Dear Roman, The first two bars certainly do seem to involve parallel octaves (a1 + c4 followed by d2 + a4), but only because the previous bar was not included in the extract. Seen in context, the apparent parallels disappear.
As has been said before, the implied polyphony in Luis Milan's music is open to more than one interpretation. I've used Antonio's dodge of highlighting a part in capital letters to show voice-leading. In this case the capital letters represent what I think is one melodic line weaving its way through the texture. I don't think it's possible to allocate every note to a strict SATB format. | |\ | |\ |\ |\ | | | | |\ | | | | | | | _a___a_______________f_________d_a___ _b_|_a___|_d_|_D___|___B_A___|_A_B_|_ _d_|_b___|_f_|_d___|_______D_|_____|_ ___|___c_|_f_|_e_a_|_________|_____|_ ___|_____|___|_____|_________|_____|_ ___|_____|___|_____|_________|_____|_ |\ |\ |\ |\ | |\ | |\ | | | | | | | _________________a___________________a_______ ___A_B___|_____|_________|_d_____b_|_a___|___ _______D_|_B___|___A_B___|_A_B_D___|___C_|_D_ _________|___C_|_______C_|_a_______|_c___|___ _a_______|_c_d_|_________|_________|_____|_a_ _________|_____|_________|_________|_____|___ If my interpretation is correct, the harmony (where there seemed to be parallel octaves) would be __a_______ ______d___ ______a___ __c___a___ __d_______ __________ which is perfectly OK. By the way, this particular passage in Fantasia 11 is almost a re-run of Luis Milan's first Fantasia, which begins like this: | |\ | |\ | | | | | | | | | | | _a___a_________f_____d__a___c____ _b_|_a___|_d_|_d___|_a__c_|_d__|_ _d_|_b___|_f_|_____|____d_|____|_ ___|___c_|_f_|_e_a_|_c____|_a__|_ ___|_____|___|_____|______|____|_ ___|_____|___|_____|______|____|_ I used to wonder whether Antony Holborne was referring to this passage in his Galliard "Muy Linda", especially since "Muy Linda" are two Spanish words (meaning very pretty), and they sound a bit like "Milan". Both pieces are in the same key, and start in exactly the same way. However, perhaps I should have brought Fantasia 11 into the equation too. Here is the opening of Holborne's Galliard: |\ |\ |\ |\ | |\ | |\ | | | | _a__a____________________a________b__a____ _b__a_____d__a_|____b__d_a____d_|_b__a____ _d__b________b_|_d_______b______|_d__b____ _______c__d____|_______d____c___|_______c_ _______________|________________|_________ _______________|________________|_________ Milan's three-note motif occurs at least three times. (I've marked each entry with * , and highlighted the motif in capital letters): |\ |\ |\ |\ | |\ | |\ | | | | _a_*A____________________a________b__a____ _b__a_____D__A_|____b__d_a____d_|_b__a____ *D__B________b_|_d_______b______|*D__B____ _______C__d____|_______d____c___|_______C_ _______________|________________|_________ _______________|________________|_________ Holborne's continuation of the melody (a1, d2, a2, b2, d2, a2) is certainly reminiscent of the simlar passage in Milan's Fantasia 11. The trouble with this sort of speculation, is that it is very difficult to prove one way or the other. Holborne might have had Milan in mind, or it could just be a case of great minds think alike. You pays your money and takes your choice. Best wishes, Stewart. ----- Original Message ----- From: "Roman Turovsky" <[EMAIL PROTECTED]> To: "Antonio Corona" <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]> Sent: Tuesday, November 09, 2004 1:34 PM Subject: *** SPAM *** Re: Rubato and rolling chords - Milan > Something is fishy here. Measures 1 and 2 seem to make a parallel octave. > RT > ______________ > Roman M. Turovsky > http://polyhymnion.org/swv > > > > From: Antonio Corona <[EMAIL PROTECTED]> > >> Given the preceding nearly identical passage: > >> _a________________________a____________ > >> ____________|_d_______b_|_a_ _____|____ > >> ____a__b____|_a__b__d___|______c__|_d__ > >> __________c_|_a_________|_c_______|____ > >> ____________|___________|_________|_a__ > >> ____________|___________|_________|____ > >> > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
