trio to the
scherzo of Beethoven's 9th. Tradition has one bar of cut time equal 2
bars of the preceding 3/4, but B's own metronome mark demands a
tempo
*twice as fast.* I played it once thus under Rene Leibowitz, and it
was
a revelation--much more exciting and dramatic than the traditional
> > [snip]
> >> lone 6/8 bar immediately
> >> before rehearsal G in the first mvt. of Hindemith's _Symphonische
> >> Metamorphosen_.
>
> >
> > I agree that there is a potential metrical ambiguity in the passage you
> > cite, though musically I think it's clear that the eighth note stays
> > the
>
Interesting coincidence.
I went to the Boston Pops concert last night.
One of the numbers (Burt Bacharat) was in a fast 4. It had some
obvious 6/4 (3/2) measures in it (with 3 half notes as the predominate
rhythm).
But Keith Lochart conducted right through them in 3/4, as though there
were 3 beat
On Jul 1, 2005, at 6:14 PM, Darcy James Argue wrote:
there are lots old editions out there with the order reversed (new
value = old value). I don't know why *anyone* ever thought that was a
good way of indicating tempo shifts, but unfortunately, it's not
uncommon.
It used to be absolute
On Jul 1, 2005, at 2:54 PM, Lee Actor wrote:
[snip]
lone 6/8 bar immediately
before rehearsal G in the first mvt. of Hindemith's _Symphonische
Metamorphosen_.
I agree that there is a potential metrical ambiguity in the passage you
cite, though musically I think it's clear that the eighth
Darcy James Argue wrote:
Hi Owain,
I agree, but there are lots old editions out there with the order
reversed (new value = old value). I don't know why *anyone* ever
thought that was a good way of indicating tempo shifts, but
unfortunately, it's not uncommon.
Interesting - I'll look ou
On 1 Jul 2005 at 23:02, Owain Sutton wrote:
> David W. Fenton wrote:
>
> > I don't agree that it's problematic to indicate something like E = E
> > when there's a change of time signature whose interpretation is
> > ambiguous. The hard part is when it's something like Q = H, where it
> > may be t
Hi Owain,
I agree, but there are lots old editions out there with the order
reversed (new value = old value). I don't know why *anyone* ever
thought that was a good way of indicating tempo shifts, but
unfortunately, it's not uncommon.
Putting the "=" directly above the barline is good pract
David W. Fenton wrote:
I don't agree that it's problematic to indicate something like E = E
when there's a change of time signature whose interpretation is
ambiguous. The hard part is when it's something like Q = H, where it
may be that the old quarter equals the new half, or the old half
e
[snip]
> Some
> passages are simply insoluble, such as the lone 6/8 bar immediately
> before rehearsal G in the first mvt. of Hindemith's _Symphonische
> Metamorphosen_. The prevailing meter is 2/4; is the beat to be held
> constant through the 6/8 measure (compound meter), or the note values
> (s
On 1 Jul 2005 at 12:28, Andrew Stiller wrote:
> On Jun 30, 2005, at 9:55 PM, David W. Fenton wrote:
>
> > I'm puzzled by why one would want to "rationalize" 6/8 to 6/12,
>
> While I agree that 6/12 is a bad solution, that does not mean there is
> no problem. Composers for at least a century have
On 1 Jul 2005 at 11:38, Gerald Berg wrote:
> Unfortunately i could not down load the mp3 file David.
Probably it wasn't clear that there was a space between "Coperario-
Fantasy" and "à3". If you go to
http://www.dfenton.com/Collegium/SideBySideViols/ you can then click
on the file from there (i
On Jun 30, 2005, at 9:55 PM, David W. Fenton wrote:
I'm puzzled by why one would want to "rationalize" 6/8 to 6/12,
While I agree that 6/12 is a bad solution, that does not mean there is
no problem. Composers for at least a century have found the traditional
notation of compound meters to
Unfortunately i could not down load the mp3 file David.
Awfully naked score! i don't think I could resist mucking it up more
if it were mine. The idea is very familiar to me... my music wouldn't
exist without it. I do like the idea of using a bracket to delineate
internal phrasing --
Cres
On 30 Jun 2005 at 10:46, Christopher Smith wrote:
> On Jun 30, 2005, at 8:48 AM, Gerald Berg wrote:
> >
> > Anyone ever read Paul Creston's Rational Metric Notation?
> >
> > He advocates replaces 6/8 with 6/12.
>
> I read another book of his on rhythm (I forget the name now) and liked
> what he
On 30 Jun 2005 at 20:59, Owain Sutton wrote:
> David W. Fenton wrote:
>
> > If you're talking about choosing a meter for a composition of your
> > own, you'd make the choice depending on what the musicians you're
> > composing for would expect. If I'm writing for viol consort, I'd
> > choose 3/2,
David W. Fenton wrote:
If you're talking about choosing a meter for a composition of your
own, you'd make the choice depending on what the musicians you're
composing for would expect. If I'm writing for viol consort, I'd
choose 3/2, since viols are more accustomed to reading small
subdivisi
On 30 Jun 2005 at 2:09, Neal Schermerhorn wrote:
> NOW - 3/2 could be felt in "one" but who would do such a thing? 3/4 or
> 3/8 would more meaningfully carry the sense of "in one" to the
> musician. 3/2 is almost always felt in 3.
Well, depends on what you're talking about.
If you're talking abo
On Jun 30, 2005, at 8:48 AM, Gerald Berg wrote:
Anyone ever read Paul Creston's Rational Metric Notation?
He advocates replaces 6/8 with 6/12.
I read another book of his on rhythm (I forget the name now) and liked
what he had to say on the subject. There is so little written on the
theor
Well it does have rational in the title... :)
Jerry
On 30-Jun-05, at 9:08 AM, Owain Sutton wrote:
Gerald Berg wrote:
Anyone ever read Paul Creston's Rational Metric Notation?
He advocates replaces 6/8 with 6/12.
Jerry
I haven't read it - but it sounds like this theory would conflict w
Gerald Berg wrote:
Anyone ever read Paul Creston's Rational Metric Notation?
He advocates replaces 6/8 with 6/12.
Jerry
I haven't read it - but it sounds like this theory would conflict with
the more common(!) use of x/10, x/12 etc. in Ferneyhough and the like.
__
Well placed Neal.
But I know my eyes won't let me follow.
I just can't see it in a passage that mixes time sig.
So
4/4 5/4 3/4 6/4 3/2 7/4
Often times I find my 5/4 and 7/4 alternating like 3+2/5 then 2+3/5
Throwing a 3/2 into the mix (to me) indicates a sort of half time feel
(that is ) th
I promised I would not respond. Oh well...
The difference between 6/4 and 3/2 is precisely the same difference between
6/8 and 3/4.
You can argue all night on what the difference is between using a quarter
note and a half note as the beat results in, but what it all comes down to
is that there ar
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