forgot to answer this one...
On Tue, 6 Jul 2010, patko wrote:
If the rythm is played like every step with no accent, no one would make
a difference between 11:8 , 4:4, 7:16 ...
I always thought of the metric as something that happens not only with
rythmic patterns, but also with melodic patterns. I mean that the melody
is making another kind of rhythm. Usually, the bars are aligned with
changes of chords and scales : the frequency and phase of the bars is
chosen to most closely match the greatest number of chords and scales.
That's a lot of the reason why plain 4/4 rock music is written with strong
2nd and 4th beats, instead of shifting the whole bar system by one beat
just so that the strong beats be numbered 1st and 3rd.
In fact even in a simple 4:4 bar, the need for a variable metronome is
quite necessary for orchestras. Different sections don't play their
parts at the same tempo, if you pay attention to it, technicaly a
section would play better if the tempo is slower or higher for different
parts, that's why there is conductor.
I don't believe that... I mean, for pieces that don't make explicit use of
battements.
I always thought that a large part of the reason why the conductor is
there, is because on a large stage, if musicians only listen to each
other, they will be out of phase due to sound propagation delays, and if
we are to be picky about it, then we need a guy in the middle to sync the
whole thing in a non-auditive manner. (Of course, a conductor does a lot
more than that, but that's not what I say).
(If the stage is 15 metres across, the latency between one musician at one
end and one musician at the other end is about 44 ms...)
_ _ __ ___ _____ ________ _____________ _____________________ ...
| Mathieu Bouchard, Montréal, Québec. téléphone: +1.514.383.3801
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