I've been quietly watching this thread on unusual time signatures, and
learning from the collective wisdom. The piece by Thomas Ades that was
referred to before, might it have been "Living Toys"? I have seen the score
for this work and in it, I was educated as to the meaning of 11/5 time.
Apparently, according to a radio producer who was at the rehearsals, there
was no problem whatsoever in interpreting it. And sometimes the more
unusual time signature makes more clear the composer's intended feel.
Just my $.02 worth
*howls*
Taris
At 07:54 AM 7/14/2004, you wrote:
Aaron Sherber wrote:
At 10:43 PM 07/13/2004, Christopher BJ Smith wrote:
>I think Rob's math was a little off. A sixth note
>is equal to one quarter in a quarter-note triplet. A twelfth note is
>one eighth-note triplet.
Ah, yes, that makes more sense. Thanks.
And in that case, a simple metric change to 12/4 with the concurrent
indication of change in tempo with metronome indication would accomplish
the same result with no discussion of what it's supposed to mean and
dragging out dusty tomes explaining what is meant.
For amateur groups where rehearsals don't cost any money perhaps unclear
indications are fine, but I couldn't imagine a union gig where this is all
hashed out in rehearsal. I can imagine the language which would be used
to describe the composer, but I couldn't imagine how expensive such a
discussion would be.
But these are all reasons why I wouldn't use such signatures.
I really don't have a problem with others using them, if that's what they
think is the only way to make their musical meaning clear.
--
David H. Bailey
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