The opening of the Firebird is another case of beating 12s. From the other side of the stand, I've encountered some bizarre and meaningless hand-waving. My preference is for a large slow 4-beat motion, each step of which is divided with two smaller beats to indicate the quaver motion. This avoids having more than one downbeat per bar (which is a killer if you get lost!), and keeps the compound structure of the metre intact.
The latter point is important - 12/8 conventionally implies a division into four large beats. If you want to avoid this interpretation, avoid 12/8. > -----Original Message----- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of timothy.key.price > Sent: 01 May 2007 19:16 > To: [email protected] > Subject: [Finale] Conducting in 12/8 > > > If there are some on this list who might offer some advice, I have a > question: A section of amorphous music for stings is now in 12/8 > time at 1/8-50 which is verrrrry slow and no beat is stressed. As > each of the many voice lines moves on a different beat, the 12/8 > allows for this type of writing, however, I have no idea how > it would > be conducted. A similar example might be the 2nd movement of > Beethoven's 6th, although his repeated string patterns lend it > structural definition: he consistently divides the measure into 4 > pulses. Is 12/8 a problem? is it usually conducted in 3 > sets of 4/8 > per measure? or 4 sets of 3/8, or 2 sets of 6/8? or all of > the above > are possible. > Or should I rewrite it and absolutely choose another meter > and increase the note value? Help/ lost. > > Thank you in advance, > > > Tim > > > _______________________________________________ > Finale mailing list > [email protected] > http://lists.shsu.edu/mailman/listinfo/finale > _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
