On 29 Jun 2005, at 6:57 PM, David W. Fenton wrote:
If 4/4 is not 2x2/4 (and it's not), then I don't think it's write to
say that the passage you're talking about is 3x2/4. If it *is*, then
3/2 (which is 3/H) is completely appropriate. That you say it is not
proves that it's not in 3x2/4, but 6x1/4.
David,
I think the problem here is that you are used to music where only one
time feel is happening at any one time.
In the "All About Rosie" passage under discussion, the drums are
playing 4/4 swing time and the bass is playing two half notes to the
bar. You can think of it is simultaneous 4/4 and 2/2 if you like. But
by convention, that rhythmic feel is still written as 4/4. (Although
we would say the bass was playing with a "2 feel". In fact, even when
*both* the drums and bass are playing with a 2 feel for the entire
piece, we still notate that in 4/4.)
Going back to "All About Roise" -- when the (written) 3/2 measures
interrupt the 4/4 feel, the drums continue in 6/4 swing time (which
basically involves six quarter notes on the ride cymbal, with some
"skip beats" (offbeat eighth notes) inserted at will, and hihat stomps
on beats, 2, 4, and 6. And in these (written) 3/2 measures, the bass
plays three half notes per bar. So you can think of that as
simultaneous 6/4 and 3/2.
The reason the switch between 4/4 and 3/2 in the published version of
"All About Rosie" is confusing because while the 4/4 sections are
notated to reflect what the drums are doing, the 3/2 sections are
notated to reflect what the bass is doing. But there is not a
corresponding shift in the relative importance of those instruments.
When the 3/2 measures hit, it's supposed to be a subtle prolongation of
the measure, not a big dramatic in-your-face metrical shift.
Since this is a piece from 1957, I doubt the editor had any
understanding of these jazz-specific issues. He probably just looked
at it and said "You can't have 6/4 divided in three -- it has to be
3/2," without considering any of the reasons why 6/4 might be more
appropriate.
- Darcy
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