On 1/21/06, Owain Sutton <[EMAIL PROTECTED]> wrote: > Brad Beyenhof wrote: >> 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. > > What, you want Boulez-style indications over every sustained note? If > there's a regular alternation between 6/8 and 3/4, then a trained monkey > could probably understand what the conductor was doing. Or, come to > think of it, a trained monkey could conduct it....
But we're *not* talking about regular alterations here. Also, if you had taken the time to read my entire message, you would have known that I had said that a dotted half note could very likely be fine all on its own. I was just presenting it as a point to consider; I wasn't trying to get anybody to change anything. -- 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 _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
