Graham Percival <gra...@percival-music.ca> writes: > Pop music (and thus a lot of Vocaloid stuff) gets a bad rap for > using the I IV V I chord progression a lot, but I don't see that > amount of predictability to be any worse than classical music's > predictability of beat strength in 4/4 time > (strong-weak-medium-weak).
You mean, halfwit performers' predictability. Things like hemioles, stretto, syncopation, augmentation and a lot of other elements you'll find in classic composition don't work with hard-wired beat predictability. In fact, Renaissance music is hampered so much by "predictability" in beat strength that one usually does not place bars in the systems, one reason being that one can omit the use of ties across bars which distort note coherency. Modern notation uses ties pretty much for every note crossing a minuscule "beat". I'll not be surprised all too much when I start seeing c4 c4~ c4 c4 instead of c4 c2 c4. It's for the sake of polished-white-teeth-smile-snarling mothers accompanying their violin playing kids with a robust, dependable, supportive accompaniment that renders music school presentations even less enj... Uhm. You get my drift. Be glad if you don't. Check out something like Dowland's "White as Lilies was her face". If all four voices try adhering to "beat strength", you get a rigid mess instead of the playful interchange composed into it. -- David Kastrup _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
