On Tuesday, June 3, 2003, at 09:08 AM, Christopher BJ Smith wrote:
At 11:35 PM -0400 6/02/03, Darcy James Argue wrote:
Notating swing rhythms in 12/8, or as dotted-eighth-sixteenth figures
(especially) is about as close to genuine swing as the following
notation would be to a genuine Viennese w
At 11:35 PM -0400 6/02/03, Darcy James Argue wrote:
Notating swing rhythms in 12/8, or as dotted-eighth-sixteenth
figures (especially) is about as close to genuine swing as the
following notation would be to a genuine Viennese waltz feel:
quarter - eighth rest - eighth note - quarter note.
Oop
At 5:07 AM +1000 6/03/03, Michael Edwards wrote:
I can't, off the top of my head, think of an alternative way to notate
Viennese waltz rhythm more accurately than based on even beats;
maybe one could
be devised, but I suspect it would be far more complicated that a
simple triplet
or dotted r
On Monday, June 2, 2003, at 03:07 PM, Michael Edwards wrote:
[Darcy James Argue:]
I suppose this would depend on whether you wanted a parody of how jazz
musicians play eighth notes (which is what you would get with 12/8 or
[worse] dotted eighth-sixteenth notation), or wanted some actual
reasonable
At 5:07 AM 06/03/03, Michael Edwards wrote:
> But in swing rhythms, even if a literally-played triplet rhythm doesn't
>swing, and even if *true* swing rhythm is very subtle, too much so to be
>notated
>exactly, it does strike me that triplet or dotted-rhythm notation is at least
>*closer* to t
This debate, while very interesting, seems to have focused on the notation
of swing music; but, using that as an example, it does seem to bring up many
different aspects of the purpose of notation and the broader philosophy behind
it. I do have a few more responses to various postings over th
