ALL THE MISTAKES IN THE PUBLISHED SCORE  OF

"DUE CANZONI  LIDIE"

(also that of the 1st print)

The numbers refer to the page, line and bar.

"Tranquillo"

2: on begin: 4/8+3/8;

3, 2, 3: the 2nd slur go from G until G (play A with thumb);

4, 2, 1: the 2nd note of the triplet is a B natural;

4, 4, 1:  the 2nd D on the bass is a dotted eight;

4, 5, 2:  change the A natural on the bass in D natural (open string)

4, 6, 1: F on the bass is held;

4, 6, 1: remove the tie between the two Bb in the centre of the line;

4, 6, 3: the 1st  C on bass is a dotted eight;

5, 4, 2: after the corona the numbers are inverted (1, 4, 1, 4 is the corrected fingering);

5, 6, 1: I suggest to play A on the 5ft string to have a little more resonance;

5, 6, 2: E is natural.

"Agitato"

6, 1, 1: after the dashed bar line: the C following the 2nd Db is natural;

6, 3, 1: the last A before the dashed bar line is natural;

6, 4, 1: the 2nd E on bass is flat;

6, 5, 1: the 2nd A on bass is an eighth;

6, 5, 1: remove the dashed line between the numbers 3;

6, 6, 1: add an up steam to the 1st C and joint it with the following F (both 32nd);

6, 6, 1: after the corona, the 2nd G and the 2nd F # must be both semiquaver;

6, 6, 2: in the last group the number 2 can be changed in 1;

6, 7, 1: the 2nd C of the line (with double steam) is a semiquaver with point in the lower voice;

6, 8, 1: at the end of the bar from the E to A is a "quintina";

6, 8, 4: the last note of the 3 rd frame  is a D;

7, 1, 2: all the notes with down steam are to be dotted;

7, 2, 1: add a dot to the 1st and 2nd bass Eb;

7, 2, 3: add a dot to the Eb bass;

7, 3: add a dot in the 1st, 2nd and 3rd basses (E, Eb, Eb);

7, 3: the 1st A with up steam is a eight;

7, 4: the last high G of the line is natural;

7, 5, 2: the last A (before the dashed bar line) is natural;

7, 6: after the bar with dashed bar line the value of the G and the A on the bass is of 32 nd.

SOME  COMPOSER'S COMMENTS ABOUT

"DUE CANZONI LIDIE"

Presentation

(1984)

                                                           

In a imaginary place where memories of ancient ≥melos≤ and archaic modal forms reside,  ≥Due Canzoni
Lidie≤ is about an enchanted traveller who descovers the charm  fascination of a primeval forgotten world.

The sonorous spaces encountered during this revisitation are enlightened and embellished by a strictrespect
for the ancient modality, rediscovered beyond any intellettual vision without diminishing its expressiveness.
Recurring in its original melodic form, the Lydian mode here becomes vivid with the magic of its resonance
and, thanks to a wide use of harmonic and melodic sounds produced in various strings, generate precise
polyphonic elements full of ambiguity and armonical polyvalencies.

From a purely technical point of view, ≥Tranquillo≤ is a free ≥Divertimento≤ made up several recurring
thematic phrases, in a contest where the primary compulsory structural pillars are made of the Lydian
gregorian modality and of the almost ever present 7/8 rhythm.

≥Agitato≤ is a ≥Fantasia≤ characterized and generate by a melodic-transportable cell (Eb-D-B) where the
primary Lydian scale is enriched by chromaticism.

A panoramic description

(1991)

Itπs a brief intense voyage in the old world of the modalism (≥Lidia≤  is the name of one of the modal-
gregorian scales) that here is rediscovered and showed by a visual that  praises highly the great expressive
potential and its harmonic ambiguity.

In this ≥celebration≤ guitar is a formidable colour palette by virtue of its innumerable timbre and its varied
resonances and harmonic sounds.

In specific, ≥Tranquillo≤ use some melodical recurrent phrases and a rhythm of 7/8; ≥Agitato≤ is instead
characterized and structured by the continual use of a three notes cell (transposed and interpolated) and by the
use of chromaticism, from which a more   troubling atmosphere derived.

A short analysis

(2000)

The Lydian mode is on the tendency to remark some notes and the strength of them intervals: A/Eb (namely
A with Eb on the bass) or D/Eb  that well characterize the lydian scale of Eb. You can see the modality isnπ t
rigorous and in the develop (from  page 3) we can meet many extraneous notes respect the basic scale.

Infact, the original harmonic exploration I made when I wrote the piece was based on the continue
overlapping of G-Bb (begin of page 2) respect some basses, to produce particolary harmonic effects. For
exemple  G-Bb/Eb is a chord of Eb, G-Bb/A seem an A with b9, G-Bb/E is a E minor b5, or G-Bb/G
sometimes I used with F# high to give the effect of G minor-major 7. So the idea of Lydian mode arrived in a
second moment. When I observed that the Eb scale was a continue tendency of the itinerary of my phrases
( as the natural resolution and a relaxation of the harmonic tensions) I gave the title ≥Lidie≤  to the piece , also
with a poetical sense ( and not own structural ).

 
In this piece I began my compositive experience based on some ≥harmonic cycles≤ system (in the 1st song)
and with the use of a melodical cell (in the 2nd song). The ≥harmonic cycles≤ system consist in creating a
sequence of chords (whit scales connected to them) that in a underground way genetate the elements of the
piece. In some other succesive pieces of mine I used the ≥harmonic cycles≤ system continuously, but in
≥D.C.L.≤ we can only speak of some ≥harmonic fields≤ used  above all in the 1sts 2 pages and in them
tranformated repetition on page 5.

These harmonic fields consist in 3 groups of notes that I put in sequence and giving 3 different harmonic
colours. The 1st is based on the notes of the Eb scale; the 2nd consist in the entry of F#, the create an
athmosfere about of G minor-major 7 (but also Eb minor and major together), and the 3rd field is created by
the introduction of  E natural.

At the begin of the 3rd page you can observe a mix of the 3 harmonic fields and the use of  some chromatic
movement on the basses.

About the 2nd movement, the presence of the downwards cell is evident in many points and hidden in other. It
consist in a half-tone followed by a minor 3rd. I made a large use of this element: itπ s used also as inversion,
retrograde and in vertical position. It turn up  clearly - as 1st time - at the end of the 1st line in the both up
steam notes.