Darcy James Argue / 2005/06/29 / 07:21 PM wrote: >The reason the switch between 4/4 and 3/2 in the published version of >"All About Rosie" is confusing because while the 4/4 sections are >notated to reflect what the drums are doing, the 3/2 sections are >notated to reflect what the bass is doing. But there is not a >corresponding shift in the relative importance of those instruments. >When the 3/2 measures hit, it's supposed to be a subtle prolongation of >the measure, not a big dramatic in-your-face metrical shift.
But it sorta is. I was going to ignore this thread but I have to speak for George. That 3/2 bar was meant to shift. It's a 10 bars phrase. That 3/2 bar is a landmark of the odd length phrase, and drummer is not supposed to ride through it. I have been George's assistant conductor last 17 years. Or did I misunderstand what you are saying? and.... Christopher Smith / 2005/06/29 / 06:00 PM wrote: >Just to thoroughly discredit my own argument, though, here are two >exceptions. There are two pieces of common repertoire which are >ordinarily written in 6/8 (divided 3+3) with swing SIXTEENTHS - "All >Blues" by Miles Davis, and "Better Get Hit in Your Soul" by Charles >Mingus. In the case of the former, I am convinced that jazz musicians >read this in 6/8 for no other reason than because the first published >lead sheet was notated that way, without reference to Miles or any of >his musicians. If you say Miles, I can't keep my mouse shut :-) The melody, to me, clearly dictates 6/8, while he does solo in 6/4 groove later, the head/theme pattern is 6/8 with dotted Q subdivision, not swing sixteens. -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA <http://a-no-ne.com> <http://anonemusic.com> _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
