Looking over the music for Bellewode and struggling to learn this tune
and make it sound like music. I turned to the two recorded versions I
have and only was more confused as they appear to be a completely
different arrangements than the sheet music and indeed a completely
different key (or I'm confused... quite likely). I finally notated it
into Finale so I could listen to Finale play it and make it sound like
Anyways, it brought up two questions for me right near the end.
1. At the end of the piece it says "D.C. al Sign" (Da Capo, "To the head
and then to the sign", yes?) I've never seen this used before... i.e.,
the "D.C." and "al Sign". Actually, I've never seen "al Sign". There
is a Segno, a sign over the first measure of the section marked by the A
rehearsal letter. The lead indicates "Intro (AA,BB',CC,DD) x 2 so I'm
wondering if it's a typo and should be D.S. al Fine (Dal Segno "From the
sign to the end", yes?)... i.e., play the whole thing twice through
skipping the intro portion the second time around. Is this correct?
2. The second question has to do with the 1/8th note rests at the end
of section marked with the C rehearsal letter mark and the anacrusis at
the beginning of the section marked D. I'm not certain how to ask the
question. I guess... well. Is the rest actually played the second
time through? It sounds rather odd to my ear in the Finale playback to
have the pause, and then the anacrusis, and then full-value measures. I
have not yet seen this danced, and perhaps it will make sense to me then
as Petite Vriens finally did when I danced it (in groups of three....
like the music... which had been bothering me). Indeed, I only heard
Rostiboli Gioioso for the first time at the practice session for the
Coronation ball. It was lovely and I was so mesmerized that I couldn't
even follow the music, and then very disappointed when it was cut from
the ball because I wanted to hear it again and see it danced.I guess as
a whole I'm wondering why the D section is in 12/4 as three of the parts
are in duple beat groupings whereas only the last measure is in
quadruple groupings. I think this is probably my confusion over meter
signatures, especially compound meter signatures, but I'd like to
understand it if someone can clue me in.
Finally, and this doesn't have anything to do with Rostiboli Gioioso
specifically though it does apply... Why 6/4? I think I'm finally
beginning to feel this meter when Master Conrad has us doing dances (and
finally beginning to be able to 'read' it in my halting manner of
sight-reading), but I'm certain I'm missing some important underlying
distinction or reasoning behind why so much of the music in our dance
repertoire is in this meter that I've really never seen anywhere else.
Was it just popular 'in the day'? Is it actually more common today than
my limited experience with it? What recommends it, or what effect is it
supposed to be evoking in the music or the dance... I'm sure it's
subtle which is why I'm not grasping it. If anyone can help me
understand I'd be super grateful as it's something I've been wondering
about _often_ for over a year now.
Thank you for taking the time to read my confusing muddle.
'Merry' Toirdhealbhach Mirywoder Lutre
Shire of Standing Stones; Formerly: Philippe Sebastian LeLutre
Christian M. Cepel --- 573.999.2370 --- Columbia, MO
ICQ:12384980 YIM/AOL:Bramblethorne MSN:Merry@ShireOfS.....
'Toirdhealbhach' anglicized Tirloughe (1576), modernly 'Turlough',
pronounced 'TIR' or 'TUR' + 'low', 'logh', 'lock', or 'loch'