Thanks for all the input, guys -- I enjoyed reading all the replies. How formalized is the rule of 4 & 6? Or is it informal?
Well, it's as informal as all the "rules" are, which are just common practice among similar-minded musicians.
In a private exchanges with Los Angeles musicians, I was surprised to learn that there are coast-to-coast differences in the notation systems in the jazz-show-film-pop world (albeit minor), like where measure numbers appear, how often clef and key signatures are reiterated, "boxing" directions, how certain articulations are interpreted, and rhythmic notation like the question we are discussing. I gather that Montreal (where I am) practices are largely based on the New York system.
I gather that in certain contexts it might not be applicable.
Yes, you are right. In some modern systems beaming and beat division indicate phrase groupings, like 3+2+3 or some other odd groupings, and beaming across the barline is common.
In jazz and popular notation where changing hemiola-type figures are normal, that kind of notation is rare. Even Latin music based on a clave, where you would think the regular syncopated accents would warrant odd beaming, uses standard rule-of-four grouping.
I understand that in a situation which may involve a repetition of a certain rhythm, you might well wish to notate it as dotted quarter -- quarter -- dotted quarter to emphasize the repetition, and to ultimately make it easier to read extended passages using that rhythm.
Like a conga cell, dotted quarter-dotted quarter-quarter? I wouldn't, unless the ground pulse was really regular and really odd, and too hard to read in standard division.
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