On Jun 27, 2006, at 9:58 PM, Lon Price wrote:
I'm working on a piece by Paganini for a client, and his handling of
tuplets got me wondering about the standards for notating them. This
piece is a theme and variations, and when he writes sextuplets the
first two show the numbers, and then he l
On 27 Jun 2006 at 22:29, Christopher Smith wrote:
> On Jun 27, 2006, at 9:58 PM, Lon Price wrote:
>
> > I'm working on a piece by Paganini for a client, and his handling of
> > tuplets got me wondering about the standards for notating them.
> > This piece is a theme and variations, and when he w
Lon Price wrote:
I'm working on a piece by Paganini for a client, and his handling of
tuplets got me wondering about the standards for notating them. This
piece is a theme and variations, and when he writes sextuplets the
first two show the numbers, and then he leaves them off, which I know
i
At 4:00 AM -0500 6/28/06, Noel Stoutenburg wrote:
Lon Price wrote:
I'm working on a piece by Paganini for a client, and his handling
of tuplets got me wondering about the standards for notating them.
This piece is a theme and variations, and when he writes sextuplets
the first two show the num
On Jun 27, 2006, at 9:58 PM, Lon Price wrote:
the finale he has sextuplets (no number), then a septuplet (still no
number), then 8 16ths in the time of 4, and finally 9 16ths in the
time of 4. It's my understanding of the rule for tuplets is that the
number of tuplets in one beat should not
On 28 Jun 2006 at 4:00, Noel Stoutenburg wrote:
> Lon Price wrote:
> > I'm working on a piece by Paganini for a client, and his handling of
> > tuplets got me wondering about the standards for notating them.
> > This piece is a theme and variations, and when he writes sextuplets
> > the first two
On 28 Jun 2006 at 12:55, John Howell wrote:
> At 4:00 AM -0500 6/28/06, Noel Stoutenburg wrote:
> >Lon Price wrote:
> >>I'm working on a piece by Paganini for a client, and his handling of
> >>tuplets got me wondering about the standards for notating them. This
> >>piece is a theme and variations,
On Jun 28, 2006, at 11:15 AM, Andrew Stiller wrote:As to the question of what is correct *now*, things are not quite as simple as you suggest. In particular, the proper number of beams for a septuplet has been a vexed question for a very long time. Many composers follow the rule you cite, that a t
John Howell wrote:
I may not completely understand the flow of technological changes,
which is why I ask this question. The "period when music was
generated with handset type," to the best of my knowledge, was the
16th and early 17th centuries.
A little off on the end; the last piece of music
On 28 Jun 2006 at 18:21, Noel Stoutenburg wrote:
> John Howell wrote:
> > I may not completely understand the flow of technological changes,
> > which is why I ask this question. The "period when music was
> > generated with handset type," to the best of my knowledge, was the
> > 16th and early 1
David W. Fenton wrote:
I don't dispute your examples of typeset music, but they are
*outliers* in terms of normal practice after the period John
mentions.
The hymnal and choral octavo _are_ outliers, and I intended them as
such. However, I have found that handset type was common until about
On 29 Jun 2006 at 6:41, Noel Stoutenburg wrote:
> David W. Fenton wrote:
> > I don't dispute your examples of typeset music, but they are
> > *outliers* in terms of normal practice after the period John
> > mentions.
> >
> The hymnal and choral octavo _are_ outliers, and I intended them as
>
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