On Wed, Feb 24, 2010 at 11:09 AM, David Tayler <[email protected]> wrote: > As printed in the Poulton edition, The fifths and direct octaves > cross the bar, from G to D in the lowest sounding voices to E flat to > B flat in the lowest sounding voices.
I see, consecutive fifths between what I regard as bass and middle voice (altus/tenor) to bass and tenor, with the middle voice of the first chord clearly going to the altus of the second chord. I think we can agree to disagree on calling that a parallel fifth - we definitively went to different counterpoint classes - but if your ears perceive it such, so much the better for your ears. Mine are less well-attuned, I must confess. Your fix, replacing the b-flat by a g (second fret, fourth course) is elegant - and not more difficult - but I must say I like the stepwise motion of b-flat to c' to d' tenor line in the second measure, in imitation of what is happening in the middle voice of measure one. As you say, hearing counterpoint in lute writing can be a personal thing. But adding the g might have the best of both worlds: warmer chord, third to avoid attention to bare 5-8 sound, retaining stepwise tenor. I will try it for a while. Thanks for the clarification, anyway. David -- ******************************* David van Ooijen [email protected] www.davidvanooijen.nl ******************************* To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
