I also agree, specially if the structure of the phrase is varied by the extension of a motive or other smaller part within the musical phrase.
Giovanni Andreani > On 10 Dec 2016, at 00:49, Steve Parker <st...@pinkrat.co.uk> wrote: > > 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 _______________________________________________ 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
