Nick Capelli emerges from prison into a world where his once strong mafia family - and the very fabric of Italian organized crime itself - has eroded, leaving him with no direction, but an uncontrollable need to try to recreate his past life. But this time it's going to be different... In the modern world where the mafia doesn't command respect like it used to, CAPO takes a look at what it would take for a modern crime organization to rise today.
Status: In Development
Runtime: 60 minutes
CAPO - Capo - Netflix
A capo (short for capodastro, capo tasto or capotasto [kapoˈtasto], Italian for “head of fretboard”; Spanish: capodastro [ka.po'ðas.tɾo]; French: capodastre; German: Kapodaster; Portuguese: capodastro, Serbo-Croatian: kapodaster) is a device used on the neck of a stringed (typically fretted) instrument to shorten the playable length of the strings, hence raising the pitch. It is a common tool for players of guitars, mandolins, banjos, and ukuleles. The word derives from the Italian “capotasto” which means the nut of a stringed instrument. The earliest known use of the term “capotasto” is by Giovanni Battista Doni who, in his Annotazioni of 1640, uses it to describe the nut of a viola da gamba. The first patented capo was designed by James Ashborn of Wolcottville, Connecticut. Musicians commonly use a capo to raise the pitch of a fretted instrument so they can play in a different key using the same fingerings as playing open (i.e., without a capo). In effect, a capo uses a fret of an instrument to create a new nut at a higher note than the instrument's actual nut. There are several different capo designs, but most commercial capos consist of a rubber-covered bar that clamps to the instrument's neck in some way to hold down the strings. Capos come in different sizes and shapes for different instruments and fretboard curvatures. The most relevant mechanical factors that vary by type of capo are ease of use, size, degree of interference with the player's hands, and ability to hold down strings uniformly without affecting tuning. All types of capo should be applied after a fresh tuning by laying the barre, descending from above, and directly behind the fret, so that all of the strings have uniform position and pressure. If the strings are bent or mispositioned, the instrument will sound out of tune in the new key. Some types of capo can mar the neck of the guitar if applied incorrectly. Musicians use capos on many stringed instruments: guitars, mandolins, mandolas, banjos, ukuleles, bouzoukis—virtually any instrument that has strings suspended over a fretted fingerboard. Capos exist for square-necked resonator guitars, some of which do not contact the neck, but clamp above and below the strings.
CAPO - Partial capo - Netflix
Though most capos are designed to raise all strings, partial capos specifically capo only some of the strings. This may appear to have a similar effect to alternate tunings, but there are differences. A common example is a capo that covers the top five strings of a guitar leaving the bass E string uncapoed. When played at the second fret, this appears to create a drop D tuning (in which the bass E string is detuned to a D) raised one full tone in pitch. In fact, these are often marketed as “drop D capos”. However, the same difference applies with a drop D capo as with a regular capo; namely, only the open tuning of the strings is affected, and thus, when used at the second fret, an E chord using the D shape has the “Drop D sound” with a low E note. However, a G-shape chord can be played as well, as the fretted E string is not as affected as it would be if the string was retuned. Partial capos are a relatively recent design. Until their creation, some innovative players used their standard capos (or altered capos) to cover only some of the strings of their instruments. The above-mentioned drop D design was previously achieved, for example, by applying a spring clamp capo to the treble side of the fretboard but leaving the bass E string uncovered. Similarly, users of the Shubb capo altered their capos by cutting off some of the rubber-covered bar's length or by altering the rubber covering to leave certain strings uncapoed. Other common partial capo schemes include capoing the 2nd fret of the 3rd, 4th and 5th strings (producing the effect of DADGAD tuning raised two semitones), or on the 2nd fret of the 2nd, 3rd and 4th strings (open A major). Again, this creates no change of fingering above the capo. American guitarist Dominic Frasca uses single string “mini capos”, attached by drilling through the neck of his customized 10-string guitar. These are similar to the single-string “capos” many Eastern instruments use, in which the string is hooked under the head of the “nail” when one wants to capo it. This is a common capo practice during the performance of a musical piece, so that the tuning at the end of the piece will sound different from the one used at the beginning. This is a common method of capoing the fifth string of the banjo, since the string begins at the 5th fret. Thus, it needs to be capoed individually since it is not covered by a capo on the other four strings.