{"id":2206,"date":"2016-09-28T20:22:22","date_gmt":"2016-09-28T20:22:22","guid":{"rendered":"http:\/\/casfaculty.case.edu\/ross-duffin\/?page_id=2206"},"modified":"2017-02-02T19:54:34","modified_gmt":"2017-02-02T19:54:34","slug":"muhi-baroque-articulations-passepied","status":"publish","type":"page","link":"https:\/\/casfaculty.case.edu\/ross-duffin\/muhi-3441-multimedia\/articulation-examples\/muhi-baroque-articulations-passepied\/","title":{"rendered":"MUHI Baroque Articulations Passepied"},"content":{"rendered":"<p><span style=\"color: #000000\"><b>Mont\u00e9clair Passepied <br \/>\n<\/b>Note:\u00a0 Meaning of ?\u2014misprint.\u00a0 Again the speed is not a daunting factor in retaking.\u00a0 Baffling contradiction between top and bottom bowings:\u00a0 seem to be both in 2-measure groupings but\u00a0 opposite within measures.\u00a0 Mont\u00e9clair labels hemiola in 4th last measure but in 2nd and 3rd last implies it in bottom but contradicts it in top.\u00a0 Why?<\/span><\/p>\n<p><a href=\"http:\/\/casfaculty.case.edu\/ross-duffin\/muhi-3441-multimedia\/articulation-examples\/muhi-baroque-articulations-passepied\/artic7\/\" rel=\"attachment wp-att-2207\"><img loading=\"lazy\" class=\"alignleft size-large wp-image-2207\" src=\"https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28202037\/Artic7-1024x290.jpg\" alt=\"artic7\" width=\"1024\" height=\"290\" srcset=\"https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28202037\/Artic7-1024x290.jpg 1024w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28202037\/Artic7-300x85.jpg 300w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28202037\/Artic7-768x218.jpg 768w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28202037\/Artic7-500x142.jpg 500w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28202037\/Artic7.jpg 1122w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><b>Corrette, <i>M\u00e9thode th\u00e9orique et pratique<\/i> for cello, Paris, 1741.\u00a0 Passepied<br \/>\n<\/b>Note:\u00a0 T = down bow (tirez); P = up bow (poussez). Why retake on 2nd measure?\u00a0 Everything else as it comes.\u00a0 Like his minuets for violins, establishes rule of down-bow then forgets about it.\u00a0 M.2 retake like Mont\u00e9clair.<\/p>\n<p><a href=\"http:\/\/casfaculty.case.edu\/ross-duffin\/muhi-3441-multimedia\/articulation-examples\/muhi-baroque-articulations-passepied\/artic8\/\" rel=\"attachment wp-att-2208\"><img loading=\"lazy\" class=\"alignleft size-full wp-image-2208\" src=\"https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28202039\/Artic8.jpg\" alt=\"artic8\" width=\"908\" height=\"122\" srcset=\"https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28202039\/Artic8.jpg 908w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28202039\/Artic8-300x40.jpg 300w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28202039\/Artic8-768x103.jpg 768w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28202039\/Artic8-500x67.jpg 500w\" sizes=\"(max-width: 908px) 100vw, 908px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right\"><a href=\"http:\/\/casfaculty.case.edu\/ross-duffin\/muhi-3441-multimedia\/\">Back to Multimedia Menu<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p><b>Mont\u00e9clair Passepied<br \/>\n<\/b>Note:\u00a0 Meaning of ?\u2014misprint.\u00a0 Again the speed is not a daunting factor in retaking.\u00a0 Baffling contradiction between top and bottom bowings:\u00a0 seem to be both in 2-measure groupings but\u00a0 opposite within measures.\u00a0 Mont\u00e9clair labels hemiola in 4th last measure but in 2nd and 3rd last implies it in bottom but contradicts it in top.\u00a0 Why?<\/p>\n<p><a href=\"http:\/\/casfaculty.case.edu\/ross-duffin\/muhi-3441-multimedia\/articulation-examples\/muhi-baroque-articulations-passepied\/artic7\/\" rel=\"attachment wp-att-2207\"><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><b>Corrette, <i>M\u00e9thode th\u00e9orique et pratique<\/i> for cello, Paris, 1741.\u00a0 Passepied<br \/>\n<\/b>Note:\u00a0 T = down bow (tirez); P = up bow (poussez). Why retake on 2nd measure?\u00a0<\/p>\n<p><a href=\"https:\/\/casfaculty.case.edu\/ross-duffin\/muhi-3441-multimedia\/articulation-examples\/muhi-baroque-articulations-passepied\/\" class=\"more-link\">Continue reading&#8230; <span class=\"screen-reader-text\">MUHI Baroque Articulations Passepied<\/span><\/a><\/p>\n","protected":false},"author":223,"featured_media":0,"parent":2180,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"spay_email":""},"_links":{"self":[{"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/pages\/2206"}],"collection":[{"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/users\/223"}],"replies":[{"embeddable":true,"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/comments?post=2206"}],"version-history":[{"count":4,"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/pages\/2206\/revisions"}],"predecessor-version":[{"id":2805,"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/pages\/2206\/revisions\/2805"}],"up":[{"embeddable":true,"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/pages\/2180"}],"wp:attachment":[{"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/media?parent=2206"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}