At 11:51 AM -0600 7/6/05, John Abram wrote:

A twelfth note is a triplet eighth note. They are sometimes used in new music (eg Mark-Anthony Turnage has used it frequently I believe) Henry Cowell was way ahead of the game with this sort of thinking.

Why is 12/12 not like 12/8? Because 12/8 is not triplets.
Yes, I know it sounds like triplets, but it's not.

Why is there so much confusion over compound time?

Well, perhaps I'm too dense to follow your reasoning, but your two statements above do seem to be mutually contradictory!

If it quacks like a duck, it's a duck. If it sounds like triplets, it's triplets. Q.E.D! Its barcarole is worse than its bite!

Seems to me that talking about "beats" compounds (sorry!) the confusion. Yes, 12/8 can indicate 4 "beats" per bar; that's sort of the default interpretation. At a slower tempo, however, it can indicate 12 "beats" per bar. I've conducted Bach slow movements that required exactly that. And at a faster tempo it can indicate 2 "beats" per bar. Young musicians have to learn that ALL time signatures are variable. They may first encounter 6/8 in the context of marches, 2 beats to a bar. And they will be confused the first time they run into 6/8 with six beats to a bar, but that's just one more variable in our notation that they have to master. (And even college-age students are often flumoxed by ties over the barline to the first note of the next bar, especially in compound time; I can't figure out why, but it happens.)

I was taught by my mother (a heck of a good theory teacher) to read time signatures as "four quarter," "three quarter," or "six eighth" time. The lower number has indicated a note value since the beginning of the common practice period, and there is, in fact, no 12th note in the system. Sorry. Feel free to invent your own notation; just don't expect us old fogey traditionalists to read it. As to the Creston, I don't know the work so I can't comment.

But what do I know?!!

John


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John & Susie Howell
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