Owain Sutton wrote:
It really isn't a workaround when every bar is a measure change, two
thirds of them being x/10 or x/12. I can't claim to understand the
intricacies of how Finale works, but I'm sure it can't be too
difficult for me to replace one symbol for another,
Well, if it were me,
Christopher:
OK, I guess we're running out of words to describe things. Perhaps
I've taken the term farther than it was originally intended to go
when I call any chord with the key's 4th degree and no leading tone
a sub-dominant function chord. But there IS adequate support on
that, including
Owain Sutton wrote:
Without wanting to disrupt the talk of modes, scales and all elsebut
should I take it that a 2/10 signature isn't possible in Finale?
I thought we had answered that a long time ago -- You are correct, the
easy use of a 2/10 time signature is NOT possible in Finale.
there are few, if any, possible successions of diatonic chords that
can fail to find a functional definition. More to the point is the
relationship of a given function to a real repertoire or tradition.
For example, it is a commonplace in music theory that a classical
repertoire work using
OK, folks,
Debussy (in pieces like Maid with the Flaxon Hair) uses a cadence
that would be F/G (F major in the right hand, G in the bass) to the
tonic in C Major. Is that plagal or authentic? Is the F/G chord a
V11? How would Schenkerian scholars view it?
I love the falling fourth (Hey, Jude
Christopher:
is a plagal cadence in a situation like this [the blues] tonal?
If you end with a seventh chord it's neither plagal (except in the
same very broad sense by wh. a ii-I cadence could also be so called)
nor tonal.
Or do you absolutely require a functioning leading tone to be able
At 11:50 AM -0700 7/16/04, Harold Owen wrote:
OK, folks,
Debussy (in pieces like Maid with the Flaxon Hair) uses a cadence
that would be F/G (F major in the right hand, G in the bass) to the
tonic in C Major. Is that plagal or authentic? Is the F/G chord a
V11? How would Schenkerian scholars
dhbailey wrote:
Owain Sutton wrote:
Without wanting to disrupt the talk of modes, scales and all
elsebut should I take it that a 2/10 signature isn't possible in
Finale?
I thought we had answered that a long time ago -- You are correct, the
easy use of a 2/10 time signature is NOT
On Jul 14, 2004, at 6:19 PM, Christopher BJ Smith wrote:
I guess I am still looking for a term other than non-functional to
describe non-V-chord progressions that stay in a key or mode, and
define that key or mode.
When a lot of that sort of music started being composed, the term
Andrew Stiller wrote:
On Jul 14, 2004, at 6:19 PM, Christopher BJ Smith wrote:
I guess I am still looking for a term other than non-functional to
describe non-V-chord progressions that stay in a key or mode, and
define that key or mode.
When a lot of that sort of music started being
At 7:11 PM +0200 7/15/04, Daniel Wolf wrote:
Andrew Stiller wrote:
On Jul 14, 2004, at 6:19 PM, Christopher BJ Smith wrote:
I guess I am still looking for a term other than non-functional
to describe non-V-chord progressions that stay in a key or mode,
and define that key or mode.
When a lot
Aaron Sherber wrote:
At 09:15 PM 07/13/2004, Mark D Lew wrote:
And from what I know of math and music, that doesn't seem right to me.
It's not supposed to match normal math.
A quarter note is 1/4 of a whole note. Isn't a sixth note 1/6 of a whole
note? And if not, why not? (I'm not being
Aaron Sherber wrote:
At 10:43 PM 07/13/2004, Christopher BJ Smith wrote:
I think Rob's math was a little off. A sixth note
is equal to one quarter in a quarter-note triplet. A twelfth note is
one eighth-note triplet.
Ah, yes, that makes more sense. Thanks.
And in that case, a simple metric
There was a wonderful example of "modern notatation" in a journal a couple
of years ago. Just about every perversion the avant garde could imagine
was featured in this one tiny excerpt. When (if??) one took the trouble to
work it all out, it was actually the melody to "God Save the Queen
I've been quietly watching this thread on unusual time signatures, and
learning from the collective wisdom. The piece by Thomas Ades that was
referred to before, might it have been Living Toys? I have seen the score
for this work and in it, I was educated as to the meaning of 11/5 time.
At 10:37 PM +0100 7/12/04, Owain Sutton wrote:
I'd hazard a guess that 99.9% of music in the Western European and
American tradition written in the past 20 years has been tonal, has
used functional harmony, and has used clear metric patterns. That
includes art music, educational music,
At 4:48 PM -0400 7/14/04, Andrew Stiller wrote:
On Jul 14, 2004, at 1:11 PM, Christopher BJ Smith wrote:
if you consider that atonal means with no discernable key centre at
all, then there is a big gap between tonal and atonal, which
includes a lot of modal music (like a lot of rock and pop, and
I can attest to the fact that unusual time signatures are becoming more prevalent - we
just performed a work by Thomas Adés that had 1/6, 4/6, 4/12 among other time
signatures.
At first I thought it was simply a way of making things even more difficult for the
performers, but after contemplation
At 10:37 PM +0100 7/12/04, Owain Sutton wrote:
John Howell wrote:
At 9:47 PM +0100 7/11/04, Owain Sutton wrote:
Yep, 2/10. Or 7/24. I'm not getting into the explanation of what
they mean right nowbut...
Basically, I want to substitute different numbers for the '8' or
'16' displayed, while
we still haven't
ansswered the original question: how does one substitute
non-traditional numbers into the
lower section of the time signature?
=
Rob Deemer
Rather than the ponderous work-around someone else suggested, I would
recommend you get yourself a copy of the MetricFonts set from
John Howell wrote:
At 10:37 PM +0100 7/12/04, Owain Sutton wrote:
John Howell wrote:
At 9:47 PM +0100 7/11/04, Owain Sutton wrote:
Yep, 2/10. Or 7/24. I'm not getting into the explanation of what
they mean right nowbut...
Basically, I want to substitute different numbers for the '8' or
On 13 Jul 2004 at 16:21, John Howell wrote:
Wasn't it Schoenberg
who wrote that there's still a lot of mileage left in the C major
chord?
I think it was something like there are still lots of pieces to be
written in the key of C Major.
--
David W. Fenton
At 01:55 PM 7/13/2004, Rob Deemer wrote:
I can attest to the fact that unusual time signatures are becoming more
prevalent - we
just performed a work by Thomas Adés that had 1/6, 4/6, 4/12 among other
time signatures.
At first I thought it was simply a way of making things even more difficult
for
At 8:43 PM +0100 7/13/04, Ken Moore wrote:
In message [EMAIL PROTECTED]
Christopher BJ Smith [EMAIL PROTECTED] writes:
At 1:17 PM -0400 7/12/04, John Howell wrote:
Pardon me for stating the obvious, but those signatures are
meaningless. We do not have a 10th note or a 24th note in our
notational
At 9:07 PM -0400 7/13/04, Aaron Sherber wrote:
At 01:55 PM 7/13/2004, Rob Deemer wrote:
I can attest to the fact that unusual time signatures are becoming more
prevalent - we
just performed a work by Thomas Adés that had 1/6, 4/6, 4/12 among other
time signatures.
At first I thought it was simply
At 6:15 PM -0700 7/13/04, Mark D Lew wrote:
On Jul 13, 2004, at 6:07 PM, Aaron Sherber wrote:
I've read this a few times, and it still doesn't make sense. If a
sixth note is equal to a dotted eighth, that would make the time
signature 1/6 equivalent to 3/8.
That's right.
And from what I know of
At 10:05 PM 07/13/2004, Richard Yates wrote:
I've read this a few times, and it still doesn't make sense. If a sixth
note is equal to a dotted eighth, that would make the time signature 1/6
equivalent to 3/8.
No. 3/16.
Yes, you're right -- I'm being a little cross-eyed here tonight.
I think you
At 09:15 PM 07/13/2004, Mark D Lew wrote:
And from what I know of math and music, that doesn't seem right to me.
It's not supposed to match normal math.
A quarter note is 1/4 of a whole note. Isn't a sixth note 1/6 of a whole
note? And if not, why not? (I'm not being facetious -- I don't have
At 9:47 PM +0100 7/11/04, Owain Sutton wrote:
Yep, 2/10. Or 7/24. I'm not getting into the explanation of what
they mean right nowbut...
Basically, I want to substitute different numbers for the '8' or
'16' displayed, while keeping the function of the signature the
same. Is there a way
John Howell wrote:
At 9:47 PM +0100 7/11/04, Owain Sutton wrote:
Yep, 2/10. Or 7/24. I'm not getting into the explanation of what
they mean right nowbut...
Basically, I want to substitute different numbers for the '8' or '16'
displayed, while keeping the function of the signature the
On Jul 12, 2004, at 2:37 PM, Owain Sutton wrote:
Wow. I expected some hostility to the question, I've come to expect
it - but an outpouring of vitriol like that was unexpected.
If that seemed like and outpouring of vitriol to you, your lead a
sheltered Internet existence indeed.
John expressed
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