On Jun 30, 2005, at 9:55 PM, David W. Fenton wrote:
I have the score in front of me. He writes it as "6/8 (3/4)" with the
header "Tempo di Huapango (fast)." The beaming of the hemiolated (3/4)
measures is inconsistent.
Ack!!! Andrew! How can someone who is so particular about terminology
get this one wrong? The subdivision shift is not a hemiola!
New Grove: "The term was used from the 15th century to signify the
substitution of three imperfect notes for two perfect ones in tempus
perfectum... or prolatio maior... By extension, in the modern metrical
system it denotes the articulations of two bars in triple meter as if
they were notated as three bars in duple meter."
So if anyone has it backwards, it's you. However fear not: see my other
posting on this subject.
Notwithstanding which, I see that I have once again misread the meaning
of someone's posting on this issue. Instead of citing the Lully example
in my other reply, I should have cited the article's example one, from
Dunstable. My main point is unaffected: the authority of New Grove
endorses both 3X2 and 2X3 as hemiola, when either appears in the
context of the opposite meter.
And "hemiolated" sounds like something you'd need Preparation H for!
;)
Well I do confess it is a googlewhackblat (the first I ever personally
encountered)--but you had no trouble understanding my meaning, did you?
And how else would you express the concept of "containing or
exemplifying hemiola(s)"?
A serious question: when you say the beaming in the 3/4 measures is
"inconstent" what do you mean? Are you looking at a full score
Full score. The inconsistency is not between parts, but depends upon
the rhythm of the individual measure. Here are some examples:
Voice: "I like the city of San Juan" and many parallel spots. "San
Juan" is notated w. Q E Q.--i.e., stays in 6/8. Instrumental parts
reinforcing this lick also stay in 6/8, e.g. Fl. IV: E Er tripletSSS
Q. , but other insts. playing more obviously in 3 are notated in three.
The rhythm E Er E Er E Er is always notated under a single beam. So is
the reverse rhythm Er E Er E Er E
Passages in running E are beamed in pairs in the 3/4 bars--except for
the voices, where there is no beaming between syllables.
All the inconsistencies are very consistently applied, so that a rhythm
of a given pattern will always be notated the same way wherever it
appears (that is, within the 3/4 measures. The 6/8 measures are notated
in 6/8 patterns in all parts).
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
_______________________________________________
Finale mailing list
[email protected]
http://lists.shsu.edu/mailman/listinfo/finale
