If you are uncomfortable with the 3/2 convention, rather than using the
ambiguous 6/4 meter, have you considered breaking it into 4/4 + 2/4? (or
vice versa)?

On Wed, Dec 7, 2016 at 2:08 PM, Darcy James Argue <[email protected]>
wrote:

> Hi all,
>
> The conventional answer is 3/2, because as you say, traditionally 6/4 is
> compound meter.
>
> I personally ignore this convention for exactly the reason you describe —
> that it suggests that the underlying X/4 pulse changes, and that is
> unintentional. In a mixed-meter piece, going from 4/4 to 3/4 to 5/4 to 3/2
> causes needless confusion.
>
> Sometimes, conventions are dumb.
>
> Cheers,
>
> — DJA
> -----
> http://secretsocietymusic.org
>
> > On Dec 7, 2016, at 2:39 PM, [email protected] wrote:
> >
> > I agree with David and Raymond, 3/2.
> >
> >
> > ***************************
> > J D Thomas
> > ThomaStudios
> >
> >
> >
> >> On Dec 7, 2016, at 11:09 AM, Lee Dengler <[email protected]>
> wrote:
> >>
> >> I have a theory question for all you theory buffs out there.  I am
> writing a
> >> piece that is mostly in a slow 4/4 meter (quarter note =60).
> Occasionally,
> >> I have a measure of 6 beats where the quarter note remains consistent.
> In
> >> those measures, the stress of lyrics falls on beats 1, 3 and 5.  Should
> I
> >> make those measures 3/2 or 6/4.   My uncertainty lies in that going to
> 3/2
> >> makes it look like the half note gets the beat, but 6/4 is generally
> >> considered to be a compound meter (3+3).  Any words of wisdom?
> >>
> >> Lee Dengler
> >>
> >> [email protected] <mailto:[email protected]>
> >>
> >>
> >>
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