Keyboard Fingering in Early Spanish Sources

Author(s): Robert Parkins

Source: Early Music , Jul., 1983, Vol. 11, No. 3 (Jul., 1983), pp. 323-331
Published by: Oxford University Press

Stable URL: https://www.jstor.org/stable/3138019

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Robert Parkins

Keyboard fingering in early Spanish sources

,g Exemplo dcl monachordio comun co%,A
tod laUs particulridadCe qa: rite 4bremi4d4s,y defiws d.clarada.
6 41 61U
fa t re fa re F. T

Sf o lfa I IrFal
rc.4,
- 0 Ird l e,
a(.- Ifr
Ir r IIfl1
,La1 1_1.
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fa re l i hf ot l.

Sr j r i r i f

c I ED) IF I FIIcG ajg 13 cc cf_ c '1131 Z

1 Clavichord keyboard showing note names, hexachords and Bermudo's unique version of numerical tablature; Juan Bermudo, Decla
de instrumentos musicales (Osuna, 1555), f.62r

is hardly surprising in the case of the anthology by

Of the primary sources that shed light on the perform-
ance practice of keyboard music before the mid- 17th
Venegas, Hernando de Cabez6n's edition of his father's
century, those from Spain are among the most works nu- and Correa's Libro de tientos, where the use of
Spanish
merous and detailed. Six writers on the performance of number tablature would make the addition of
Spanish keyboard music from the time of Antoniofingering de numbers at the very least impractical).
Cabez6n (1510-1566) to that of Juan Cabanilles (1644-The length of time that separates Bermudo's treatise
1712) discuss keyboard fingering (in addition to (1555) from Nassarre's (1723) might suggest that the
ornamentation, rhythmic alteration and other aspects six sources would be unlikely to reflect a continuous
of musical performance): Juan Bermudo,1' Luis Venegas tradition of uniform practice. But in fact all six show a
de Henestrosa,2 Tomas de Santa Maria,3 Hernando de remarkable consistency of approach, perhaps because
Cabez6n,4 Francisco Correa de Arauxo5 and Pablo of the conservative nature of early Spanish keyboard
Nassarre.6 The first four wrote in the 16th century, literature in general and of Nassarre's book in par-
Correa is the single representative of the 17th, and ticular. It is paradoxical, therefore, that the Spanish
Nassarre's treatise did not appear until the end of this writers were the first to use the modern system of
era of Spanish keyboard music, in the first quarter of numbering the fingers (illus.2), which was not adopted
the 18th century. No other Iberian sources reveal how elsewhere until the middle of the 17th century. None
keyboard music was fingered before the 18th century, of them claims to have laid down an exhaustive list of
since the music itself contains no fingerings at all (this rules to deal with all possible circumstances, though

EARLY MUSIC JULY 1983 323

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 and right-hand descending and left-hand ascending
Tffcero0.
scales ('inward' scales) are respectively played with
successions of 32 and 21. However, in contrast to

Se,;do. arto.
0 other patterns in common use before the mid-17th
century (those of the English, Dutch, Italian and
German keyboard players), three- and four-finger
~~ E units are also recommended. (Among sources from
outside Spain, only the German writer Elias Nicolaus
Ammerbach8 unambiguously illustrates the employ-
. .... ?
~ ment of the repeated LHT 4321 pattern, a fingering

i- - " - 0 J -~? N
recommended by five of the six Spanish writers.)
The groupings of three and four fingers are fairly
consistently applied to glosas (diminutions in quavers
(corcheas), semiquavers (semicorcheas), and sometimes
crotchets (seminimas)) rather than the slower contra-
,~,

I N-
puntal voices in breves and semibreves (and sometimes

ib 1S, rlcd frkig* r 6*. PAW fef '

rstodo # tr doI.T - a ... -faveCIC O "m o*'

d ldo'l barto Ld. alft;jpw jEoI.. .-krt&V

2 The numbering of the fingers; Declaracion, f61r

both Santa Maria and Correa include extensive sections

on fingering.7 Many treatises, method books and
prefaces of this type are intended primarily for the Trmor.
1. TlOT.
novice (and, in the case of Hernando de Cabezon's
preface, for those 'who do not know how to play
anything'), while others (Correa's, for example) address
the more advanced player as well. But the modern
performer who hopes to gain a keener perception of ..Itw

the performance of early keyboard music cannot

afford to dismiss even the most elementary sources.
Table 1 shows the solution offered by each of the
authors to the problem of fingering scale passages in
repeated patterns; the note-values for which the
fingering sequences are intended are also indicated.
As in other European fingering systems before 1700,
scales are often performed with repeated pairs of
fingers. The paired fingerings (ex. 1) that the SpaniardsdreZIa.osfr &awfd uloV"t Wts Icaa a
* c'; r fi 9llg ay1o ows duc ? Fww"W pkwwcedIr
present in unambiguous form are the same in everyevil wfa.waCm-cg asdllos f&doi$ NOM6?ip"dwa i del vr~uwp
case: in note-values smaller than a minim (minima)
right-hand ascending scales (RHT) and left-hand
descending scales (LHI)-hereafter referred to as 3 Four-voice tiento, following Bermudo's discussion of fingering;
'outward' scales-are played with successions of 34; Declaraci6n, f.61v

324 EARLY MUSIC JULY 1983

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Ex. I Santa Maria
involving the thumb are dominant. For inward scales
however, the three- and four-finger groups in which
f.43v 3 4 3 4 3 4 3 4 3 2 3 2 3 2 3 2
the thumb is the last member are used quite freely,
especially in the left hand, for which all six writers
recommend at least one fingering that includes th
thumb (ex.2).
Ex.2 Santa Maria

f.40v 4 32 1 4 3 2 1 f.43r
crotchets, depending on the metre and tempo). Only
Nassarre, the latest writer though by no means the
most progressive, advocates exclusively paired fin-
4 3 2 1 4 3 2 1

gerings for glosas (the application of his LHT 4321 is

unclear since he shows no continuation).
The similar The earliest to the r
approach
source, Bermudo, recommends outward
only and four-finger
inward scales should be noted. In all
groups
(for'long passages' (passos largos)). The four-note scale
cases but one (Correa's LHI 123 group), the last finger
groups in the outer voices of of each outward unit is 4. For
Bermudo's inward scales, the last
unfingered
musical example (illus.3), which
fingerfollows
of the group ishis
alwaysremarks,
1 in the left hand and 1 or
are in crotchets, but they are2 in the right hand.to
equivalent Thethe
symmetrical
quavers four-finger
or even the semiquavers of later writers,
pattern in both handsas
andthey are the
in both directions is recom-
fastest notes of the piece (in mended
C). Bermudo states
by half the writers, and the that
paired 34 outward
the fingerings given are, of pattern
course, strictly
is given applicable
by the five authors who include paired
only when the hand is free to play a single voice; the
fingerings.
addition of another voice in the
That the fifthsamefinger is hand
never used inmayany of the
necessitate a modification of the
repeated patternsmodel fingering.
does not imply that it is never to be
Nearly 170 years later Nassarre
included at seems to have
all in linear fingering. been
Most of the writers
remind usin
considering just such a situation that advocating
4 and/or 5 can be used atpaired
either end of a
fingerings forglosas, since he scale,
instructs
while 1 and/orthat 1 or
2 may begin or 5 must
complete a run
be used on long notes when playing
that otherwise the
involves two parts
a different with
repeated fingering
the same hand. pattern. Nor should we assume that a single pattern
The employment of the thumb or fifth fingeralone
formust be used, for the two-, three- and four- finger
units can be combined to fit particular melodic
long notes in one of two voices played by the same
hand is quite often recommended, even for several
figurations; the result often resembles 'modern' scale
notes in succession. All the Spanish authors (and, fingerings
for (ex.3).
that matter, all the sources from the other keyboard
Ex.3 Santa Maria, f.44r
schools as well) agree with the principle that successive
notes (mainly quavers and semiquavers) should ordin-5 4 3 2 1 3 2 1
arily be played with successive fingers; but when the
hand must grapple with more than one contrapuntal
line it is frequently suggested that the longer notes in
one voice should be struck with the same finger. Apart from the usual admonition
Indeed, even when Santa Maria advocates the use of 3 fifth finger are to be avoided on
or 2 (or a combination of both) for all breves and there are exceptions), the Span
semibreves, he makes no mention of another voice in Correa seem to make no allowance for the occurrence
the same hand. of black keys within a scale. As music evolved, remot
While other keyboard theorists of the time almost
keys and accidentals appeared more frequently, even
in the
all give 2, 3 and 4 (and sometimes I in the left hand) for conservative tradition of Spanish keyboar
scale groups, the Spanish writers include the thumb in Correa, the only Spanish author to write abou
music.
both hands for rapid runs. For slower outward scales
fingering in the 17th century, is the first to differentiat
(Santa Maria's crotchets), the paired fingerings not fingerings for 'common' (ordinarno) scales,
between

EARLY MUSIC JULY 1983 325

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Table 1 Linear fingeringa

Repeated patterns Applicable Principal

Source LH RH note- fingers Commentsb
1 T L values LH RH
Bermudo 4321 1234 1234 4321 for 'long - - The only four-note scale groups in
(1555) passages' Bermudo's unfingered example consist
(?i) of ?s (the shortest rhythmic value in
this tiento).
'When the hand is occupied with
another voice, use whichever fingers
are free.'

'Not all players use these fingerings, but

many distinguished ones worthy of
imitation do.'

'All fingers should be trained to play

ornaments.'

Venegas de 21 34 34 32 - 2 3 For inward scales, 3 'crosses over' 1.

Henestrosa 321 321
(1557)

Santa Maria 4321 1234 1234 4321 P 2, 3 2, 3 For inward scales, the four-finger
(1565) 321 321 preferred grouping is preferred above all on ;s
4321 1234 1234 4321 for ; and for long passages of Js and Js.
34 34 32 r or J As a rule, 3 follows 1 on Js or ;s.
321 RH 2 is used as an alternative principal
4321 1234 4321 finger in the quiebro reiterado (long
21 34 34 32 preferred main-note trill) only.
for i The paired fingerings (J) are also used
3/2 2/3 3 3 J or, as abstract models by Santa Maria in
32 23 the discussion on technical approach.
32 J only

Cabez6n 34 34 32 - 2, 3 2, 3 'The player will encounter glosas for

(1578) 4321 which these fingerings do not work, in
which case use the ones that fit best.'

Correa 21 34 34 32 -- 2 3 'Common' (white-key) scales use paired

de Arauxo 321 123 234 432 J; in ex. fingerings.

(1626) 4321 1234 1234 4321 ,77 in key)

ex. scales
'Uncommon' (mixed
are fingered in b
three- an
four-note groups. Finger crossings in
Correa's examples do not occur on th
beat; the finger patterns are designe
to accommodate the sharps and
natural keys comfortably.

aFingerings given to accommodate the bass 'short octave' have been omitted. The substitution of the pitc
of the keyboard (E F sharp G sharp) was a common practice among the builders of keyboard instruments
usual fingerings in the lowest octave (see illus. 1).
"Comments enclosed in inverted commas are paraphrased quotations from the theorists concerned

326 EARLY MUSIC JULY 1983

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 Nassarre
(1723)(.?) 34 34 32 for glosas 2 3 LHI uses 1234 if there are only four
notes.
LHT uses
notes. Na
continuat
but no pa
'Use 1 or
glosas in
'All finge
addition t

Table 2 Harmonic intervalsa

Source Hand Interval Commentsb

2nd 3rd 4th 5th 6th 7th 8ve

Bermudo RH - 34 45 5 'Each fingering may be modified to

(1555) 12 12 1 accommodate another voice in the same
hand.'
LH - 12 - - 12 1
34 45 5

Santa Maria RH - 234 345 345 5 'For 3rds, 12 and 24 are used more
(1565) 112 112 112 1 frequently in the RH, 13 in the LH.'

LH - 112 112 112 1

234 345 345 5

Cabez6n RH - 345 34 34
(1578) 123 11 11

LH - 123 11 11
345 34 34

Correa 1 I 1 I 1 1 1
de Arauxo RH 234 234 234 2 45 2 45 45 45 Octave fingerings apply to 9ths and 10ths
(1626) 123 112 112 1 12 1 12 11 11 as well.
Preferred fingerings are indicat
1 1 1 1 1 1 1 arrows.
LH 12 2 1 2 1 2 1 12 1 12 11 11 'The 12 fingerings may be used by
23 4 2 4 2 4 2 45 2 45 45 45 advanced players.'
'Any other finger may be used with 1 o
for 2nds when the situation

requires it.'
Correa also includes triadic fingerings.

Nassarre RH 4 4 45 5 5 5 5 'Use 12 for 3rds in the LH only for an

(1723) 2 2 22 2 2 1 1 upper part when there is a glosa in the
lower.'
LH 2 1 2 12 21 12 1 1
4 2 4 44 55 45 5 5

EARLY MUSIC JULY 1983 327

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 involving white keys only, and 'uncommon' (extra- Whether a scale begins on or off the beat, the initial
ordinario) scales, which include black keys as well. His note is never played with the last finger of a three- or
three basic finger patterns can be combined, and the four-note pattern (e.g. 4 in LHI 1234). Nor does one
three- and four-finger groups intended for the 'mixed' initiate a paired fingering with the outermost finger in
black-and-white-key scales ensure that the player is an outward scale (e.g. 4 in RHT 34) or the innermost
not forced to use the thumb on a black key when the finger in an inward scale (e.g. 2 in RHI 32). Every
hand is free (ex.4). He acknowledges that his preferred melodic pattern in motion by step is fingered with
fingerings for mixed scales are not universally applied, the most comfortable combination of two-, three- and
especially among the less advanced: 'For [most of four-finger units to fit the number of notes in that
them] do not know the art of using the fingers, and they pattern.
use the common and ordinary [fingerings]. When they Although Diruta's well-known theory that good and
have to play the uncommon [scales], there arises [the bad fingers should be used respectively on strong and
fault of] playing them defectively, [i.e.] lifting the weak beats does not seem to play a part in Spanish
finger prematurely [? producing unwanted breaks in fingering, the concept of 'principal' fingers for ornam-
the scales].'9 entation is important.12 Five of the six writers recom-
Of the six Spanish writers only Santa Maria and mend 3 (occasionally 2) in the right hand and 2
Correa supply musical examples to illustrate their (sometimes 3) in the left hand for the main note of an
fingering rules, and Santa Maria does not always ornament.'3 Santa Maria, in fact, makes so strong a
clearly explain his unfingered examples. The un- connection between a particular principal finger and
ambiguous models, however, reveal no consistent the main note of a short quiebro (an ornament equiv-
correspondence between certain fingers and strong or alent to a simple or inverted mordent), that he
weak metric placement. The Italian Diruta's concept of recommends playing a quiebro on any crotchet or
using 'good' fingers (2 and 4 according to him) inquaver that falls to a principal finger, as opposed to
ensuring that a principal finger is available for a note
metrically strong positions'0 is not in evidence among
the Spanish examples. All fingers are used on bothbearing a quiebro. That Santa Maria's principal fingers
(2 and 3) are those suggested for all plain long notes
strong and weak parts of the beat, and the repeated
may also be significant.
finger patterns do not necessarily correspond to the
normal subdivisions of the beat or bar. Thus the All five fingers are employed for harmonic intervals
'crossing' between the last finger of one unit (see
andTable
the 2; finger numbers are to be read vertically).
first of the next often occurs within as well as on the In addition to linear fingerings, all the sources but
beat (ex.5). The care apparently taken by the English Venegas suggest fingerings for consonancias (quite
virginalists to arrive whenever possible at a 'strong'literally, 'consonances' for the 16th-century writers
cited here, though the term is applied to all vertical
finger (usually RH 3, LH 3 or 1) on the beat" seems not
to have been shared by Santa Maria (ex.6) or Correa.intervals by later authors such as Correa). The thumb
Ex.4 Correa, f.24v and the fifth finger should avoid reaching for a black
4 3 2 1 3 2 1 4 3213 2 1 key unless the width of the interval demands it. Even
for a consonancia played on two white keys the
"n o combination of I and 5 is recommended only for
intervals larger than a 6th (Nassarre's 5th is exceptional);
the thumb is included in the fingerings for all such
intervals. Adjacent fingers (disregarding the thumb)
Ex.5 Santa Maria, f.44r
should normally play only 2nds, unless, according to
4 3 2 3 2 1 3 2 3 2 4 3 2 3 2 1
Correa, a triadic combination forces the player to use,
for example, 5 and 4 to strike a 3rd within a three-note

Ex.6 Santa Maria, f.43v

_W' I chord. Seconds may also be played with 2 and 4, a
curious combination at first glance, but one for which
4 3232323
3 2323232 the Italian Banchieri provides a plausible explanation
:IP I , i , I II in his example of 2-3 suspension in the right hand
requiring the use of the second finger on the dissonant

328 EARLY MUSIC JULY 1983

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note and its resolution against the fourth finger both on and off the beat.l8
holding the stationary voice (ex.7).14 Despite his admonition against repeating a finger on
Ex.7 Banchieri, p.42 (right hand alone) successive crotchets or quavers (doubtless he intended
2 4 3 semiquavers as well) in ordinary circumstances, Santa
Maria offers more than one example of a scale whose
first note is twice as long as the succeeding ones for
2 2 2 3
which he advocates using the same finger for the first
Even Correa, who
two notes (ex.8).suggests far
This opening rhythmic pattern with
binations for harmonic
the same fingering isintervals th
common outside the Iberian
admits that hispeninsula
list as well,is
and can
by be foundnoin Diruta,'9
mea
couplings such as and
Sweelinck20 1the and 2among
English school,21 may others.
widest intervals when one of the two voices involves a
Ex.8 Santa Maria, f.43v
glosa (this is listed as the third of three orders of
fingering for players of varying abilities).
Only Santa Maria offers any advice for performing
parallel 3rds in one hand: 13 and 24 in alternation. 1 12 3 4 3 4 3
5

More than 150 years later this method of playing 3rds

was declared a new style by Francois Couperin, who The question of how to finger quick repeated notes
is also
remarked that formerly such passages were played by 2 briefly discussed by Santa Maria. The reader is
and 4 alone.'" Santa Maria's fingering is not unique
advised to alternate a pair of adjacent fingers for one
even in the 16th and early 17th centuries: some of the
or more immediate repetitions of a single note: 23 in
fingered examples left by the English virginalists the right hand and 12 or 23 in the left (note that each
pair includes a principal finger). Santa Maria is not
(whose fingering patterns resemble those of the Span-
alone in his recommendation even before the mid-
iards in several ways) show successive 3rds played by
13, 24 and even 35 consecutively.'6 17th century: examples of alternating adjacent fingers
These helpful and enlightening instructions, even
on a repeated pattern of notes occur in the music of
the extended remarks of Santa Maria and Correa, Samuel Scheidt22 and several English keyboard com-
barely scratch the surface of the fingering problem,posers,23 occasionally even on repeated 3rds.24 This is
however, for real keyboard music is seldom composed not to say, however, that all repetition was performed
of straightforward scale figures in one hand accom- with different fingers, particularly among other national
panied by simple consonancias in the other. The tientos
schools (such as the earlier Germans, Buchner25 and
and diferencias of the Spanish composers can beAmmerbach,
as who preceded the generation of Scheidt
complex and technically difficult as any keyboard
and other pupils of Sweelinck).
literature of the period. Among general principles of fingering, two im-
The usual contrapuntal texture in four and some- portant ones expounded by the Spanish writers are:
times five voices requires division of the parts between
whenever possible, use adjacent fingers on adjacent
the hands. The common advice from the Spanish notes in faster passages; and always look ahead and
writers is wherever possible to free the hand that must
examine the context of a chord or melodic figure
play a complex ornament or glosa and to relegate the before selecting a fingering for it. While the latter rule
slower remaining voices to the other hand. It is often
is axiomatic for the fingering of any keyboard music,
necessary, when playing two or more parts with one the former is subject to several exceptions. Santa
hand, to use a single finger several times in succession
Maria admits that adjacent fingers must occasionally
(usually 1 or 5).'7 And, of course, Santa Maria advocates
execute melodic 3rds and even 4ths, and examples of
the use of the same finger (2 or 3) on all breves and this abound in the non-Spanish keyboard literature.26
semibreves, even when the hand is otherwise un- In addition non-adjacent fingers may sometimes play
occupied. Although his recommendation appears in
adjacent notes, especially in sequences.
the context of a discussion of scale patterns, examples
Sequential figures are characteristically sequentially
can be found in keyboard sources from outside Spainfingered in the English, Dutch and German sources,
of the use of a single finger for narrow and wide skips,
and the few examples given by Santa Maria and Correa

EARLY MUSIC JULY 1983 329

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are not exceptional. In one illustration, Santa Maria fingering pa
offers alternative sequential fingerings for the same shifts,is not
sequence (ex.9); in fact, he several times suggests more just as reaso
than one fingering for identical or similar passages. glosas, even
These examples, in addition to the variety of scale and slightly deta
interval fingerings prescribed by all the sources, gerings of th
should make it eminently clear that there is often more off the beat
than one way to approach a particular passage (though seems to pr
there are most assuredly as many or more ways not to). implications
Ex.9 Santa Maria, f44r It also rem
3 3 3 3 fingering wi
4 3 21 4 3 2 1 4 3 2 1 4 3 2 1
apparently e
so.29 Yet on
. ... . . L ft. .. j II -

tion between
Would an suggested
alternative tr
ac
produce a long-short
different mu
has yet to for
be quavers.
demonstra
results in a single,
and the de
alter
ulation. Several
short-short-
modern
tice since Correa's
Arnold dac
Dolme
century short-short)
have derived va
articulationexample,
from wh
finge
that, the
unless lengthen
otherwise s
constitutesEx.
the
10 'normal
Correa, f2
pre-18th-century
4 3 2 3 2 4 3 2 3 2 4 3 2 keybo
3 2 4 3 2 3 2

Quite clearly, Santa M

played by the same fi
detached, as must those
glosa is performed with
same hand (as Nassarre
43232 43232
on successive notes in t
certainly isolates the fi
ones. Although he do
articulation directly, Sa
of 'normal' touch in his
when he Unpredictable
observes and e
that
before the quences
one of
thatapplying
im
Finger temporary music
substitution onmiga
by any of modern
the player
sources, has ad
18th techniques
century.28 at a histo
While it iswhich the music to
possible was i
on inward performance
scales, becomes
especi
over the are ultimately
thumb to unde
(as V
even hints of the
at 16th- and 17 th
bringing t
or turning intended
the to sound, w
forearm
keyboard aspect of performanc
(Santa Maria
outward scales as though
Correa's This article is a 234
right-hand revised
difficult, ifmeeting not ofimposs
the College
of notes Carolina, in March 1981.
should be slur

330 EARLY MUSIC JULY 1983

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 1J. Bermudo, Declaracidn de instrumentos musicales (Osuna,
1555/R1957), f.61
2L. Venegas de Henestrosa, Libro de cifra nueva para tecla harpa y
vihuela (Alcali de Henares, 1557), ff.7v-8r; ed. H. Angles, Monu-
mentos de la musica espafiola, 2 (Barcelona, 1944), pp.158-9
3T. de Santa Maria, Arte de tafierfantasia assipara tecla como para
DENNIS
vihuela (Valladolid, 1565/RI972), 1, ff.39-45
4H. de Cabez6n, Preface, A de Cabez6dn Obras de mzsica para tecla
harpa y vihuela (Madrid, 1578), ff. 10v-1 Ir; ed. H. Angles, Monumentos
de la musica espafiola, 27 (Barcelona, 1966), p.28. The Obras consist
almost entirely of Antonio's works, published posthumously by his
WOOLLEY
son Hernando, who added a lengthy preface which includes a few
remarks on fingering.
5F. Correa de Arauxo, Facultad orgdnica (Alcala, 1626), ff.18v-25r;
ed. M. S. Kastner, Monumentos de la mtisica espafiola, 6 (Barcelona,
1948), pp.58-66 TUBHOLE BARN
6P. Nassarre, Escuela misica segun la prdctica moderna, 2 (Saragossa,
1723), pp.460-61 DENT
'In addition to his instructions on fingering, Santa Maria also
includes detailed remarks on hand position and keyboard technique
(chaps. 13-17).
SEDBERGH
8E. N. Ammerbach, Orgel oder Instrument Tabulatur (Leipzig, 1571),
cited in A. Dolmetsch, The Interpretation of the Music of the XVII and CUMBRIA
XVIII Centuries (London, 2/1946), p.365
9Correa de Arauxo, op cit, f.25r; ed. Kastner, p.66
'OG. Diruta, II Transilvano, 1 (Venice, 1593), ff.6ff
"P. le Huray, 'Fingering', ? I, 3 'Keyboard, to cl650', TheNew Grove,
6, p.569
12For a more detailed discussion of ornamentation, see my article
'Cabez6n to Cabanilles: Ornamentation in Spanish Keyboard Music',
The Organ Yearbook, 11 (1980), pp.5-16.
"There is a similar correspondence in the music of the English
virginal school between the ostensibly strong fingers and the notes
marked for ornamentation by the mysterious single and double
strokes; see J. Rogers, 'Early Keyboard Fingering, ca. 1520-1620'
(DMA diss., U. of Oregon, 1971), pp.142ff.
14A. Banchieri, Lorgano suonarino (Venice, 1611/R1969), 'Quinto
registro', p.42
'5F. Couperin, L'art de toucher le clavecin (Paris, 1717), pp.29-30
'6E.g. The Buildings, Priscilla Bunbury's Virginal Book, bars 11-13;
cited in Rogers, op cit, p.141
"This is also a common technique in several non-Spanish
sources, e.g. Sweelinck, Echo Fantasia; ed. in J. P. Sweelinck, Opera
omnia, 1 (Amsterdam, 1968), no.14, bar 120. See also Banchieri, loc
cit.

"'E.g. John Bull, Pavana, Fitzwilliam Virginal Book, no.34, bars 26,
87

'9Diruta, op cit, f.7r

20Sweelinck, Toccata; ed. in Opera omnia, 1, no.18, bar 27
21E.g. Bull, Fantasia, bars 65, 73, 74; ed. in Musica britannica,
14 (London, 1960), no.11
22Scheidt, Ach du feiner Reiter, variation 5, in Tabulatura nova
(Hamburg, 1624); ed. in S. Scheidt, Werke, 6 (Hamburg, 1964)
23E.g. Bull, Pavana, bars 31-2
24E.g. William Byrd, The Marche Before the Battell, My Ladye Nevells
Booke, no.3, bar 9
25H. Buchner, Fundamentum, c1520, Zurich, Zentralbibliothek,
284; ed. C. Paesler, 'Das Fundamentbuch von Hans von Constanz',
Vierteljahrsschrift fi'r Musihwissenschaft, 5 (1889), pp.1-192
26E.g. Ammerbach, op cit, cited in Dolmetsch, pp.367-8; Bull,
Pavana, bar 51
27Santa Maria, op cit, f.38v
28Correa's ambiguous references to 'exchanging' (trocando) the
fingers seem to imply a shift of hand position at the end of a pattern
rather than finger substitution.
29E.g. Babitz, 'On Using J. S. Bach's Keyboard Fingerings', M&L 43
(1962), pp.123-8

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