Hemiola was certainly used in 18th c pipe music - it survives in 'Cuddy Claw'd Her' - besides the syncopated alternate bars, there is a strain, no 6 in Peacock, which has a clear 3 crotchet beats in the bar. Play the top g's short and it sounds that way. You can play it in 6/8 too. The pipe-style fiddle version 'Cutie Clat Her' plays all sorts of rhythmic games - the hemiola near the end is relatively staid.
Some of the Dixon tunes in 9/4 have rhythms (in at most one strain/tune) which seem to go, Turkish style, 2+2+2+3, rather than the standard 3+3+3. Strain 2 of Dorrington is an example. But whether Rusty Gulley was played as a guajira remains open.... Do any other sources notate it spaced as 3/4 + 6/8? Matt might know?? John -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 20 July 2008 21:55 To: Matt Seattle; Gibbons, John Cc: nsp@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 rhythms it talks of hemiola - alternating bars of 3 and 2, used in the dances called courantes, amongst other places The best description I can find is: http://en.wikipedia.org/wiki/Hemiola but this is surely what Rusty Gulley et al. can do (if one wants them to). I'm running at the limit of my knowledge of early music terms with this, so maybe some of the experts on such who lurk here can contribute - or indeed tell me if I'm wide of the mark. There's also a section on how old style bows and instruments resulted in very distinct articulation between notes, but that's a whole 'nother discussion. Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
