Hi Richard: As you gain proficiency with sight reading tablature and become more acquainted with Milano's work you will start to recognize many of his tendencies. It is a good thing to understand the voicing in his work ,obviously, because that is what Milano is all about. There is another issue with his music, one of a wonderful ambiguity. If you remember from your school days you should have studied colors, either in a basic art class or even a science class. If you combine blue and yellow you get green. Big deal, but sometimes, in my perception, Milano's music is like that. You may have a blue voice intermingling with a yellow voice, both doing their own thing, but in doing so they fool the ear in to hearing a green voice. I know this is a bad analogy but it was the best I could come up with. So what does this mean? Understand the voicing as best as possible but try not to make it too mechanical or you might miss the "phantom voices" that often materialize in his music.
Vance Wood. ----- Original Message ----- From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Tuesday, July 27, 2004 9:53 AM Subject: Imitations > Hi all, > > I'm playing some pieces by Francesco da Milano, which are technically not too > demanding. The problem I find is in recognising all the imitations in the > various voices. In staff notation these would be obvious, but I find myself > initially going plink-plonk-plonk-plink till my ear tells me there's actually > something going on in there that needs to be brought out. > > Clearly this affects the fingering, so it would be nice to know if there is a > more 'sure-fire' way of seeing the counterpoint before I've played the music > through a few times just to get the notes. Coming from staff notation, I'm > used to seeing the whole picture at one go, and find it a bit disconcerting to > realise after about half an hour that's I've not actually been playing what Mr > da Milano intended. Are there any tricks, things to look for, that can save me > from going down the wrong road, and enable me to learn the correct fingering > as I learn the piece, which would come from being able to see straight away > what's going on? All suggestions gratefully received. Cheers > > Tom Beck > > --