d. collins wrote:
David W. Fenton �crit:
But that does not mean that we absolutely know that Dennis's source is part of the same tradition -- Johannes may be drawing on practices in a repertory that are wholly irrelevant.
First of all, I want to thank all of you who replied to my query - David, Johannes, Mark & John.
The piece in question is a motet for three voices by Rigatti, published in Venice in 1640. I posted the canto part here, if anyone wants to have a look at it. This is the only piece in the whole book that has repeat signs. I've seen and studied dozens, if not hundreds, of vocal pieces of this period, and I've never seen "single" repeat signs. On the other hand, in most of the prints I've seen, the double repeat sign appears at the end of the section to be repeated, and the beginning of the repeat is indicated not by a sign, but by the first words written beneath the repeat sign, so there is no ambiguity.
Something that jumped out at me from that image: Are the double lines immediately before the second repeat sign typical, universal or unusual, for music of this period? _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
