Dear David,
>
> 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.
In my view, the "d"2 in the second measure is part of
the melody which comes from the first course "a" in
the preceding bar, thus:
_a_____________________________________
____________|_d_______b_|_a_ _____|____
____________|___________|_________|_d__
____________|___________|_________|____
____________|___________|_________|____
____________|___________|_________|____
playing in counterpoint to:
_______________________________________
____________|___________|___ _____|____
____a__b____|_a__b__d___|(d)___c__|_d__
__________c_|___________|_________|____
____________|___________|_________|____
____________|___________|_________|____
where the d3 (I suppose this is the one you meant)is
indeed the biginning of a suspension. The "a"4 in the
second bar would be an isolated bass, while the "a"1
in the third would be a fill-in note, as you righly
point out.
The second case is even more interesting:
> _________________________a____________
> _b__a_______|_d________|_a_ _____|____
> _______d__b_|_a__b__d__|______c__|_d__
> _c__________|_a________|_c_______|____
> _a__________|__________|_________|_a__
> ____________|__________|_________|____
>
Here, in my opinion, you have only two voices:
______________________________________
_b__a_______|__________|_a_ _____|____
_______d__b_|_a__b__d__|______c__|_d__
____________|_A________|_C_______|____
_A__________|__________|_________|_A__
____________|__________|_________|____
The remaining notes would be fill-ins. Even though it
is quite tempting to think of the "d"3 as the
beginning of a suspension, as in the previous case, I
tend to prefer the above interpretation. It could be
feasible, of course, to consider it as similar to the
other one: in this case you would have two filling
notes at the beginning of bar 3. Now, considering the
possibility that my hypothesis about the index upward
stroke could have some substance, this could be a
possible interpretation:
roll roll
_________________________a____________
_b__a_______|_d________|_a_ _____|____
_______d__b_|_a__b__d__|______c__|_d__
_c__________|_a________|_c_______|____
_a__________|__________|_________|_a__
____________|__________|_________|____
Best wishes,
Antonio
P.S. I should like to thank Stewart for forwarding my
previous messaage.
> 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
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