On 02/14/2013 03:32 PM, Paul Davis wrote:
except for the odd hemiola :)
but if you listen to historically informed cembalo performances (or
other instruments of the era, to various degrees, such as recorders),
it's evident that the lack of dynamic range has led to a quite intricate
timing of the music. if you can't accentuate stuff with loudness, you
have to do so with tempo fluctuations, and that's where it gets interesting.
so yes, looking at the score, you will see a fairly rigid grid of
sixteenth notes mostly, but there is a lot in that music which is not
evident in the score, partly because everybody assumed certain things to
be too obvious to commit to paper.
which is a problem if people keep playing your stuff after hundreds of
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