Neal Gittleman wrote:
Pace those who think differently, Beethoven doesn't seem to have much
problem with either formulation...
dottted-quarter plus three eighths is all over the first movement of the
Eroica (well, strictly speaking, not, since he always writes it as
quarter, eighth-rest, three eighths) and also throughout the Egmont
Overture (again, with the rest
Schumann also uses dotted-quarter plus three eights in several passages
in the first movement of his Second Symphony
quarter plus four eighths IS all over the first movement of Beethoven 8.
Context certainly does matter, but in none of these cases is there
anything remotely problematic about the notation.
While I agree that none of the situations is problematic, are you
looking at the manuscripts (or facsimiles) or are you looking at the
engraved music? If looking at the engraved music I doubt that Beethoven
or Schumann had any input into how the rhythms were engraved.
And of course the overall rhythmic thrust of the music can make such a
beaming easy to read or more difficult to phrase properly, in my opinion.
But I agree that neither is problematic for most players -- even though
I would not beam the three 8ths following a dotted quarter myself, I can
certainly see no truly compelling argument against it.
--
David H. Bailey
[EMAIL PROTECTED]
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