Tom (et al)--
Ed's suggestion of following a "voice" as far as you can is a good one. For
practice, get hold of someting "simple" like Valderrano's duos, where the two voices
are quite apparent. To help keep those voices in mind as you play, you could try
using different colored highlighters on a photocopy of the piece to visually
accentuate the voicing.
Regards,
Leonard Williams
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From: [EMAIL PROTECTED]
Date: 2004/07/27 Tue PM 12:53:38 EDT
To: [EMAIL PROTECTED]
Subject: Imitations
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
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