I agree with Christopher. But I think it is although a matter of timing and space in between the counted beats. Playing Leroy Andersons Trumpeters Lullaby in 4/4 makes no sense. This would be like playing trumpet while wearing a too small tuxedo. No space for the music.
Using certain meters goes along with certain feelings. All Blues??? A master piece. Do not notate it, do not read it, feel it. Notes and rests are totally useless for that kind of music. It is too far above :-) Andrew Noah Cap -----Ursprüngliche Nachricht----- Von: Christopher Smith [mailto:[EMAIL PROTECTED] Gesendet: Mittwoch, 26. März 2008 12:39 An: [email protected] Betreff: Re: [Finale] Partial tuplets in Finale - slightly OT, Ferneyhough On Mar 26, 2008, at 6:39 AM, dhbailey wrote: > David W. Fenton wrote: >> On 23 Mar 2008 at 21:55, Owain Sutton wrote: >>> (Why >>> notate anything as 2/2, if it's likely to be heard as 2/4?) >> This kind of comment makes me crazy. >> You notate it as 2/2 because MUSICIANS PLAY IT DIFFERENTLY THAN >> THE PLAY 2/4. >> Certain styles of music make more sense in 2/2 than they would in >> 4/4 or 2/4. > > You can really hear a difference in music performed in 2/4 rather > than 2/2? Come on, now, put yourself in an audience and write the > meters down that you hear, and I'll be that your movements in 2 > will be correct half the time and wrong half the time, assuming > you've never seen the printed music before. > > What's the performing difference when dividing the beat in half, if > using a half-note pulse and playing quarter notes or using a > quarter-note pulse and playing 8th notes? A beat divided in half > is a beat divided in half. Isn't it? I know what he means, if I could jump in here. The listener might not make a distinction, but the performer reading it might react differently. In a previous post (I don't know if it made it to the board yet!) I had made a comparison using jazz, where it is easy to get eighth notes to swing in 4/4, but hard to get quarter notes to swing in 4/2 or sixteenths to swing in 4/8. Some styles of music enter the performer's brain more easily in a certain notation, according to what we are used to. The composer can choose to ignore these conventions, but he may be putting up a barrier to easy interpretation of his music. Christopher (An interesting exception to the jazz swing convention: the tune All Blues, which for some odd reason is usually notated in 6/8 with swing 16ths, rather than the more conventional 6/4 with swung 8ths (like two bars of jazz waltz). Nutty.) _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
