depends on the time signature or beat pattern. the first examples have an "in 3 feel" [so 4 over 3] due to word and tone accents, while the second would be better for an "in 4 feel" or measure:
. pAss the gO*d**(*) bUtter; whAt atrOcious wEAther . AUnt mAry bAkes a cAke but this, the idea of using "mathematical" to learn a 5-let [2+3], and the possibilities of regional and national differences in dialect, intonation and word accent patterns, reminds me of a story a prof at my old university once described to me about how one of his students [thought s/he learned] learned triplets. in the following, each number syllable has the duration of an 8th note [without triplet values]: one-two-three-[8th rest], one-two-three-[8th rest]... the use of word phrases may indirectly bring a new learner to bypass the important step of learning to feel the measure or beat pattern underlying the ratio. i think it best to start with an extremely slow tempo [if needed] which can be portioned into enough subdivisions to be able to articulate all possible attack points in a given ratio, such as 4:3 or 3:4: in 3/4 divide the quarters into 4; in 4/4 divide the quarters into 3 [each gives (3 x 4 =) 12 total attack points]. articulate patterns corresponding to the division in 3 [on 1, 5, 9] and in 4 [on 1, 4, 7, 10]. place heavier accents on the former to work on the 4:3 feel, the latter for the 3:4 feel. the same method can be applied in a large range of rhythmical situations, even helping simplify much of so-called "new complexity" [15:9 = 5-let divided into 3-lets, or 3 successive and equal duration values in 5-lets, etc.], while word plays are very limiting and can be quite inexact. jef -- .jef.chippewa. mailto:[EMAIL PROTECTED] .shirling.&.neueweise. mailto:[EMAIL PROTECTED] http://newmusicnotation.com _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
