You know David, you are right to hone in on the 7-6. It is, in a way, part of the signature of the piece: English on the outside, Italian in the middle. I should have given it more weight in the analysis. I'll have to play through the A and G versions a couple of times to see if there is an advantage there. I do use the first finger for the G in the G minor version, but learned it so long ago (40 years ack!) I should look again. I think if you hit it right it rings over on the harmonic, which is a bit of slight of hand, of course. I suspect whatever fingering you use will be the best so maybe I'll skip it and have another beer. dt
At 03:03 AM 2/25/2010, you wrote: >On Wed, Feb 24, 2010 at 8:27 PM, David Tayler <vidan...@sbcglobal.net> wrot= >e: > > > However, if you realize the =A0alto voice up, there is a big problem, > > this then completely removes the 7-6 suspension > >Point taken. Indeed, 7-6 was sorely missed (although that one is my >ears, even when playing the Poulton version. Striking how what's in >your head will influence so strongly what you hear). But how do you >finger your version? I cannot hold all notes - or am I missing >something again? Best solution would be to play the new g with the >first finger and use that for the b-flat. Bass and soprano must be >held, after all. Pity, though, not to be able to sustain the new g. >Have to try this in some different versions. > >David > > > >--=20 >******************************* >David van Ooijen >davidvanooi...@gmail.com >www.davidvanooijen.nl >******************************* > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
