Dear Thomas, Oopsy daisy! Thanks for correcting my mistake.
I assume from your other e-mail, that you are not troubled by consecutive octaves (assuming you don't hear the notes that way). It reminds me a little of the sound you hear on a baroque guitar, if you play campanellas with bourdons on the 4th and 5th courses. There's a funny buzzy noise (i.e. bourdon), coming from the bass, which helps one understand why baroque guitarists should have wanted to get rid of their bourdons. I don't know how this bourdon effect would affect Damiani's hypothesis with regard to Melii. All the best, Stewart. ----- Original Message ----- From: "Thomas Schall" <[EMAIL PROTECTED]> To: "Stewart McCoy" <[EMAIL PROTECTED]> Cc: "Lute Net" <[EMAIL PROTECTED]> Sent: Wednesday, January 14, 2004 7:43 PM Subject: Re: Losy Menuet Hi Stewart, there's a tiny mistake in your opening of the second section (here corrected): |\ |\ > |\ |\ > |\ | > | | > ___________________________________ > _____________a_____|_____________|_ > ____a_____d________|__________d__|_ > ___________________|______c______|_ > ___________________|_____________|_ > _______c___________|_____________|_ > a /a //a > Here we have one of the fantastic features of a lute: Take just the basses and play them alone and you'll find something like a bass part. If you take the upper octaves of the bass parts and the rest of the melody the octaves of the basses includes itself well into the melody. So my option would be the first one - not because it's rough but because of this special feature of the lute which by plucking one single course produces two voices (parts?) in the piece. Best wishes Thomas
