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Thanks for posting it Stuart.
-- Rocky
On Feb 14, 2008, at 4:44 PM, Stuart Walsh wrote:
Mjos & Larson wrote:
Oops, in playing through I was playing a 5 on the 3rd course, not
the printed 6 in
Oops, in playing through I was playing a 5 on the 3rd course, not
the printed 6 in system 2. Yes, I would prefer a 6 on 2nd to the 6 on
the 3rd, but, personally, I might opt for a more conservative 5 on
3rd or even 5 on 2nd.
OK, you've started improving the sequence -- but how about comple
Mjos & Larson wrote:
With a quick play through, I don't "hear" a strong reason to move the
6 to the second course. That does set up a sort of musical tension
that pushes that phrase forward, but it sounds a little off to me. I
don't mind the 6 on the 3rd course. But there is a similar melodic
With a quick play through, I don't "hear" a strong reason to move the
6 to the second course. That does set up a sort of musical tension
that pushes that phrase forward, but it sounds a little off to me. I
don't mind the 6 on the 3rd course. But there is a similar melodic
phrase at the begi
Actually I think it's quite a nice Alemanda. It's from his 'Primi
Scherzi di Chitarrra' 1674. I'm looking for some advice on how to play
the change of rhythm from 4/4 to 3/4 in the middle of the second section.
Not sure about that but I think H3 is correct in the 2nd full bar of the 2nd
line
