By Susan McClary
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Additional resources for Desire and Pleasure in Seventeenth-Century Music
Three of Toccata Sesta and bring about a extra emphatic affirmation of A; however the sonority over the Fá additionally emphasizes D within the best line, and the bounce among Fá and B within the bass, rather with the sonority that emerges at first of m. three, could be heard as pointing to E. Nor may still one rule out G as a potential alternative, with the Cá in m. three serving as a secondary dominant marking D as V of G. degree four disappoints that alternative, although, with the melting Bâ within the alto, a pitch that turns out to mark A as a circumscribed 5th measure in terms of D even whereas the Fá within the tenor desires to maintain confirming G. And what concerning the descending traces that allowed us to maintain music of the producing good judgment within the different Frescobaldi toccatas? those too weave tangled webs. The soprano within the Apostoli elevation toccata opens up the Phrygian diatessaron, therefore challenging a descent from E. It makes its approach down so far as A earlier than breaking off (as does the alto Straining Belief | 185 E x . 6. five. Frescobaldi, Missa degli Apostoli, Elevation Toccata, mm. 1–14. w & c # úw ú Ï w Ï ú Ï ú Ï Ï ú Ï # Ï úú Î # ú ÏÏ ÏÏú ú w ? c w. ú ú # ú úú . five eight úw Ï Ï w ú w ú. . Ï b ww ú ú ú ú ú Ï w W# Ï Ï Ï w #w . Ï Ï. Ï Ï. Ï Ï Ï & î ú úÏ Ï # Ï # úú úÏ ú w Î ú ú ? wú # ú wú W Ù Ù ú . ú Ï . # Ï úw Ï wú Ï Ï. Ï #ú Ï. Ï ú ú ú . ú bú w ú #ú Ù Ïú . Ïj Ù Ï . Ï Ï Ï & úw Ï . Ï Ï . Ï Ï . Ï Ï . Ï Ï Ï Ï Ï Ï . Ï Ï ÏÏ Ï Ï Ï # ÏÏ Ï úÏ. # Ï Ï # Ï Ïú ú Ï ä Ï w ? ww # úú ú nú ú w #ú Ï & ÏÏ # ÏÏ ÏÏ ÏÏ ÏÏ Ï ÏÏ Ï # Ï Ï Ï Ïú n Ï ú eleven ? ú ∑ Ï Ï Ï nú w Ï ú Ï # Ï úäÏ Ï Ï ÏÏ ÏÏ ú ú Ï # Ï # úw ÏÏÏ Ï # Ï # äÏ ÏÏ Ï Ïw# Ï Ï Ï Ï Ï Ï úw. Ï î ú Ï Ï Ï #Ï with Bâ in its descent in m. 4). If we have been to persist with the tenor, we would pay attention it valiantly trying to construe a accountable Phrygian: its starting gambit establishes the excessive E earlier than it strikes directly to circumscribe with either higher and reduce auxiliaries B, the 5th measure; subsequent it catches up with the ignored notes—D and C—then makes it so far as the Fá that sounded so difficult simply as a harmonic functionality. but when Fá has a spot of honor inside of E significant or minor, it doesn't belong to Phrygian.