The discussion seemed to have moved beyond the specifics of the original question — people were making broad normative claims about 6/4 versus 3/2.
Cheers, — DJA ----- http://secretsocietymusic.org > On Dec 10, 2016, at 5:06 AM, David H. Bailey <dhbaile...@comcast.net> wrote: > > > > On 12/9/2016 5:14 PM, iCloud 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. >> > > Darcy, the musical project in question in the original message was only > asking about which would be better for the particular situation in which > he specifically asked for a measure in which there will be 6 quarter > notes which would be better to indicate placing the stresses on quarter > notes 1, 3, and 5 instead of 1 and 4. > > You obviously write your music in a manner which produces the great > results you and your band get and obviously what you write is clear to > them. Your arguments in favor of 6/4 have all been very good for the > kind of music that you write as well as a lot of other modern music (but > not necessarily for all music being written today) but in none of your > replies in this thread have you indicated how best to show the stresses > on quarter notes 1,3 and 5. > > How would you indicate such in music which doesn't have syncopations and > other obscurations of the beat? In fact in your reply which I've quoted > intact you say "there might not even *be* an attack on beat 4 to > emphasize." That's about as far from the original question as a person > can get because the original question indicated clearly that he didn't > want to emphasize the 4th quarter note, which indicates that there *is* > an attack on the 4th quarter note (in a measure containing 6 quarter > notes) which he doesn't want stressed. > > So how would you indicate stresses on 1, 3, and 5 in a measure > containing 6 quarter notes without using accents or tenuto lines or any > other articulation, but rather simply by the meter, which was the > original question? > > > -- > 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
