{"id":10883,"date":"2023-01-16T19:00:25","date_gmt":"2023-01-16T17:00:25","guid":{"rendered":"https:\/\/partitura.org\/?p=10883"},"modified":"2025-04-13T10:47:42","modified_gmt":"2025-04-13T08:47:42","slug":"anonymus-fantasia-tertii-toni-ex-e-la-mi-becker-ii-2-51","status":"publish","type":"post","link":"https:\/\/partitura.org\/index.php\/anonymus-fantasia-tertii-toni-ex-e-la-mi-becker-ii-2-51\/","title":{"rendered":"Paul Siefert (?), Fantasia tertii Toni ex E La Mi (Becker II.2.51)"},"content":{"rendered":"<p>The fourth fantasia from manuscript Becker II.2.51 is based on the third church mode, here centered around &#8220;E La Mi&#8221;.  I am not sure what this actually means. The fantasia that follows this one in the manuscript is according to the title based on the fourth church mode, again centered around &#8220;E La Mi&#8221;. Both fantasias end on a major triad on E. Based on these two fantasias the difference between the third and fourth church mode is not clear to me.<\/p>\n<p>As the principal for the recording I choose the Principal from the sample set of the Mascioni of the parisch church in Azzio, made by <a href=\"http:\/\/piotrgrabowski.pl\/azzio.html\">Piotr Gabrowsky<\/a>.<\/p>\n<p><strong>Score<\/strong><br \/>\n<img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-128\" src=\"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2015\/02\/pdf_icon.jpg?resize=32%2C32&#038;ssl=1\" alt=\"pdf_icon\" width=\"32\" height=\"32\" \/><a class=\"count\" href=\"https:\/\/partitura.org\/wp-content\/uploads\/2023\/01\/Anonymus-004-Fantasia-tertii-toni-ex-E-LaMi.pdf\" data-kccpid=\"10883\">Siefert (?), Fantasia tertii Toni ex E La Mi<\/a><\/p>\n<p><strong>Performance<\/strong><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/tvF7gK1LHNA\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Views: 16<\/p>","protected":false},"excerpt":{"rendered":"<p>The fourth fantasia from manuscript Becker II.2.51 is based on the third church mode, here centered around &#8220;E La Mi&#8221;. I am not sure what this actually means. The fantasia that follows this one in the manuscript is according to the title based on the fourth church mode, again centered around &#8220;E La Mi&#8221;. Both fantasias end on a major triad on E. Based on these two fantasias the difference between the third and fourth church mode is not clear to me. As the principal for the recording I choose the Principal from the sample set of the Mascioni of the parisch church in Azzio, made by Piotr Gabrowsky. Score Siefert (?), Fantasia tertii Toni ex E La Mi Performance Views: 16<\/p>\n","protected":false},"author":1,"featured_media":10886,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[340,7,341],"tags":[],"class_list":["post-10883","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-anonymus-becker-ii-2-51","category-scores","category-siefert-paul","genre-fantasia"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2023\/01\/Anon-Fantasia-04.jpg?fit=1096%2C704&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5LnuZ-2Px","_links":{"self":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/10883","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/comments?post=10883"}],"version-history":[{"count":7,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/10883\/revisions"}],"predecessor-version":[{"id":11397,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/10883\/revisions\/11397"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media\/10886"}],"wp:attachment":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media?parent=10883"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/categories?post=10883"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/tags?post=10883"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}