Making statements like "always" seems pretty risky when it comes to music, including common practice rep. I'm virtually certain common practice rep has examples of 6/4 in the context of 4/4 as a way of extending a particular bar. I just can't find one at the moment. :-(
Also, I don't imagine anyone will have much trouble with either. It isn't a pro-am thing. (Unless you are talking about beginners, which is a whole 'nother kettle of fish and outside my expertise.) For me, OP's choice has everything to do with context. Without knowing the full context, it is difficult to offer a suggestion. But in the end that's all it would be: a suggestion. Either way is perfectly readable. On Fri, Dec 9, 2016 at 7:21 AM, David Froom <[email protected]> wrote: > > > On 9 Dec 2016, at 7:22 AM, Steve Parker wrote: > > > > I think a composer should be able to do whatever they like. But it's not > a convention that is outliving its usefulness, it is rather a useful > distinction that is being contracted. > > I can happily conduct 6 beats in 3/2 to keep the pulse the same and I've > never met anyone who would suddenly double the tempo of the crotchets just > because they've seen 3/2. > > In terms of stress, subtleties matter. > > S.w.w. 3/2 > > S.w.S. 4/4+2/4 > > S.S.w. 2/4+4/4 > > Stress is, after all, a major reason for time signatures existing.. > > This is really interesting, as it seems to come down to a jazz vs > classical thing — and I fully respect each, but acknowledge each has its > own notational psychology. I think notational psychology is important, even > crucial to know — things like when/where a cellist would see tenor or > treble clef, or who prefers ledger lines (flutes and tubas) over 8va/8vb > (pianists), and so on. > > The other break down in 3/2 vs 6/4 (in the purely classical world) might > be amateur vs professional? Though even here, I’d follow the “rules” if > there is time for this to be a teaching moment. > > It all comes down to who you are writing for and what will take the least > explaining. If you don’t know the rules of a particular situation, you need > to ask. I always try to avoid being the inventor, especially if there is a > perfectly good “standard, expected” solution. > > In the professional classical world, top numbers 6, 9, 12 are ALWAYS > compound meter, whether with lower number 2, 4, 8 or 16. Top numbers 2, 3, > 4 are ALWAYS simple meter. Shifting back and forth between compound and > simple usually has a (q=q) or (q=q.), sometimes with a confirming > parenthetical metronome mark. If one or the other is consistent, you do > this once and add “sempre.” The occasional 3/4 with a duple subdivision is > always better shown as dotted quarter followed by eighth-tied-to-quarter > (instead of two dotted quarters or a two-quarters duplet). > > Other top numbers (5 or 7) will show subdivisions with beaming — or will > have (2+3) or some such thing if there is a conductor and if there is any > lack of clarity. I hate wasting orchestral rehearsal time with the > conductor going through the score saying where it is 2+3 and where it is > 3+2 (been there…). > > If I give a part to a pro classical player with a simple meter when it > should have been a compound meter (or vice versa), I will get a comment, > will not be taken seriously, and ultimately, won’t get as good a > performance. That’s how I learned this… > > Specifically for the situation that triggered this discussion: It sounds > as if it is for non-pros. I’d recommend 4/4 and 2/4 or vice versa depending > on the music. Could also be 3 bars of 2/4. Or if it is to 6/4 but sounding > as three half-notes, it might be half, quarter-tied-to-quarter, half — > though that would look fussy. > > Thanks all for a great discussion. I learned something, especially if I > ever find myself writing for jazz players. > > David Froom > _______________________________________________ > Finale mailing list > [email protected] > https://lists.shsu.edu/mailman/listinfo/finale > > To unsubscribe from finale send a message to: > [email protected] _______________________________________________ Finale mailing list [email protected] https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: [email protected]
