On 12/9/2016 5:14 PM, iCloud wrote: > Hi Steve, > > The distinction is useful until it’s not. > > If I have a fast piece in 2/2, conducted in 2, and then I need a bar that’s > elongated by a beat, I’m going to write a bar of 3/2, and conduct that bar in > 3. > > If I have a piece in 5/4, conducted in 5, and then I need a bar that’s > elongated by a beat, I’m going to write a bar of 6/4, and conduct that bar in > 6. > > If I have a piece in 4/4, conducted in 4, and then I need a bar that’s > elongated by two beats, I’m also going to write a bar of 6/4, and conduct > that bar in 6. > > Traditional worries about which parts of the bar are stressed don’t really > apply to my music, and that’s true of much modern music. > > That bar of 6 might contain people playing all kinds of syncopations and > over-the-barline rhythms and cross-rhythms. There might not even *be* an > attack on beat 4 to emphasize. Insisting that 3/2 can only be 2+2+2 and 6/4 > can *only* be 2+2+2 is a convention that is not useful my music, or in the > music of many (if not most) contemporary composers. >
Darcy, the musical project in question in the original message wasn't asking about which would be better for *your* music or for anything other than the particular situation in which he specifically asked which would be better to indicate the stresses on quarter notes 1, 3, and 5 instead of 1 and 4. You obviously write in a manner which produces the great results you and your band get and obviously what you write is clear to them. Your arguments in favor of 6/4 have all been very good for the kind of music that you write (as well as a lot of other modern music) but in none of your replies in this thread have you indicated how best to show the stresses on quarter notes 1,3 and 5. How would you indicate such in music which doesn't have syncopations and other obscurations of the beat. In fact in your reply which I've quoted intact you say "there might not even *be* an attack on beat 4 to emphasize." That's about as far from the original question as a person can get because the original question indicated clearly that he didn't want to emphasize the 4th quarter note, which indicates to me that there is an attack on the 4th quarter note (in a measure containing 6 quarter notes) which he doesn't want stressed. So how would you indicate stresses on 1, 3, and 5 in a 6/4 measure without using accents or tenuto lines or any other articulation, but rather simply by the meter, which was the original question? -- David H. Bailey [email protected] http://www.davidbaileymusicstudio.com _______________________________________________ Finale mailing list [email protected] https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: [email protected]
