Dear Karl, Not quite. The hemiola, in this case, is a displacement of accents in the two bars before the last, whereby the metrical pattern in two bars in triple time is articulated as if were three bars in duple time; the final chord with a perfect breve is perfectly all right. In other words, you must have three stresses measuring three breves (or their equivalents) in the two bars before the last. This is precisely the case. In the final cadence, for instance, assuming a G tuning, you would have the following pattern: first stress: 4 minims (Bb-A-G-F); second stress: 2 semibreves on the third beat of the first bar and on the first beat of the second (E-F); and what definitely shows this to be an hemiola is the last stress, a breve (C) with a change of harmony with the typical 4-3 retard which must be accented, here occuring on the second beat, therby indicating clearly the displacement of accent.
Best wishes, Antonio ----- Original Message ---- From: Karl-L. Eggert <karl.l.egg...@t-online.de> To: Antonio Corona <abcor...@yahoo.com> Sent: Wednesday, 9 September, 2009 16:24:38 Subject: Re: [english 100%] [LUTE] Re: [english 100%] Re: Edward Martin/who knows? Dear Antonio, Sorry, my answer is a bit late. I agree with you that a hemiola can be pointed out by the bass. But I what I see in in the two bars before the last section bar is the rhythm /breve semibreve/ semibreve breve/ the latter a syncope typical for gaillards. To form a hemiola, a bar with /breve semibreve/ must follow. Instead the closing chord of the section with a perfect breve value follows. Best wishes Karl ----- Original Message ----- From: "Antonio Corona" <abcor...@yahoo.com> To: "Karl-L. Eggert" <karl.l.egg...@t-online.de> Cc: <lute@cs.dartmouth.edu> Sent: Friday, August 28, 2009 8:14 PM Subject: [english 100%] [LUTE] Re: [english 100%] Re: Edward Martin/who knows? Dear Karl, Hemiolas in galliards are never notated explicitly, but you can deduce them easily from the movement of the bass, in the last two bars before the final chord. This is the case in the three cadences in Milan's piece. Best wishes, Antonio ----- Original Message ---- From: Karl-L. Eggert <karl.l.egg...@t-online.de> To: Lute mailing list <lute@cs.dartmouth.edu> Sent: Friday, 28 August, 2009 7:49:03 Subject: [LUTE] [english 100%] Re: Edward Martin/who knows? Antonio Corona wrote: Dana: Pavanna are dances, they are slow dances with the steps taken on the tactus, typically one step per modern measure. Lots of time for slow graceful showing off by the strutting peacocks. No matter if the tactus is subdivided triply or duply. As I stated above, the sixth "pavan" is by no means such a dance. As far as I can recall, I have never seen a pavan in triple time with the characteristic hemiola of the galliard. Speed has nothing to do with rythmic structure. I agree that the sixth pavan sounds like a gaillard. For my taste, a tempo of 120semibreves/min sounds best -- apt for a gaillard. But where is there a hemiola in the 6th pavan? (The breves at the section ends are perfect, i.e. have the value of three semibreves.) Karl -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
