Given the preceding nearly identical passage: _a________________________a____________ ____________|_d_______b_|_a_ _____|____ ____a__b____|_a__b__d___|______c__|_d__ __________c_|_a_________|_c_______|____ ____________|___________|_________|_a__ ____________|___________|_________|____
I have been interpreting the "d" in the second measure of both passages as the beginning of a suspension. _________________________a____________ _b__a_______|_d________|_a_ _____|____ _______d__b_|_a__b__d__|______c__|_d__ _c__________|_a________|_c_______|____ _a__________|__________|_________|_a__ ____________|__________|_________|____ thus making the open first course in the third measure of both passages as a "bonus" note. Is this not the correct interpretation? Is this type of thing open to conjecture? It would take some adjustment for me to think of these passages as strict 3-part harmony. Thanks, David Stewart McCoy wrote: Dear All, Antonio sent me this message the other day, but forgot to c.c. it to the Lute List. He has asked me to pass it on. Stewart McCoy. ----- Original Message ----- From: "Antonio Corona" [1]<[EMAIL PROTECTED]> To: "Stewart McCoy" [2]<[EMAIL PROTECTED]> Sent: Friday, November 05, 2004 6:13 AM Subject: Re: Rubato and rolling chords - Milan Dear Stewart, Your analysis is most convincing, from a purely theoretical position. However, I would like to raise another point which. I believe, is of special relevance in the case of Milan, namely: how much should we evaluate or analyse his music from a strict theoretical perspective? You have shown that Milan is quite capable of writing "correctly" part music, and also succeded in showing that he was not overly concerned with following the rules. My suggestion about the particular rolling of the chord was not prompted - in the first instance - from a desire to make clear a somewhat obscure polyphony (in the case under discussion it could be argued that the open first course could have been either the first note of the following phrase or a fill-in; I suspect it was the latter, considering the unique idiomatic nature of these fantasias), but from curiosity as to how much a more active role of the index could affect the music itself. One of the examples you quote provides another good example of how effective this technique could be: |\ |\ |\ | | roll | roll _________________________a____________ _b__a_______|_d________|_a_ _____|____ _______d__b_|_a__b__d__|______c__|_d__ _c__________|_a________|_c_______|____ _a__________|__________|_________|_a__ ____________|__________|_________|____ In the second bar you have another clear case for plucking both courses with the index, thereby stressing the open third course. I would do the same in the third bar, emphasizing the inner voice which has a much more active role. Thus, your melody would sound clearly as: F-E-D-C-B-C-D / E-C#-D. You´ll notice that the upper notes are quite devoid of a particular context regarding what came before and what follows and may therefore considered as fill-ins: |\ |\ |\ | | roll | roll ______________________________________ _b__a_______|__________|_a_ _____|____ _______d__b_|_a__b__d__|______c__|_d__ ____________|__________|_________|____ ____________|__________|_________|____ ____________|__________|_________|____ In any case, I think it's an interesting possibility that merits studying in more detail. Milán's music is so filled with cases as these that I suspect the music could maybe tell us something about the way in which Milan actually played. All the best, Antonio P.S. I don´t think Milan was too much concerned about parallel fifths and octaves: I see his approach as more pragmatic and concerned with effect, something which he achieves admirably. To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html References 1. mailto:[EMAIL PROTECTED] 2. mailto:[EMAIL PROTECTED] 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
