Hi all, I'm playing some pieces by Francesco da Milano, which are technically not too demanding. The problem I find is in recognising all the imitations in the various voices. In staff notation these would be obvious, but I find myself initially going plink-plonk-plonk-plink till my ear tells me there's actually something going on in there that needs to be brought out.
Clearly this affects the fingering, so it would be nice to know if there is a more 'sure-fire' way of seeing the counterpoint before I've played the music through a few times just to get the notes. Coming from staff notation, I'm used to seeing the whole picture at one go, and find it a bit disconcerting to realise after about half an hour that's I've not actually been playing what Mr da Milano intended. Are there any tricks, things to look for, that can save me from going down the wrong road, and enable me to learn the correct fingering as I learn the piece, which would come from being able to see straight away what's going on? All suggestions gratefully received. Cheers Tom Beck --
