On 1/21/06, Owain Sutton <[EMAIL PROTECTED]> wrote:
> 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.

I wasn't implying that there would be any difference in how it would
be performed. However, the performers would probably like to be
notified in some way whether the conductor will split that measure
into 2 or 3 beats.

>> 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.

Not at all; see my comments above. The only reason for even
considering this is that, since the piece in question is alternately
in 6/8 and 3/4, a dotted half note is ambiguous to a person reading
only one part and they won't know what to expect from the conductor.

I'm not suggesting that anything different needs to be done. I'm sure
in many cases that a dotted half on its own would be sufficient;
however, I just meant to provoke thought upon the matter. It is
certainly unwarranted to say that suggesting the composer consider
such issues is "bloody ridiculous," and I'm sure there are certain
rare situations in which it might not be "bloody obvious."

--
Brad Beyenhof
Real-time Finale discussion: http://www.finaleirc.com
my blog: http://augmentedfourth.blogspot.com
Silence will save me from being wrong (and foolish), but it will also
deprive me of the possibility of being right.       ~ Igor Stravinsky

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