Valdambrini, Ferdinando
Libro primo d'intavolatura di chitarra (1646)
I. Overview
This is the first of two little known engraved tablatures by the Roman guitarist, Ferdinando Valdambrini. The style emphasizes the use of slurs and melody notes on top of chords, somewhat similar to that of Foscarini. The re-entrant tuning is clearly called for in the preface and in the music itself. Overall, this is a difficult tablature to interpret and is quite unusual.
Title: Libro primo d'intavolatura di chitarra a cinque ordini. (Rome: n.p., 1646).
Description:
32 pp., engraved (recto/verso)
59 pieces
Foliation: (movable type: 1 fascicle of 4ff.)
Page Size -- I-Rsc: 21.2 cm. (width) X 30 cm.
Engraved Plate Size -- I-Rsc: c18 cm. X 24.4 cm.
II. Prefatory Material
p. (1) -- LIBRO PRIMO D'INTAVOLATURA DI CHITARRA A CINQUE ORDINI. DI FERDINANDO VALDAMBRINI ROMANO, DEDICATO ALL'ILLUSTRISSIMO E' REVERENDISSIMO SIGNOR D. PAOLO SAVELLI, ABBATE DI CHIARAVALLE, Roma 1646 con licenza de Superiori. [engraved plate with three cherubs, one with guitar, another with music; coat of arms below a drapery with the title]:
p. (2) -- All'Ill.mo et Dev.mo Sig.e . . . [Dedication: Valdambrini states basically that the publication is to give fame to his patron, rather than to his own work.]
p. 3 -- Avertimenti: Per arrichiare, e perfettionare . . . [Basic instructions; Valdambrini mentions his debt to G.G. Kapsberger for the various signs and ornaments used in his book. A tuning chart is presented in both Italian and French tablature and clearly distinguishes between "unisoni" and "ottave." From this chart, it is apparent that Valdambrini used the re-entrant tuning without bourdons (bass strings) on the fifth and fourth courses: a-a, d-d, g-g, b-b, e. This is followed by brief explanations of arpeggios, slurs, ornaments, and other technical details, as well as an alfabeto chart in both Italian and French tablatures, divided into non-movable and movable (barre chords) shapes. The chords are as follows:]
| + | A | B | C | D | E | F | G | H | I | K | L | M | N | O | P | S | & |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 2 | 2 | 3 | 0 | 0 | 0 | 2 | 3 | 1 | 0 | 1 | 3 | 1 | 3 | 1 | 3 | 1 | 4 |
| 2 | 0 | 2 | 0 | 2 | 0 | 2 | 3 | 3 | 2 | 3 | 1 | 1 | 1 | 1 | 3 | 1 | 3 |
| 0 | 0 | 0 | 2 | 2 | 2 | 1 | 2 | 3 | 2 | 3 | 0 | 3 | 1 | 0 | 1 | 3 | 1 |
| 0 | 3 | 1 | 3 | 1 | 3 | 0 | 1 | 3 | 2 | 2 | 4 | 4 | 1 | 3 | 1 | 4 | 2 |
| 0 | 3 | 0 | 2 | 0 | 1 | 0 | 1 | 1 | 0 | 1 | 3 | 3 | 4 | 3 | 1 | 2 | 1 |
[The K, P, S, and & chords are not actually used in the pieces, although all but the last are used in higher positions.]
[Other chords used in the tablature:]
| C3 | C4 | G2 | G3 | G5 | H2 | H3 | H5 | H7 | K2 | K3 | K5 | K7 | M2 | M3 | M4 | M5 | M7 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| - | - | 4 | 5 | 7 | 2 | 3 | 5 | 7 | 2 | 3 | 5 | 7 | 2 | 3 | 4 | 5 | 7 |
| - | - | 4 | 5 | 7 | 4 | 5 | 7 | 9 | 4 | 5 | 7 | 9 | 2 | 3 | 4 | 5 | 7 |
| 3? | 4? | 3 | 4 | 6 | 4 | 5 | 7 | 9 | 4 | 5 | 7 | 9 | 4 | 5 | 6 | 7 | 9 |
| 4? | 5? | 2 | 3 | 5 | 4 | 5 | 7 | 9 | 3 | 4 | 6 | 8 | 5 | 6 | 7 | 8 | 10 |
| 3? | 4? | 2 | 3 | 5 | 2 | 3 | 5 | 7 | 2 | 3 | 5 | 7 | 4 | 5 | 6 | 7 | 9 |
| N2 | N3 | N4 | N5 | N7 | N9 | P2 | P3 | P5 | S2 | S5 | S7 |
|---|---|---|---|---|---|---|---|---|---|---|---|
| 4 | 5 | 6 | 7 | 9 | 11 | 4 | 5 | 7 | 2 | 5 | 7 |
| 2 | 3 | 4 | 5 | 7 | 9 | 4 | 5 | 7 | 2 | 5 | 7 |
| 2 | 3 | 4 | 5 | 7 | 9 | 2 | 3 | 5 | 4 | 7 | 9 |
| 2 | 3 | 4 | 5 | 7 | 9 | 2 | 3 | 5 | 5 | 8 | 10 |
| 5 | 6 | 7 | 8 | 10 | 12 | 2 | 3 | 5 | 3 | 6 | 8 |
p. 4 -- Tavola per sonare sopra il basso . . . [Examples for realizing a figured bass; chords for each chromatic note of the scale, as well as cadenzes and harmonized scales.]
III. Notation
Tablature: Alfabeto and Italian tablature with measure lines, meter signs (triple only), and rhythm signs. Many of the chords have single numbers on the first course attached to them, as in the following example (p. 7) from a section of the fourth toccata:
Range (highest fret used on each course):
| 5th course | 11th fret |
| 4th course | 9th fret |
| 3rd course | 9th fret |
| 2nd course | 10th fret |
| 1st course | 12th fret |
Left-hand ornaments used: arpeggio (%), slurs, trillo (..)
Instrument: 5-course guitar
IV. Indices
There are a variety of genres in different keys, grouped by genres.
Index of Pieces (all for solo guitar):
| Page | Title | Key | Meter |
|---|---|---|---|
| p. 5 | Toccata prima | g | [C] |
| p. 5 | [Toccata] seconda | A | [C] |
| p. 6 | [Toccata] terza | a | [C] |
| p. 6 | [Toccata] quarta | d | [C] |
| p. 8 | [Toccata] quinta | F | [C] |
| p. 9 | Corrente prima | d | 3/[4] |
| p. 9 | [Corrente] seconda | d | 3/[4] |
| p. 10 | [Corrente] terza | d | 3/[4] |
| p. 10 | [Corrente] quarta | d | 3/[4] |
| p. 11 | [Corrente] quinta | d | 3/[4] |
| p. 11 | Partita prima | d | 3/[4] |
| p. 12 | Partita seconda | d | 3/[4] |
| p. 12 | [Corrente] sesta | D | 3/[4] |
| p. 12 | Partita terza | D | 3/[4] |
| p. 13 | [Corrente] settima | a | 3/[4] |
| p. 13 | [Corrente] ottima | a | 3/[4] |
| p. 14 | [Corrente] nona | a | 3/[4] |
| p. 14 | Partita | a | 3/[4] |
| p. 15 | [Corrente] decima | a | 3/[4] |
| p. 15 | [Corrente] undecima | a | 3/[4] |
| p. 16 | [Corrente] dodecima | g | 3/[4] |
| p. 16 | [Corrente] tredecima | Bb | 3/[4] |
| p. 17 | Balletto primo | g | 3/[4] |
| p. 17 | [Balletto] secondo | Bb | 3/[4] |
| p. 18 | [Balletto] terzo | F | 3/[4] |
| p. 18 | [Balletto] quarto | F | [C] |
| p. 19 | [Balletto] quinto | F | [C] |
| p. 19 | [Balletto] sesto | C | [C] |
| p. 20 | [Balletto] settimo | C | [C] |
| p. 20 | [Balletto] ottimo | C | 3/[4] |
| p. 20 | [Balletto] nono | D | 3/[4] |
| p. 21 | [Balletto] decimo | D | 3/[4] |
| p. 21 | [Balletto] undecimo | d | 3/[4] |
| p. 22 | [Balletto] dodecimo | d | [C] |
| p. 22 | Gagliarda prima | G | 3/[2] |
| p. 23 | [Gagliarda] seconda | e | 3/[2] |
| p. 23 | [Gagliarda] terza | d | 3/[2] |
| p. 23 | [Gagliarda] quarta | C | 3/[2] |
| p. 24 | [Gagliarda] quinta | D | 3/[2] |
| p. 24 | [Gagliarda] sesta | g | 3/[2] |
| p. 25 | Alemana prima | d | [C] |
| p. 25 | Partita | d | [C] |
| p. 25 | [Alemana] seconda | g | [C] |
| p. 26 | Battaglia | D | [C] |
| p. 26 | Girometta | D | [C] |
| p. 26 | Clorida | D | 3/[4] |
| p. 27 | Turlurù | D | [C] |
| p. 27 | Fra [?]acopin[o?] | D | [C] |
| p. 27 | La Lionora | D | [C] |
| p. 27 | Ballo di M. Fiore | D | [C] |
| p. 28 | Manima lo scorpio | D | [C] |
| p. 28 | Venetiana | D | [C] |
| p. 29 | Sarabanda | D | 3/[4] |
| p. 29 | Gagliarda | D | [3/2] |
| p. 30 | -- Sua corrente | D | 3/[4] |
| p. 30 | Modazza | D | [C] |
| p. 32 | Capona | C | 3/[4] |
| p. 32 | Sarabanda | C | 3/[4] |
| p. 32 | Ciaccona | C | 3/[4] |
Index of Genres:
The following chart summarizes the solo guitar contents of the book by genre. Major genres are given by the form used in the New Grove Dictionary of Music and Musicians, 2d ed., with the forms actually used in the book in parentheses. Lesser known titles are grouped under "miscellaneous dances" and "songs." Rhythmic variations and rotte are considered part of the main work.
| Genres: | total | major | minor | meter |
|---|---|---|---|---|
| Corrente | 14 | 3 | 11 | 3/[4] |
| Balletto | 12 | 9 | 3 | 7 in 3/[4] and 5 in [C] |
| Galliard (Gagliarda) | 7 | 4 | 3 | 3/[2] |
| Partita | 5 | 1 | 4 | 4 in 3/[4] and 1 in [C] |
| miscellaneous songs (Battaglia, Clorida, Turlurù, Fra [?]acopin[o?], La Lionora) | 5 | 5 | 0 | 3 in [C] and 2 in 3/[4] |
| miscellaneous dances (Girometta, Minimo lo Scorpio, Venetiana, Modazza, Capone) | 5 | 5 | 0 | 4 in [C] and 1 in 3/[4] |
| Toccata | 5 | 2 | 3 | [C] |
| Allemande (Alemana) | 2 | 0 | 2 | [C] |
| Sarabande (Sarabanda) | 2 | 2 | 0 | 3/[4] |
| Romanesca (Ballo di M. Fiore) | 1 | 1 | 0 | [C] |
| Chaconne (Ciaccona) | 1 | 1 | 0 | 3/[4] |
| Totals: | 59 | 33 | 26 | 31 in 3/[4], 21 in [C], and 7 in 3[2] |
Index of Keys Used (solo guitar only):
Keys used in the book; an * indicates that the key is only used in a passacaglia. Note that the pitch is relative and that since the guitarist was using tablature, there was no need to think in terms of traditional key signatures.
| A major | 1 | A minor | 7 | |
| B flat major | 2 | B flat minor | 0 | |
| B major | 0 | B minor | 0 | |
| C major | 7 | C minor | 0 | |
| C sharp major | 0 | C sharp minor | 0 | |
| D major | 18 | D minor | 13 | |
| E flat major | 0 | E flat minor | 0 | |
| E major | 0 | E minor | 1 | |
| F major | 4 | F minor | 0 | |
| F sharp major | 0 | F sharp minor | 0 | |
| G major | 1 | G minor | 5 | |
| A flat major | 0 | A flat minor | 0 |
Index of Names:
KAPSBERGER, Gio. Girolamo
Per arrichiare, e perfettionare al possibile questo istromento, mi sono prevalso di molti modi, a maniere usate in altre sorti d'istromenti, come l'arpeggiare, il strascino, il groppeggiare, il trillo et altre inventioni del Sig. Gio. Girolamo Kapsberger Nobile Alemano stampati gia in diversi suoi libri . . . p. 3
SAVELLI, Paolo
LIBRO PRIMO D'INTAVOLATURA DI CHITARRA . . . DEDICATO ALL'ILLUSTRISSIMO E' REVERENDISSIMO SIGNOR D. PAOLO SAVELLI, ABBATE DI CHIARAVALLE . . . p.(1) [title page]
All' Illustrissimo et Reverendissimo Signor et Padrone Colendissimo Il Signor D. Pauolo [sic] Savelli, Abbate di Chiaravalle . . . p.(2) [dedication to]
VALDAMBRINI, Ferdinando [composer]
LIBRO PRIMO D'INTAVOLATURA DI CHITARRA A CINQUE ORDINI. DI FERDINANDO VALDAMBRINI ROMANO . . . p.(1) [title page]
[dedication signed:] . . . Di Roma . . . Divotissimo, et Obligatissimo Servitore Ferdinando Valdambrini. p.(2)
V. Bibliography
Boye, Gary R. "Giovanni Battista Granata and the Development of Printed Guitar Music in Seventeenth-Century Italy" (diss., Duke Univeristy, 1995).
________. "Performing Seventeenth-Century Italian Guitar Music: the Question of an Appropriate Stringing" in Performance on Lute, Guitar and Vihuela: Historical Practice and Modern Interpretation, ed. V.A. Coelho (Cambridge: Cambridge University Press, 1997).
Eisenhardt, Lex. "Bourdons as Usual." Lute Society Journal (UK) XLVII (2007): 1-37.
Hall, Monica. "A Few More Observations on Baroque Guitar Stringing." Lute Society Journal (UK) XLVIII (2008): 71-75.
Kitsos, Theodoros. "Arpeggiated Chords in Early Seventeenth-Century Italy." Lute Society Journal (UK) XLII (2002): 54-72.
Répertoire international des sources musicales: Einzeldrucke vor 1800. RISM A/I [V 29
Tyler, James, and Paul Sparks. The Guitar and Its Music: From the Renaissance to the Classical Era (Oxford: Oxford University Press, 2002): 72-74, 77-78, 88.
VI. Exemplars
I-Rsc = Italy: Roma, Conservatorio di Santa Cecilia, Biblioteca Musicale Governativa (visited in 1992)
Condition: inside of pages badly damaged with some music missing; large, legible print
Binding: recent blue/pink/grey marbled with white spine
Manuscript additions:
3 added folios at front
p. 1 -- bottom, purple stamp: "BIBLIOTECA . . . ACCADEMIA DI S. CECILIA . . ." [blurred; also on p. 9]
[ff. 1-10 numbered in pencil top right but erased or out of order from then . . .]
corrigenda in ink:
p. 2 -- 2nd st. from bottom, m.2, brownish ink: 7 added over & chord; 2 highlighted [?]; 8/2nd > 0/2nd [?]
p. 4 -- st.1, m.5: 6 added over Ab
p. 4 -- last st., m.1: last three rhythm signs added
p. 9 -- st.7, last 2 mm.: slur added
p. 11 -- st.7, m.4: everything after D added by hand; st.9, end: last 2 mm. from 3/1st XXX out
p. 13 -- st.3, m.2: 2 added to N
p. 14 -- st.3, m.9: 1/2 and 1/4 notes added; st.7,m.8: 5/1st > 4/1st; st.8,m.7,bt.1: 0/3rd added
p. 15 -- st.2, last m.: 5/5th > 4 5th
p. 17 -- st.3, m.7, bt.3: 1/2nd > 4/2nd; 1/1st highlighted?; st.7,m.3: upstroke added under N5
p. 18 -- st.5, m.4: 2/2nd > 3/2nd [?]
p. 19 -- st.3, m.2: N3 > M3
p. 20 -- st.6, m.5,bt.1: 1/4 note added
p. 23 -- st.7, m.4,last note: 7/1st > 2/1st
p. 24 -- st.7, last m.: 0 highlighted
p. 25 -- st.8, m.6, bt.3: 1/4 note added; m.9, bt.3: 1/4 note added; m.11: 1/2 note and 1/4 note added; st.9,end,under O: ddu/d [HL??]
p. 26 -- st.5, m.6: "Girometta" added; st.7, m.5, bt.1: 2/2nd > 3/2nd; st.8, m.5: "Clorida" added
p. 27 -- st.1, m.4: "Turlurù" added; st.4, m.1: "Frà/faco-/pino" [?]; st.5, m.3, bt.3: dotted 1/2 note added; m.5: "la Lionora" added; st.6, last m.: 3/2nd added; st.7: "Gallo di M, Fiore" added; st.7, m.6: 1/2 note w/ # added [?]; st.9,mm.6-7: "Zuffa" added; all rhythm signs changed to next faster value
p. 28 -- st.1: all rhythm signs changed to faster value; st.2, mm.1-2: 1/4 > 1/8; 1/8 > 1/16 with tie; st.4, m.3: "Manima lo scorpiò" added; st.6, m.7: "Venetiana" added
p. 29 -- st.6, m.4: "Sarabanda" added; st.8,m.11: "Gagliarda" added
p. 30 -- st.3, m.1: "Sua Corrente" added; st.6: "Modazza" added
"FINE" added
A copy is available in microfilm.
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