[David W. Fenton:]
>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.
In what way, David? By "genre associates", do you mean particular styles
or manner of performance that are considered to be implied by the actual choice
of time signature?
What difference would it make to the way the Beethoven is played if it had
been written in 6/8, 9/8, or 12/8? (I would have thought it was more quadruple
in effect than duple.) (Or 6/4, etc., if you want to keep the crotchet notes.)
Much of this movement is pretty clearly (as far as the ear hears it) in 4
beats, except for the "tre battuti" section. What would be the arguments
against using a triple or quadruple time signature? (That is, apart from the
tradition that says you don't notate scherzi in this manner.)
Regards,
Michael Edwards.
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