David W. Fenton wrote:
On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
Yes, I'll admit that that was a silly example, since it can easily be
adapted to make either signature clear. What about a dotted half?
This is a ludicrous question, seems to me, because there's no way
whatsoever for a performer to perform a dotted half in 3/4 in a way
that sounds rhythmically different from the same value in 6/8.
It's bloody ridiculous to imagine that such a difference could
possibly make a difference, but if you really wanted to make it
clear, you'd tie two dotted quarter notes. But I expect most
performers would think you were nuts.
I fully agree. Otherwise the argument suggests we should eliminate 2/2,
because there's no way to make a semibreve sound different to one in 4/4.
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