On 2 Jun 2004 at 20:48, 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. . . .
What's the source of the text? It is not scriptural and does not seem to appear in any liturgical contexts. So, I assume it's a newly composed poem. > . . . 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. The double bars seem to set off the concluding Alleluia from the rest of the piece. > In this case (A :||: B :||: C ||), without taking into account any > musical consideration, I could either understand this as meaning A and > B should be repeated, but not C, OR only B (the first repeat sign only > indicating, instead of the text indication, the beginning of the > repeat). Musically, I tend to think this might be the most sensible > solution (in the B section, all three voices sing together, whereas in > A they alternate). > > http://www.philomela.net/tmp/canto.gif I would tend to think, since the C section is an Alleluia with a change of meter at the end, that it should be sung only once. I don't know if I'm convinced about your ABB scenario, but it is plausible. I'd tend to see it as AABBC, but there are a number of odd things, such as the fact that the :||: is *after* the double bar. Also, the two final cadences before :||: signs have a fermata above them, but the last one doesn't (unless it's a defective one -- there's something there on the stem of the final cadence note). Also, another oddity is the word "ada??o" above the beginning of the Alleluia. Nothing is coming to mind on that at the moment (it clearly doesn't belong to the text of the line above it). So, I'm not sure, but I don't see a repeat of the C as the most likely interpretation, unless there's some liturgical tradition involved here (though I can't identify one, and don't even know if it's intended for liturgical use). -- David W. Fenton http://www.bway.net/~dfenton David Fenton Associates http://www.bway.net/~dfassoc _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
