Breaking up the bar asymmetrically like that might work in certain situations, 
but there are many cases where it will not, and 6/4 really is the best answer. 

YMMV as they say, but I never lose any sleep over using a binary 6/4 and it has 
never caused any confusion for performers.

Cheers,

— DJA
-----
http://secretsocietymusic.org



> On Dec 7, 2016, at 3:08 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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