Hi David, In my music there are generally multiple rhythmic streams going on simultaneously. For ease of coordination and conducting, there needs to be a single common notational meter, regardless of what meter is implied by the individual lines. This happens quite a lot in contemporary jazz. Guillermo Klein, for example, has a number of works that *sound* like they are in 7/16+7/16+7/16+3/16 -- but these pieces are actually notated in 3/4 throughout. (They are *much* easier to read and to feel that way.)
> I also see a major problem, and that's if you need to have an accent > that counterpoints with the "real" meter -- if your "real" meter is > represented by accents within the reference meter, how do you notate > the accents against the "real" meter? With an accent. Or by communicating what you want verbally to the players. Or simply by having internal accents implied in the way the music is written. > Of course, this question presumes that it's possible to have an > accent pattern that doesn't align with the metrical accent yet > doesn't shift the meter. Of course it is. Jazz is pretty much built on this. It might help to get specific. I have a reduced score and audio of "Zeno" here: http://www.secretsocietymusic.org/darcy_james_argues_secret/composition-vivisection Cheers, - DJA ----- WEB: http://www.secretsocietymusic.org _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
