On 29 Jun 2005 at 21:46, d. collins wrote: > David W. Fenton écrit: > >Maybe I have insufficient imagination. > > I haven't followed the whole thread, but, speaking of tradition, let's > not forget that of the French courante, where 6/4 (and 3/2) is used > for _alternating_ patterns of 2x3/4 and 3x2/4 (though the first is > generally prevailling). In Bach's courantes in the French style, the > beaming may reflect this alternation (see the French Suite in B minor, > for instance), and sometimes each hand can even have its own pattern.
My earliest posts in this thread cited music that constantly shifts between alternate subdivision patterns, but I thought we were talking about music *without* such shifts. I still don't see any cases where I'm convinced that 6/4 is an appropriate meter for a piece that moves entirely in three half-note beats. I'm agnostic on the example of the 6/4 measure in the middle of a 4/4 piece. I understand why it works to use 6/4 with the musicians involved. It wouldn't work well with musicians with different expectations. I think it's unwise to depend on musicians guessing correctly what you mean, so I'd be certain to make some kind of note indicating what is intended, and clearly eliminating the inappropriate interpretation. -- David W. Fenton http://www.bway.net/~dfenton David Fenton Associates http://www.bway.net/~dfassoc _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
