You must have meant 2/4. It’s not a screwup; it’s communicating something that isn’t necessarily there in the music. There is a large downbeat on the first beat of the 6/4, then the next large downbeat is the next bar of 4/4. If the 6/4 were divided into 3 bars of 2/4, it would be implying metric accents that weren’t there, at the beginning of each measure of 2/4. I know as a performer I would be wondering why we suddenly went to smaller measures when the music didn’t reflect it. I’m a big proponent of making the notation match what we are hearing, as much as that can be accomplished.
Christopher > On Dec 11, 2016, at 9:47 AM, timothy.price <[email protected]> wrote: > > > <[email protected]> wrote: > >>> I wouldn?t have liked three bars of 2/4 either, in a context of >>> 4/4, as that would have been really weird. > > timothy.key.price > [email protected] > > > We composers have to try to make clear our intentions to conductors > ranging from brilliant to partial awareness, with an emphasis upon > the latter. > Tell, me how, in a 4/4 context, anyone, seeing 3 measures of 2/2, > could possibly screw up? > > tim > > > _______________________________________________ > 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]
