David W. Fenton wrote:
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.
Your challent seems somewhat problematic - "of music which uses minim
beats, how many examples can you find which use dotted minim 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.
Using 3/2 *just because* it's a six-crotchet bar without dotted-minim
beats is allowing the theory to dicate the practice. If there's an
unambigous crotchet pulse, and the composer wants six pulses in a bar
(I'm deliberatly avoiding the term 'beat'), what's wrong with 6/4? It
does not dictate anything, only the context does that. 3/2, on the
other hand, strongly suggests a change of the dominant pulse.
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