The delicate, disembodied conductor's hands signal a hush and prepare us for the first beat of the next measure. We are eternally suspended in our repose as they are in poised, knowing anticipation. Oh la la - how delightful! Finally a little elegance in here. Now we turn to the examples in chapter 36, page 2, noting especially Di Lasso's treatment of the 4-3 and plagal cadences. No, No, NO! I was lost in reverie! Why do I always fall for these traps?
Incidentally, this record at one point belonged to Tony Conrad (I bought it from his brother, Dan), who apparently stole it from the Harvard Library.
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