I actually 100% agree. If the stresses are not important then i would go 4/4 to 6/4 and I would conduct it as a bar of six. If the music is complex then even a minim pulse can be hemiola. If I wanted to conduct the crotchets here, I would conduct a 6/4 pattern with minim icthus points.
The converse is useful as well. If the music is chucking along in cut-common, I would tend to write a 3/2 bar even the music was two dotted minims. The original question was (I thought) about the case where the stresses were important? Sometimes I write time sigs to just organise the music as best I can, but sometimes I absolutely care about stuff like 3/2 and 6/4 because I can get meaning from it. I caught your music once a couple of years ago on BBC radio 3 (I think). It was beyond great! Steve P. > On 9 Dec 2016, at 22:14, iCloud <djar...@icloud.com> wrote: > > Hi Steve, > > The distinction is useful until it’s not. > > If I have a fast piece in 2/2, conducted in 2, and then I need a bar that’s > elongated by a beat, I’m going to write a bar of 3/2, and conduct that bar in > 3. > > If I have a piece in 5/4, conducted in 5, and then I need a bar that’s > elongated by a beat, I’m going to write a bar of 6/4, and conduct that bar in > 6. > > If I have a piece in 4/4, conducted in 4, and then I need a bar that’s > elongated by two beats, I’m also going to write a bar of 6/4, and conduct > that bar in 6. > > Traditional worries about which parts of the bar are stressed don’t really > apply to my music, and that’s true of much modern music. > > That bar of 6 might contain people playing all kinds of syncopations and > over-the-barline rhythms and cross-rhythms. There might not even *be* an > attack on beat 4 to emphasize. Insisting that 3/2 can only be 2+2+2 and 6/4 > can *only* be 2+2+2 is a convention that is not useful my music, or in the > music of many (if not most) contemporary composers. > > Cheers, > > — DJA > ----- > http://secretsocietymusic.org > > On Dec 8, 2016, 4:23 PM -0500, David H. Bailey > <dhbai...@davidbaileymusicstudio.com>, wrote: >> On 12/8/2016 8:10 AM, Dennis Bathory-Kitsz wrote: >> [snip]> Though I've seen it done, alternating notations of 4/4 and 3/2 >> while keeping >>> the quarter-note pulse the same never made sense to me. I would be expecting >>> the conductor to switch to /2 pulses. >>> >> [snip] >> >> That's how I conduct that sort of passage -- 4 quarter-note beats >> indicated for the 4/4, then 3 half-note beats indicated in the 3/2 >> measures, each of which is twice as slow as the quarter note beats of >> the 4/4 passage. Thus the speed of the quarter note is maintained and >> the emphasis as implied by the meter is indicated, putting the stress on >> 1, 3, 5 in the 3/2 sections as the original poster intends. >> >> >> -- >> David H. Bailey >> dhbai...@davidbaileymusicstudio.com >> http://www.davidbaileymusicstudio.com >> _______________________________________________ >> Finale mailing list >> Finale@shsu.edu >> https://lists.shsu.edu/mailman/listinfo/finale >> >> To unsubscribe from finale send a message to: >> finale-unsubscr...@shsu.edu > _______________________________________________ > Finale mailing list > Finale@shsu.edu > https://lists.shsu.edu/mailman/listinfo/finale > > To unsubscribe from finale send a message to: > finale-unsubscr...@shsu.edu _______________________________________________ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
