@cs.dartmouth.edu
Subject: Re: [NSP] Re: Rusty Gulley
On 8 Jul 2008, Gibbons, John wrote:
Oh good - taking about the music!
I'm reading (or attempting to plough through most of) a heavy duty tome
called the History of Violin Playing from its inception to 1761 by John
Boyden.
In talking of Renaissance
Good examples, John. Everything you mention here I would consider as
syncopation rather than change of metre, or in the case of Risty
Gulley, alternating metre. Maybe this is a too-subtle distinction, but
it's one that I experience. I use syncopation a lot in my own playing,
and for me it works
@cs.dartmouth.edu
Subject: [NSP] Re: Rusty Gulley
Good examples, John. Everything you mention here I would consider as
syncopation rather than change of metre, or in the case of Risty
Gulley, alternating metre. Maybe this is a too-subtle distinction, but
it's one that I experience. I use syncopation
Colin,
On my reading of Dixon, strain 4 is the one that makes most sense that
way.
Number 2 can play this way too.
Strain 1, with the e's falling on the (dotted minim) beat, definitely
reads as 9/4= 3 times 3/4 to me.
So does strain 3. From 5 onwards, the interest is melodic, not rhythmic
-
On 8 Jul 2008, Gibbons, John wrote:
Oh good - taking about the music!
I'm reading (or attempting to plough through most of) a heavy duty
tome called the History of Violin Playing from its inception to 1761
by John Boyden.
In talking of Renaissance rhythms it talks of hemiola - alternating
Thanks for that Colin
I replied personally to Anthony and we have had a friendly exchange
about titles and metres.
I stick absolutely to my interpretation that these 3 tunes are in 3/4
even though all but one of Vickers' triple-time hornpipes have the 6/8
signature and mixed note groupings, if I
