# Re: [Finale] 3/2 vs. 6/4

```My tuppence:

I see both and if you have time to explain you could use either.
But.. if I was writing for a sight read or studio session (or any classical
players) I would write it the way it would be conducted.
If I wrote 6/4 and then conducted three accents in the bar, it would lead to
unnecessary questions.
Can you give an example of where a combination of 4/4 and 2/4 wouldn't solve
it, if you require the denominator to stay a 4?
All I can think is something like a 5 over the 6 counts, but then it would be
fine to treat the 3 accents as hemiola over 6 anyway. ```
```
Steve P.

> On 8 Dec 2016, at 05:36, Giovanni Andreani <l...@giovanniandreani.com> wrote:
>
> I agree with Patrick, the denominator suggests the pulse's value.
>
> Giovanni Andreani
>
>> On 7 Dec 2016, at 23:52, Patrick Sheehan <patricksheehanmu...@gmail.com>
>> wrote:
>>
>> 6/4.   Don't change the denominators.  Keep the denominator consistent as
>> the pulse stays consistent.
>>
>> Patrick J. M. Sheehan
>>
>> P. S. Music
>>
>> patricksheehanmu...@gmail.com
>> -----Original Message-----
>> From: Lee Dengler [mailto:leedeng...@comcast.net]
>> Sent: Wednesday, December 07, 2016 1:10 PM
>> To: finale@shsu.edu
>> Subject: [Finale] 3/2 vs. 6/4
>>
>> 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
>>
>> leedeng...@comcast.net <mailto:leedeng...@comcast.net>
>>
>>
>>
>>
>>
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>
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