[I’ve trimmed the previous discussion] I just conducted a piece for concert band by Samuel R. Hazo called “Arabesque” where there is a single measure of 6/4 indicated to be conducted 2+2+2 in a context of 4/4. I think this was the right decision, as 4/4 + 2/4 would have implied a stronger accent on the 2/4 bar than was on the 3 of the 4/4 bar. It was a complex measure, too, and having me give a big downbeat in the middle of that complex figure would have sent a message that wasn’t implied in the music.
I wouldn’t have liked three bars of 2/4 either, in a context of 4/4, as that would have been really weird. I think that old convention of 6 being always compound time is relaxed now. Other conventions that lived out their usefulness have been retired, too, so I’m pretty okay with that. Christopher > On Dec 8, 2016, at 4:42 AM, Steve Parker <st...@pinkrat.co.uk> wrote: > > 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. _______________________________________________ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
