On 13 Jun 2003 at 4:54, David H. Bailey wrote:

> When it gets time to learn about 6/8 time, I keep the same explanation. 
>   At first, of course, they learn counting 6/8 music in 6, but when we 
> start to work on counting it in 2, I invariably get the question about 
> why isn't there a 2 in the top part of the time signature.  I answer it 
> by explaining that there still are 6 beats in each measure, they just go 
> by fast enough that conducting each individual 8th note would no longer 
> be possible, so we start getting 2 pulses per measure.  It looks like 2 
> beats, but the performer has to place 3 8th-note beats within each pulse.

That's simply an incorrect explanation.

There is not a 2 on top because there's no single digit to represent 
the dotted half not that could be the bottom number.

The whole system of time signatures works right when the subdivision 
of the beat is duple. When it's triple, the system breaks down, as 
there is no way to represent a dotted value in the bottom number of 
the time signature.

I don't see any point in distinguishing beat and pulse. If you're 
trying to perform a piece in a manner in which the pulse does not 
come out the same as the notated beat, either you're playing it wrong 
or it's one of those special cases where we don't interpret the 
notation literally. A good example is the Scherzo of the Beethoven 
Ninth, where Beethoven tells you to take it in one and group the 
measures of 3/4 into groups of 2 or 3. It could have been notated in 
9/8 and 6/8, but that would have brought in a whole host of incorrect 
genre associates that go along with those meters. So Beethoven wrote 
something equally clear. The pulse is on the dotted half even though 
the notated beat is the quarter note.

But there should be strong reasons for playing any piece of music in 
a manner that contradicts the notation.

-- 
David W. Fenton                        http://www.bway.net/~dfenton
David Fenton Associates                http://www.bway.net/~dfassoc

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