Re: "Hatikvah" and "La Mantovana"

[Matthew H. Fields <fields...>]

Uh, I got that clearly, but I don't buy that the tune has enough
distinctive character (ascending scale, descending scale) to
distinguisht the Giamberti as particularly an ornamentation of the
tune we use in Hatikva, any more than numerous other tunes that
have fins obres in the first half and fins clos in the second half.

If you want to write a strict canon that works, you'll have to
play with the parameters and be willing to feed back to the ornamentation---
in some cases, consider using doppleschags as the ornament since they
can be interpreted as either standing for the central note or for an
unfolding of the outer third, and that gives you more leeway to make
something acceptable to Fux.
Basically, canon is done with a lot of backtracking, and there's often
precious little choice but to backtrack to choosing different notes
for the tune itself, so that it does make canon.
You'll find my comments on the whole genre of intellectual techniques
in the 4th article of The Gems Series, pointed at by the URL
in my signature file.

There may indeed be musicological reasons to think that the Giamberti
tune you quoted, in context, is intended to be La Mantova, but I don't
see any particular reason for it based only on the melody line you quoted.

If we're going to exchange ascii music in rec.music.compose, let's
try to use Noam Elkies' notation: space the notes to represent rhythm,
| for barline, all intervals <= aug4 unless marked _ (lower octave) or ^ (upper
octave), . for dotted rhythm.  This is compact and less ambiguous.  When
rhythm gets troublesome, add a second line of hashmarks for beats.

Really, we oughta be careful not to call every major mode piece Three
Blind Mice and every minor-mode piece Hatikva, even though we understand
recursive ornamentation that indeed relates large bunches of tonal and
modal pieces to a common backbone! ;-) ;-)

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