Christopher Smith <[EMAIL PROTECTED]> writes
>Let's say you were honking along happily in 4/4, mixing eighths,
>sixteenths, and eighth-note-triplets freely, as those young kids today
>are wont to do. Then suddenly, you just want 3 eighth notes in a bar.
>Great, a bar of 3/8 (or 1/Q. ) and there you go. A standard solution
>exists that everyone easily understands.
If you can anticipate the later need, you start off in 12/8, mixing
dotted eighths, dotted sixteenths (or duplet versions of the two
preceding) and normal eighths ...
>But then later, you are playing some triplets which work out perfectly,
>but you ONLY NEED FIVE OF THEM, not six.
... so you mark 5/8: no big deal. Of course, Ferneyhough has more
complicated relationships than this to prescribe.
>So you mark 5/12, and put in three eighths beamed together followed by
>2 eighths beamed together, and I would put a bracketed 3 tuplet over
>the first group, and the same over the second group (even though there
>are only TWO notes in it) for clarity.
Other methods that would overcome this problem while remaining within
traditional notation have been around for some time. The Fauré C minor
piano quartet of 1879 mixes 2/4 and 6/8 in its scherzo, with a constant
beat, quarter = dotted quarter. It is clear that the beat is constant,
because time signature changes occur in different places in the four
parts. In my experience, the unorthodox use of time signatures is the
least of your problems, until the first (and only) time you try to use
one as a rehearsal point.
--
K C Moore
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