Ciacona is Chord B with a suspended 4thon the fourth course sounding simultaneously with the 3rd of the chord on theopen first course at the cadences. This is almost certainly intentional. Betweenbars 43-47 the minims seem to indicate a kind of hemiola and are not intended tobe taken absolutely literally.
p.174 2d Parte della Ciacona Variata sopra lG [p.96] Time signature = 3.Three of the alfabeto chords have the wrong figure above them placing them atthe wrong fret. These are marked with an exclamation mark. In bar 5 Chord G3has been changed to Chord G; in bar 14 Chord H2 has been changed to ChordH3; and in bar 25 Chord M5 has been changed to Chord M3. In bar 22 the firstchord is given as Chord H5 but Chord N5 makes more sense harmonically. Inbar 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
7/29/2019 Foscarini2011
22/283
xxii
course has been changed to D played at the 3rd fret. Cf. bar 9 of the Secondaparte of the Passacaglio Variato sopra lE.
p.176 Ciacona variata sopra lH [p.97] Time signature = 3. There is a strokemark under the C minor chord in bar 14 and elsewhere in both sections. If the
chord is to be strummed the open fourth course would have to be included but Ithink it is unclear whether that is what Foscarini intended. In bar 19 Foscarinihas notated only the notes played at the 6th fret on the first course (B flat) with astroke mark underneath. It makes no sense to include the open second course (Bnatural) in the strum so I have filled it out as a G minor chord. In bar 75 thethird course stopped at the 3rd fret has been changed to 5th fret which makesmore harmonic sense.
p.179 2d Parte della Ciacona Variata sopra lH [p.98] Time signature = 3. Thissection is notable both for its use of the 11th fret on the first course in bar 17-18
and for the double slurs in bar 37. In bar 48 the second semi-quaver has beenchanged from the 3rd to the 5th fret.
Pieces in scordatura
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 sometimesincludes the open fifth course where it might be better to omit it. It is difficult totell whether this is intentional because of difficulties in fretting the chord orwhether they are simply errors.
p.181 Tocata [p.99] No time signature in common time. Bar 8 the note onthe fifth course in the third chord could be omitted.
p.182 Corrente [p.99] Time signature = 3. A different version is included inGranatas Soaui concenti di sonate musicali (Bologna, 1659) p.90.
p.183 Passacaglio variato in cordatura diferente [p.100] Time signaure = 3. Bar17 the third quaver has been corrected from D# to E. I have slightly amendedFoscarinis attempts at writing campanellas in b. 21-23. The original version is atthe end.
7/29/2019 Foscarini2011
23/283
xxiii
p.185 Alemanda [p.101] No time signature but in common time. Foscarini hasindicated that the open fifth and first courses should be included in the firstchord in bar 3. I have changed these to 2nd fret playing the chord with a barr.Foscarini has included the fifth course stopped at the 2nd fret in the second chordin bar 12 which makes no sense I have omitted it.
p.186 Sarabanda [p.101 Time signature = 3. A variant is included in GranatasSoaui concenti di sonate musicali (Bologna, 1659) p.92 with the title Passacagli.
p.187 Passo mezo musicale (p. 102). No time signature in common time.Rhythm a bit uncertain.
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 fewmiscellaneous pieces. They follow a logical sequence G major, G minor, Cmajor, 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 incommon time by placing a C at the beginning. This usually takes the form of areversed C with two dots which looks like a bass clef but he also uses the usualsign C. Most (but not all) of the pieces have barlines although these are notalways as helpful as they might be.
Pieces in G major (A)
p.188 Tocatta [p.103]. No time signature at the beginning but as the middlesection is in triple time it is fairly obvious that the opening and closing sectionsare in common time. Unfortunately the notes and note values are not alwaysvery helpful. In order to make up the full quota of notes in a bar it is sometimesnecessary to insert a few extra ones. It is possible that Foscarini intended there tobe bars of irregular duration or more complex cross rhythms but if so he hasfailed to make this clear. This is the case with most of the pieces which follow.
p.190 Alemanda [p.104]. No time signature. In common time.
p.191 Alemanda 2.da [p.104]. No time signature. In common time.
Pieces in G minor (O)
p.192 Toccatta [p.105]. Time signature = C. Barred irregularly in the first part;regularly thereafter. Although Foscarini has not mentioned this as an option thechords on long note values could be arpeggiated.
7/29/2019 Foscarini2011
24/283
xxiv
p. 194 Alemanda [p.106]. No time signature. In common time. The barring iserratic.
p. 195 Corente [p.106]. Time signature = 3. Foscarini has barred it as if it was insimple 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 inplaces where there should probably be three minims to a bar. I have inserted anextra 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 betterlike that.
Pieces in C major (B)
p.196 Ciacona [p.107]. Time signature = 3. Barred regularly. This is anabridged arrangement for guitar of the Chiaccona Mariona alla vera Spagnola from
Piccininis Intavolatura di liuto (1639).
p.199 Baletti [sic] [p.108]. No time signature. In common time. Barred fairlyregularly although there are a few problems.
p.200 Alemanda [p.108]. No time signature. In common time. Barred fairlyregularly although there are a few problems with rhythm. The ending seemsrather feeble but I have left it more or less unaltered in the hope that someoneelse can come up with a better solution.
p.202 Corente noua Inuentione con parte una Sopra laltra redoppiata [p.109].Time signature = 3. Barred erratically. The title translates roughly as Newlycomposed Corrente with each part above the other doubled (i.e. elaborated].The first section is the same as that of the Corrente noua Inuentione on p.68 (p. 61in this edition). The second part is different although in places it echoes otherpieces by Foscarini. The doubles to each section meander rather aimlessly. Atbar 50 the fourth quaver 9 on the fourth course = B natural - has been changedto 9 on the third course = E. At the end (bars 59-60) the fourth and fifth quavershave been changed from 4 - 3 on the third course = B natural/B flat to 5 - 4 = C/Bnatural. The final chord has been changed from Chord H8 (an F major chord) toChord N5 (a C major chord). Chord N5 has the first course stopped at the 8th
fret which may account for Foscarinis error.
p.204 Alemanda detta la Fauorita [p.110]. No time signature. In common timebut barred somewhat erratically. In bar 19 I have changed the note on the openthird course to the fourth course (marked with !) which makes more sensemelodically.
7/29/2019 Foscarini2011
25/283
xxv
p.205 Sarabanda (detta la Fauorita) [p.110]. Time signature = 3.
Pieces in C minor (K3/L)
p.206 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 isthe most awkward ofalfabeto chords to play and a dissonant form of it (shown atthe end of the first line) was often substituted for the correct chord. Foscarini hasincluded both forms in his table of standard chords at the beginning withoutmaking any distinction between the letters representing them; (Chord L+ in hisAlfabeto dissonante is a different chord altogether). It is therefore not clear whichshould be used in bar 2. Chord K3 which is easier to play is almost always usedinstead of Chord L.
p.207 Fantasia [p.112] No time signature. In common time. Although it isbarred regularly and the note values are reasonably clear this is not a verysatisfactory piece. It starts off well with imitative entries but then seems towander off with no obvious logic. It may be intended to be in as many as fourparts but my attempts to reconstruct them have so far been unsuccessful. Havefun.
Pieces in D major (C)
p.212 Taste Grata [p.116]. Time signature = C. The title translates more or lessas To be played pleasantly and the piece is probably meant to be played with avery free rhythm. A few of the chords have a sign rather like this % beneaththem which probably means that they are to be arpeggiated as in BartolottisSecondo Libro(Rome, ca.1656).
p.213 Alemanda [p.113]. No time signature. In common time. The slightlyodd chord in bars 6 and 19 is a species of unresolved ascending appoggiatura.
p.214 Cicona [p.113]. Time signature = 3.
Pieces in D minor (E)
p.215-9 Toccatta [p.114/115] Time signature = C. This is two parts which seemto be intended to be performed continuously. It has the makings of a spectacularpiece but because of the ambiguity in the barring and note values which isprobably due to the fact that it is intended to be played in a free and rhapsodicalstyle - it is not easy to reconstruct convincingly. It does also have several sections
7/29/2019 Foscarini2011
26/283
xxvi
of rather aimless 2-part counterpoint. This makes it difficult to decide whetherthe odd harmonic shifts, which are vaguely reminiscent of Frescobaldi, areintentional. The passage towards the end of the first section features some fancystrumming. There are several places where passing notes are introducedbetween 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 notatedthem as single notes because it makes it easier to pick them out. It also makessense to include the open courses throughout even when these are not indicatedin the original. An exception to this is at bar 50 where including the open fifthcourse 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 theopen third course should be included instead. He is rather fond of doing thisbut to my ears it is a dissonance too far. To balance with bar 50 the fifth coursecould be omitted.
The second part includes a similar strummed section in the middle.Surprisingly Foscarini has notated both the tricky rhythmic scheme and thestroke symbols consistently and accurately throughout! Django does not allowfor a single chord to be represented followed by the appropriate note values andstrokes as in the original. To make it easier to read (I hope) I have put in the fullchord 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 auxiliarynotes between the chords should be included in the chord; this is just aboutpossible in bar 29 if you are adept at using 4th finger half barrs. The sectionwhich follows is interesting because it includes indications for contrasting
dynamics.
p.222 Alemanda con variation [p.116] No time signature but obviously incommon time and barred after a fashion. Each section is supplied with arunning variation in semiquavers. Unfortunately these dont seem to berunning in anywhere in particular. The second variation especially lacks anyclear harmonic logic although the scale passages foreshadow campanellas.Foscarini probably expected players to remedy the deficiencies in his notationthemselves.
Pieces in E major (F)
p.224 Preludio [p.117] Time signature = C. Unbarred. It can be barred fairlyregularly but is probably meant to be played with a very free rhythm.
p.225 Alemanda [p.117] There is both a reversed C clef and the time signatureC at the beginning. The piece is fairly obviously in common time but is barredirregularly.
7/29/2019 Foscarini2011
27/283
xxvii
p.226 Corrente [p117] Time signature = 3. Barred regularly throughout.
Pieces in E minor (+)
p.227 Alemanda [p.118] No time signature. In common time.
p.228 Corente [p.118] Time signature = 3.
Pieces in F major (G)
p.229 Preludio [p.119] No time signature. In common time. The note valuesare unhelpful. I have padded it out in places to maintain the momentum.
p.230 Alemanda [p.119] Time signature = C. The note values are unhelpful inplaces. 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
freton the second course. I have changed this to B natural stopped at the 7th fret onthe first course which seems to me to make better sense of the passage work.
p.231 Corrente detta la funebre [p.120] Time signature = 3 indicating threecrotchets in a bar and it is barred like this throughout although the underlyingrhythm is more complex. There are places where the accents fall on what areweak beats for example at the half way cadence but changing the timesignature isnt particularly helpful.
p.232 Zarabanda detta la fauorita [p.120] Time signature = 3. Most of thesingle notes on the first course could be incorporated into the chord. It is really amatter of taste which way they are played.
Pieces in F minor [P]
p.233 Tocata [p.122] No time signature but bars regularly in common time.
p.234 Alemanda [p.122] Time signature = C. Bars regularly.
p.235 Passacaglio [p.122] time signature = 3. Bars regularly.
Pieces in A major (I)
p.236 Toccatta [p.123] No time signature and no bar lines. In common timeand bars fairly regularly.
7/29/2019 Foscarini2011
28/283
xxviii
p.237 Corrente con le parte redopiata [p.123] Time signature = 3. Barsregularly in triple time.
Pieces in A minor (D)
p.239 Toccatta sopra lD [p.124] No time signature. In common time. Thenote values are not terribly helpful.
p.240 Alemanda [p.124] Time signature = C. Fairly straight forward.
p.241 Sarabande [p.124] Time signature = 3.
Pieces in B minor (K2)
p.242 Toccatta [p.125] Time signature = C. There are problems with the note
values. These three pieces are perhaps not among his best.
p.243 Alemanda [p.125] Time signature = C.
p.244 Sarabanda [p.125] Time signature = 3
7/29/2019 Foscarini2011
29/283
xxix
Contents
Book 1-2
Aria de Firenze Seconda [p.6] 1
Spagnoletta Prima [p.8] 2
Book 3
Pieces in G major
Capritio detto il Gratioso [p.15] 3
Corrente [p.15] 4
Aria di Firenze Passeggiata sopra lA [p.16] 5
La medema in Corrente [p.16] 7
Capriccio sopra la Ciaccona sul A [p.17] 8
Corrente [p.18] 10
Passacaglio Spagnolo [p.18] 11
Corrente [p.19] 12
Balletto Polacco [p.19] 13
Pieces in G minor
Tocatta detta la Inamoratta [p.20] 14
Capriccio sopra il Passacaglio [p.20] 15
Passacalli passeggiati [p.21] 16
Corrente La Sprezzata [p.22] 17
Alemanda 2a [p.22] 18
7/29/2019 Foscarini2011
30/283
xxx
Aria della Fulia variata [p.23] 19
Passemezzo passegiato sopra lO [p.24] 21
La sua Gagliarda [p.24] 22
Galiarda detta la liberale [p.25] 23
Pieces in D major
Passe mezzo sopra l C Passeggiato [p.26] 24
La sua Gagliarda [p.26] 26
Gagliarda [p.27] 27
Corrente [p.27] 28
Ciacona variata [p.28] 29
Corrente [p.29] 31
Zarabanda (1) [p.29] 32
Zarabanda (2) [p.29] 32
Battaglia [p.30] 33
Pieces in D minor
Toccatta Musicalle Detta la fedelle [p.31] 35
Passacagli passegiati sopra lE [p. 32] 36
Passe mezzo passeggiato [p.33] 38
La sua gagliarda passeggiata [p.33] 40
Fulias con parti uariate [p.34] 41
Baletto il Fedel Amante [p.35] 43
Capriccio sopra E : il Passacaglio [p.35] 44
7/29/2019 Foscarini2011
31/283
xxxi
Corrente [p.36] 45
Corrente la Granosa [p.37] 46
Passacaglio [p.37] 46
Toccata musicale [p.39] 47
Pauaniglia con parti uariate [p.39] 48
Alemanda[p.40] 50
Corrente con la sua uariatione [p.41] 51
Corrente Francese con le sue parti doppie [p.42] 53
Pieces in E minor/major
Toccata [p.43] 55
Corrente [p.43] 57
Passacaglio Passeggiato sopra la + [p.44] 58
Gagliarda [p.45] 61
Untitled [Corrente] [p.45] 62
Balletto[p.46] 63
Untitled [Corrente] [p.46] 64
Sarabande variate [p.47] 65
Tastegiata detta la Feretti [p.48] 67
Corrente [p.48] 68
Fantasia [p.49] 69
Volta Francese [p.49] 70
7/29/2019 Foscarini2011
32/283
xxxii
Pieces in A minor
Passacaglio passeggiato sopra ilD [p.50] 71
Corrente La Vignon [p.51] 73
Sarabanda Francese [p.51] 74
Corrente [p.52] 75
Zarabanda Francese [p.52] 76
Capriccio Musicale II [p.52] 77
Corrente [p.53] 78
Volte prima Francese [p.53] 79
Zarabanda Francese uariata [p.53] 80
Corrente Francese [p.54] 81
Seconda corrente Francese [p.54] 82
Pieces in F major
Tasteggiata Soaue [p.55] 83
Ciacona uariata [p.55] 84
Aria di Firenze passeggiatta [p.56] 85
[Corrente] [p.56] 87
Sinfonia Prima [p.57] 88
Seconda Sinfonia [p.57] 90
Gagliarda detta la Crudele [p.58] 91
Balletto Polacco [p.58] 92
Capriccio della Ciacona sul G [p.59] 93
7/29/2019 Foscarini2011
33/283
xxxiii
Corrente detta la Fauorita [p.60] 95
Redopro della Corente [p.121] 96
Corrente (1) [p.61] 98
Corrente (2) [p.61]. 99
Corrente nuoua inuentione [p.62] 100
Untitled [p.62] 101
Pieces in C major
Gagliarda Francese [p.63] 102
Corrente [p.63] 103
Capriccio sopra la Ciaccona [p.63] 104
Baletto detto il Bizaro [p.64] 105
Corrente Francese [p.64] 106
Zarabanda francese [p.64] 107
Corrente con parti uariate [p.65] 108
Capriccio sopra la Ciacona [p.66] 110
Corrente con parti Variate [p.67] 112
Corrente noua Inuentione [p.68] 114
Baletto Francese [p.68] 115
Pieces in D major/minor
Toccata Seconda [p.69] 116
Ciacona [p.69] 117
Corente Concertata a doi Chitare diferente [p.70] 118
7/29/2019 Foscarini2011
34/283
xxxiv
Pieces in C minor
Passacaglio Passeggiato sopra L [p.71] 120
Corrente prima [p.72] 122
Corrente Seconda [p.72] 123
Zarabanda Francese [p.72] 124
Pieces in B minor
Toccatta [p.73] 125
Corrente [p.73] 126
Gagliarda la Passionata [p.74] 127
Corrente [p.74] 128
Pieces in G minor
Corrente detta la Speranza [p.75] 129
Passacaglio [p.75] 130
Piece in B minor
Passacaglio passeggiato sopra lX [p.76] 131
Pieces in B flat major
Corrente [p.77] 134
Sarabanda Francese [p.77] 135
Piece in F minor
Passacaglio Passeggiato sopra P [p.78]
7/29/2019 Foscarini2011
35/283
xxxv
Book 4
E minor
Passacaglio Variato sopra l+ [p.79] 138
2d parte del passacaglio variato sopra l+ [p.80] 140
G minor
Passacaglio Passegiato sopra La Lettera del O [p.81]. 142
2da parte de li Passacagli Variati sopra lO [p.82] 144
C minor
Capriccio sopra lL Passacaglio uariata [p.83] 146
2d parte del passacaglio Spagniolo sopra lL [p.84] 148
A minor
Passacaglio passeggiato sopra lD[p.85] 151
2da parte del Passacaglio Variato sopra l D [p.86] 153
D minor
Passacaglio uariato sopra l E [p.87] 155
2 parte del passacaglio uariato sopra lE [p.88] 157
B minor
Capriccio sopra il passacaglio del X uariata [p.89] 159
2d parte del capriccio uariato sopra lX [p.90] 161
C major
Ciacona Variata sopra lB [p.91] 163
2d parte delle Ciacone Variate sopra lB [p.92] 165
7/29/2019 Foscarini2011
36/283
xxxvi
D major
Capriccio sopra la Ciacona variata del C [p.93] 167
2d Parte della Ciacone Variate sopra lC [p.94] 169
F major
Ciacona con Variationi sopra lG [p.95] 171
2d Parte della Ciacona Variata sopra lG [p.96] 174
B flat major
Ciacona variata sopra lH [p.97] 176
2d Parte della Ciacona Variata sopra lH [p.98] 179
Pieces in scordatura
Tocata [p.99] 181
Corrente [p.99] 182
Passacaglio uariato in cordatura diferente [p.100] 183
Alemanda [p.101] 185
Sarabanda [p.101 186
Passo mezo musicale (p. 102). 187
Book 5
Pieces in G major (A)
Tocatta [p.103] 188
Alemanda (1) [p.104] 190
Alemanda (2) [p.104] 191
Pieces in G minor (O)
7/29/2019 Foscarini2011
37/283
xxxvii
Toccatta [p.105] 192
Alemanda [p.106] 194
Corente [p.106] 195
Pieces in C major (B)
Ciacona [p.107] 196
Baletti (sic) [p.108] 199
Alemanda [p.108] 200
Corente noua Inuentione con parte una Sopra laltra 202
redoppiata [p.109]
Alemanda detta la Fauorita [p.110] 204
Sarabanda [p.110] 205
Pieces in C minor (K3/L)
Toccatta [p.111] 206
Alemanda sopra la letera del L [p.111] 207
Fantasia [p.112] 209
Pieces in D major (C)
Taste Grata [p.113] 212
Alemanda [p.113] 213
Cicona [p.113] 214
Pieces in D minor (E)
Toccatta [p.114] 215
Toccata (second part) 219
7/29/2019 Foscarini2011
38/283
xxxviii
Alemanda con variation [p.116] 222
Pieces in E major (F)
Preludio [p.117] 224
Alemanda [p.117] 225
Corrente [p.117] 226
Pieces in E minor (+)
Alemanda [p.118] 227
Corrente [p.118] 228
Pieces in F major (G)
Preludio [p.119] 229
Alemanda [p.119] 230
Corrente detta la funebre [p.120] 231
Zarabanda detta la fauorita [p.120] 232
Pieces in F minor [P]
Tocata [p.122] 233
Alemanda [p.122] 234
Passacaglio [p.122] 235
Pieces in A major (I)
Toccatta [p.123] 236
Corrente con le parte redopiata [p.123] 237
Pieces in A minor (D)
Toccatta sopra lD [p.124] 239
7/29/2019 Foscarini2011
39/283
xxxix
Alemanda [p.124] 240
Sarabande [p.124] 241
Pieces in B minor (K2)
Toccatta [p.125] 242
Alemanda [p.125] 243
Sarabanda [p.125] 244
7/29/2019 Foscarini2011
40/283
L33
200
A
33
200
33
200
33
200
23
020
C
00
202
+
00
202
00
202
00
202
33
200
A
0
3
102
B
0
3
102
0
3
102
0
3
102
23
020
C
33
200
A
33
200
33
200
33
200
33
200
0
3
102
B
0
3
102
0
3
102
0
3
102
33
200
A
01
022
D
01
022
01
022
01
022
00
202
+
4
11
323
G
11
323
33
200
A
33
200
0
3
102
B
0
3
102
0
3
102
0
3
102
0
3
102
33
200
A
33
200
33
200
33
200
23
020
C
7
33
200
A
33
200
33
200
33
200
0
3
102
B
13
020
E
13
020
00
21
2
F
00
21
2
02202
I
02202
02202
02202
02202
01
022
D
01
022
01
022
01
022
23
020
C
10
33
200
A
33
200
33
200
33
200
33
200
0
3
102
B
0
3
102
23
020
C
23
020
33
200
A
1
33
200
33
200
33
200
33
200
33
200
2
33
200
33
200
33
200
14
03
102
B
11
323
G
11
323
11
323
11
323
13
020
E
00
202
+
00
202
00
202
00
202
33
200
A
0
3
102
B
0
3
102
23
020
C
23
020
33
200
A
1
33
200
33
200
33
200
33200
2
33
200
33
200
33
200
33
200
33
200
19
Aria di Firenze Seconda [p.6]
1
7/29/2019 Foscarini2011
41/283
7/29/2019 Foscarini2011
42/283
7/29/2019 Foscarini2011
43/283
3 3
30
3 22
034
234
055
3
0
30
1
0
2
2
3
23 1
2
00 2
0 2
4
02
5
00
3022 0
4
32 0
03
0
2
03
0
0
2
3 2
33
5
0
9
7
0
3
0
2
3
30
3 21
3
0
000
14
3
2
00
12
00
3
5 2 30
01
2
19
2
0 24
4
0
22
000
2 244
302 0 3
3224
0
12
02
2
02
0
0 12
3
2
0
13
0
3
1
3
0 2
28
3
23
3
220
0
2 3
0
030
32
Corrente [p.15]
4
7/29/2019 Foscarini2011
44/283
L78
575
M5
5 78
575
8 78
575
8 57
577
H5
7 35
242
M+2
2 35
242
5 35
242
5 23
244
K2
3
35
355
H3
335
355
635
355
5 33200
C 4-3
23200
33
200
A
2 03
200
2 33
200
33
200
3
85755
N5
7 55
755
7 85
755
85
755
78
575
M5
8 55
757
P5
55
757
55
757
55
757
55
757
55
757
35422
M+2
35422
6
56533
M3
3 56533
6 56533
56533
33
545
G3
3
5
345
35535
H3
335535
635535
35535
9
78755
M5
5 78755
8 78755
8 57757
H5
7 3
5
345
G3
3
5
345
3
5
345
3
5
345
3
5
345
3
5
345
35422
M+2
35422
11
56533
M3
56
353
56
577
K5
7 45422
M2
5 45
242
5 5
4
222
N2
3 5
4
222
52
422
5
4
222
5
4
222
5
4
222
5
4
222
13
Aria di Firenze Passeggiata sopra l' A [p.16]
5
7/29/2019 Foscarini2011
45/283
01
202
D
001
202
301
202
3 33200
C 4-3
23200
33
200
A
2 03
200
2 33
200
23200
C 4-3
3
15
35535
H3
335535
H3
635535
H3
5 33200
C 4-3
23200
3
5
345
G3
1
3
5
345
3
5
345
3
5
345
3
5
345
3
5
345
2
3
5
345
3
5
345
3
5
345
3
5
345
18
35535
H3
35
355
56533
M3
3 56
353
6 56
353
56
353
56
577
K5
56
577
35422
M+2
2 35422
5 35422
35422
23
244
K2
3
22
35535
H3
335535
635535
5 57
577
H5
57
577
78755
M5
1
5 78755
8 78755
78755
M5
2
5 78755
8 78755
78755
27
6
7/29/2019 Foscarini2011
46/283
7/29/2019 Foscarini2011
47/283
3 3
0 2 33002
A
23200
C
3
01023
B
3002
A+
01023
B
33002
A
01
220
D
23200
C
33002
A
70005
70005
57700
57700
7 35553
H3
35553
5 35553
33200
C 4-3
23200
33002
A
0002
2 3002
01023
B
3002
A+
7
01023
B
0002
2 30002
33200
C 4-3
23200
33002
A
70005
9 x7779
N7
55577
P5
7 85557
N5
78755
M5
8
14
78755
M5
58775
H3 4-3
57775
33455
G3
70005
70005
777
756
755
755
555
555
534
533
31
2
20
312
212
212
334
55
G3
334
55
334
55
232
45
$2
232
45
232
45
334
55
G3
30
02
A+
010
23
B
332
00
C 4-3
232
00
232
00
26
33002
A
33002
33002
33200
C 4-3
33200
23200
33002
A
3002
01023
B
33200
C 4-3
23200
23200
33002
A
3345
5
32
53
4
53
4
53
4
70005
3002
3
33200
C 4-3
23200
23200
33002
A
33002
7 85 7
8755
M5
57775
H5
7
39
Capriccio sopra la Ciaccona sul A [p.17]
8
7/29/2019 Foscarini2011
48/283
555
33455
G3
33455
33200
C 4-3
33200
23200
33002
A
33002
30 2 3
3002
A
23200
C
33200
01023
B
3002
A+
5
7
45
33200
C 4-3
23200
33002
A
33002
A
1
2
34
55
3002
A+
01023
B
01
220
D
33
200
C 4-3
23200
33002
A
51
33002
2000
[sic]
301023
B
3002
A+
01023
B
3002
A+
5
7 33200
C 4-3
23200
33002
A
33002
58
33002
33002
33002
23200
C
33200
01023
B
3002
A+
01023
B
3002
A+
01
220
D
23200
C
33002
A
33002
64
9
7/29/2019 Foscarini2011
49/283
633
200
A
33
200
33
200
31
302
B
33200
C 4-3
23200
33
200
A
78755
M5
78755
85
755
N5
7 8
7
555
56
577
K5
7
56
577
56
577
45422
M2
45422
52
422
N2
52
422
3
52
422
33200
C 4-3
23200
33
200
A
0
3
102
B
3
200
A+
0
3
102
B
3
200
A+
1 0
3
102
B
2 33
200
A
3
33200
C 4-3
23200
33
200
A
33
200
33
200
33
200
5
78755
M5
78755
57757
H5
7 57757
35422
M+2
23
244
K2
35535
H3
335535
3
5
345
G3
2
5
324
$2
33
545
G3
23200
C
23200
10
23200
03
022
I 4-3
02
022
23
020
C
21
200
23200
000
3
100
3
0
3
102
B
2
3
01
202
D
01
202
0
200
2 3
200
3
33200
C 4-3
23200
33
200
A
33
200
33
200
33
200
14
Corrente [p.18]
10
7/29/2019 Foscarini2011
50/283
333
200
A
33
200
33
200
33
200
35535
H3
35535
5
35535
58757
H5
58757
78755
M5
78
575
7 85
78
575
M5
57757
H5
7
35535
H3
3
5
345
G3
35535
H3
35535
33200
C 4-3
23200
33
200
A
33
200
30 2
6
33
200
A
33200
C 4-3
23200
0
3
102
B
3
200
A+
0
3
102
B
3
200
A+
01
202
D
23200
C
33
200
A
33
200
7
5
000
7
5
000
577
7
10
35535
H3
3
5
345
G3
5
33
200
A
33200
C 4-3
23200
33
200
A
33
200
3
2 03
35535
H3
3
5
345
G3
3
5
345
15
355
35
H3
3
5
345
G3
5
3 2 0 332
00
C 4-3
232
00
232
00
33
2
00
A
33
2
00
0
2
0
3
102
B
3
2
00
A+
0
3
102
B
3
2
00
A+
3
2
00
2
3
19
23200
C
33200
C 4-3
23200
33
200
A
33
200
33
200
33
200
A
33200
C 4-3
23200
0
3
102
B
3
200
A+
0
3
102
B
3
200
A+
01
202
D
23200
C
33
200
A
33
200
24
Passacaglio Spagnolo [p.18]
11
7/29/2019 Foscarini2011
51/283
7/29/2019 Foscarini2011
52/283
L33
545
G3
5
78
575
M5
8 58757
H3 4-3
57757
33
545
G3
2
5
324
$2
33
545
G3
23
020
C
2
0 3 03202
I 4-3
02202
23
020
C
23
020
3
2
3
33
200
A
5
0
70
2
30
3
2
3
2
3
33
020
C 4-3
2
133
200
A
1
02 0
4
75
000
7
5
000
755
755
5
74
644
N4
5
3 2 35
25424
H2 4-3
24
244
00
202
+
00
202
0
9
0
3
102
B
0
3
102
2
01
022
D
3
2
0
3
102
B
30
1 02
1 02
11
2
0
3
2
0
314
2
0
3
2
5
4
70
3 2
3
3
3 33
020
C 4-3
2
133
200
A
1
02 0
17
Balletto Polacco [p.19]
13
7/29/2019 Foscarini2011
53/283
7/29/2019 Foscarini2011
54/283
3 6
3 5 63
533
N3
66533
M3
56533
63
533
N3
34535
K3
5
34535
33200
C4-3
23200
33
100
O
33
100
33
100
33
100
4
30
330
301
101
2
3
33200
C 4-3
23200
5
33
100
O
33
100
68755
M5+
68755
56757
K5
6
555
333
5
333
33200
C 4-3
23200
9
33
100
O
33
100
33
100
33
100
O
33
100
33
301
L
33
301
33
301
33
100
O
33
301
L
33200
C
23200
33
100
O
13
Capriccio sopra il Passacaglio [p.20]
15
7/29/2019 Foscarini2011
55/283
7/29/2019 Foscarini2011
56/283
% 3 gggggP3
ggggglch ggggg g gggg
C lh ggggg fffffO
gggggH
ggggg lllllh ggggg gggggM
gglggL
gglgg
% 4 gggggC g ggggg
E
g3 ggggg
g lggg I 4-3
lllllh gggggH
g ggggg gggggM
gcggggM3
lcllllh
fcffffN31
gcgggg2
7
% 3 lcllll
N3
lcllll lch gcgggg lcllllh ggggg
M
ggggg
G
ggggg
H
lllllh fffff
G
ggggg
O14
% gcggggN2
lllllE l lllll
l ggggg g lgggI 4-3
ggggg g ggggC
lllllH
h lllll lllll lllll lllllH
lllllh gggggM
19
% gcggggM3
lcllllh
gcggggN3
gggggK3 lch ggggg
C
ggggg gggggO
lllllLh ggggg
C
lllllh ggg gg
A
23
Corrente La Sprezzata [p.22]
17
7/29/2019 Foscarini2011
57/283
L3
5
335
P3
5
68
575
M+5
8
6 58
23020
C
3
3
100
3 33
020
C 4-3
23
020
33
100
O
1
3
123
G
13
133
H
3
1 03
4
30
330
301
123
020
C
3
5 6
5
333
N3
5 3
5
335
P3
13
020
E
3 03202
I 4-3
02202
23020
C
3
23
020
0
23
020
4
23020
C
3
03
200
3 100
3 0
3
102
B
1
3
01
202
D
1 0 1 13
133
H
0
1
33
100
O
3
0 02202
I
0
223
524
$2
3 1 3
9
33
200
A
1
3100
3 1 3 0
3
102
B
2
3
01
202
D
1 0 1 33
100
O
13
020
E
03202
I 4-3
02202
23
020
C
3
0
3
100
3 1 3
14
34
355
K3
5 3 5 2 3
020
C
0
4
!
23
020
C
3
2
23
524
$2
3
3
33
020
C 4-3
23
020
133
200
A
1
0
2
0
18
Alemanda 2a [p.22]
18
7/29/2019 Foscarini2011
58/283
333
100
O
33
100
23
020
C
02202
I
02202
23
020
C
33
100
O
33
100
1
3
123
G
1
3
123
1
3
123
1
3
123
13
133
H
13
133
1
3
123
G
33
100
O
33
100
13
020
E
34
131
M
34
131
13
020
E
13
020
13
020
13
020
33
100
O
33
100
13
020
E
02202
I
02202
23
020
C
33
100
O
33
100
6
1
3
123
G
1
3
123
1
3
123
1
3
123
13
133
H
13
133
34
131
M
33
301
L
33
301
33
301
33
020
C 4-3
23
020
33
200
A
33
200
33
200
33
200
12
3
5
335
P3
5 23
524
$2
23
524
23
524
23
524
3
5
335
P3
556
353
M3
56
353
56
353
56
353
6
5
333
N3
6
5
333
19
56
3
53
M3
56
3
53
56
3
53
56
3
53
34
3
55
K3
5 23
0
20
C
23
0
20
23
0
20
23
0
20
33
1
00
O
5 23
0
20
C
23
0
20
3 23
0
20
33
1
00
O
0
3
102
B
24
1
3
123
G
1
3
123
1
3
123
1
3
123
6
5
333
N3
5 34
355
K3
34
355
5 34
355
33
020
C 4-3
23
020
33
200
A
33
200
33
200
33
200
30
3
5
335
P3
23
524
$2
3
5
335
P3
1
3
123
G
0
3
102
B
1
3
123
G
0
3
103
B 4-3
01
302
1
3
123
G
1
3
123
1
3
123
1
3
123
1
3
123
1
3
123
37
Aria della Fulia variata [p.23]
19
7/29/2019 Foscarini2011
59/283
33
100
O
13
020
E
3 13
020
03202
I 4-3
02202
23
020
C
23
020
23
020
23
020
68
575
M+5
57
577
H5
42
68
575
M+5
56
353
M3
35
355
H3
56
353
M3
36
355
H3 4-3
35
355
1
3
123
G
1
3
123
1
3
123
1
3
123
6
5
333
N3
5 3
5
335
P3
68
575
M+5
8
46
68
575
M+5
58
577
H5 4-3
57
577
3
5
345
G3
3
5
345
3
5
345
3
5
345
5
3 2 0 2 3
020
C
0 23
020
3
5
335
P3
8
6 58
51
56
353
M3
3 56
353
56
353
6
5 36
3
5
335
P3
3
1 03
02202
I
302202
23
020
C
23
020
23
020
57
23
0
20
C
3
1 3 23
5
335
P3
6
5 36
3
5
335
P3
8
6 58
56
3
53
M3
3 56
3
53
62
56
353
M3
6
5 36
3
5
335
P3
5
3 2 0 2 3
020
C
