On Thu, 23 Jan 2014 21:30:16 -0000, Stewart McCoy wrote > ... > Catherine de' Medici was a Medici, so her son, the Duc d'Alencon, > was the son of a Medici.
Family lines run on the _male_ side. And people back then where way more picky about that ... ;-) > [...] > As with "Now, > oh now", it's not just the melody notes which are the same; it's > the bass and harmony which are the same too. Oh dear, that's what happens if you use the wrong tool to analyze. I wouldn't call five stepwise notes downward an "melody". Otherwise you might claim that Dowland quotes the end of "La Spagna". And what you call "bass and harmony" is just the result of a simple technique to create polyphony, going (at least) all thew way back to the improvisatory practise of the 15th century. That 5-3-5-3 consecutive is probably the most popular "Satzmodell" from the end of the 15th century to the middle of the 17th. In it's most common form (under 4 descending notes, la, sol, fa, mi) it's called "Romanesca" - if you exdend it and go up again you end up with something often called "Pachelbel-Sequence". Do yourself a favour and search for "Pachelbel Rant" on YouTube - it's worth it. I hope you don't want to claim that all those songs are references to Frau Grossherzogin. Another famous use of 5-3 (this times going up) is the second half of "Belle, qui tiens ma vie" - the first part using the _other_ standard modell - 8-3-8-3. Cheers, Ralf Mattes To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
