On Jul 1, 2005, at 1:35 PM, David W. Fenton wrote:
Well, I'm concerned about the idea that you would assume that Lully
wrote anything at all in 3/4. I don't know of any French music from
that period in which modern 3/4 occurs in the original sources, nor
any time signature with a 6 in it.
Has anyone mentioned the term sesquialtera?
_New Grove_ again, article Hemiola:
from Gk. hemiolios: 'the whole and a half'; Lat. sesquialtera). In early music theory, the ratio 3:2. In terms of musical pitch, when the string of the monochord was divided in this ratio the two lengths sounded the
On 1 Jul 2005 at 11:19, Andrew Stiller wrote:
[I wrote:]
I *do* see a problem with calling something a hemiola that is
EXACTLY THE OPPOSITE of what a hemiola actually is.
Of two examples given in the relevant _New Grove_ article, the second
(from Lully) is of the type you call reverse
Mark D Lew wrote:
On Jun 29, 2005, at 9:14 PM, Christopher Smith wrote:
Subdominant (used to mean the 4th of the scale, or the chord built on
it. Now means ANY chord that can lead to a dominant
Really? I only know the term as referring to the chord built on the 4th
of the scale.
It's
Well, if you think of it as a subdominant *function* it's not so very
wrong. In a similar way vii serves a dominant function.
Ken
At 09:54 PM 6/29/2005, you wrote:
On Jun 29, 2005, at 9:14 PM, Christopher Smith wrote:
Subdominant (used to mean the 4th of the scale, or the chord built on
Yes, I realise that, just as there are many more dominants available
than the one built on the 5th degree (speaking of both dominant
function and dominant quality).
Some of these concepts have grown so much that they deserve their own
terms. Like the bVII dominant7 chord resolving to I in
Some of my colleagues have replaced this term with Predominant to
be more clear.
Christopher
Is that the predominant opinion?
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
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On Jun 30, 2005, at 11:39 AM, Andrew Stiller wrote:
Some of my colleagues have replaced this term with Predominant to
be more clear.
Christopher
Is that the predominant opinion?
Ooh, TWO puns aimed my way in less than twelve hours! I love it!
Christopher (hoping to convert the
On Jun 29, 2005, at 9:14 PM, Christopher Smith wrote:
Subdominant (used to mean the 4th of the scale, or the chord built
on it. Now means ANY chord that can lead to a dominant
Really? I only know the term as referring to the chord built on the
4th of the scale.
So you're telling me that
On Jun 29, 2005, at 9:14 PM, Christopher Smith wrote:
Subdominant (used to mean the 4th of the scale, or the chord built
on it. Now means ANY chord that can lead to a dominant
If this is true, then do you call the 7th a sub-tonic ?
Call me aa A-retentive tradionalist, but I believe that by
On Jun 30, 2005, at 1:36 PM, [EMAIL PROTECTED] wrote:
On Jun 29, 2005, at 9:14 PM, Christopher Smith wrote:
Subdominant (used to mean the 4th of the scale, or the chord built
on it. Now means ANY chord that can lead to a dominant
If this is true, then do you call the 7th a sub-tonic ?
On 30 Jun 2005 at 0:14, Christopher Smith wrote:
On Jun 29, 2005, at 11:34 PM, David W. Fenton wrote:
On 29 Jun 2005, at 9:28 PM, Raymond Horton wrote:
The work in question is most definitely in two groups of 3 beats
each (although it often hemiolas into 3/2 temporarily).
That's
On 30 Jun 2005 at 9:20, Christopher Smith wrote:
On Jun 30, 2005, at 12:54 AM, Mark D Lew wrote:
On Jun 29, 2005, at 9:14 PM, Christopher Smith wrote:
Subdominant (used to mean the 4th of the scale, or the chord built
on it. Now means ANY chord that can lead to a dominant
Really?
Hello folks.
Has anyone mentioned the term sesquialtera? One source i have says
IIn Hispanic Music, it may refer to the mixture of duple and triple
time within groups of six quavers (eighth notes).
Hal Owen
--
Harold Owen
2830 Emerald St., Eugene, OR 97403
mailto:[EMAIL PROTECTED]
Visit my
My, we've really explored many sides of the 6/4 meter issue since I
posted my question late last night!
I think we've settled that: in general, 6/4 should divide in the middle,
3/2 should divide in threes, just as 6/8 and 3/4 do. There are
exceptions, but the general rule should hold. The
Raymond Horton wrote:
My, we've really explored many sides of the 6/4 meter issue since I
posted my question late last night!
I think we've settled that: in general, 6/4 should divide in the middle,
3/2 should divide in threes, just as 6/8 and 3/4 do. There are
exceptions, but the general
The work in question is most definitely in two groups of 3 beats
each (although it often hemiolas into 3/2 temporarily).
I just wasn't certain, in 6/4, whether five beats rest should
generally be a dotted half plus two quarters or a dotted half plus
a half. The latter is easy to read,
At 09:28 PM 06/29/2005, Raymond Horton wrote:
I just wasn't certain, in 6/4, whether five beats rest should generally
be a dotted half plus two quarters or a dotted half plus a half. The
latter is easy to read, but I suspect that Johannes is indeed on target
with his asstertion that the former
On 29 Jun 2005, at 9:28 PM, Raymond Horton wrote:
And, so far, my question hasn't been answered with any degree of
consensus by the experts on this fine list during this gentle mayhem
that has ensued from the original question.
Actually, way back at the beginning, Johannes answered your
On 29 Jun 2005 at 23:15, Darcy James Argue wrote:
[nothing I'm quoting here, but I can't find the original post, but
wanted to respond to something Raymond said]
On 29 Jun 2005, at 9:28 PM, Raymond Horton wrote:
The work in question is most definitely in two groups of 3 beats
each
You are correct that the question was answered, once, but I was hoping
for a consensus. Thanks for the summary.
RBH
Darcy James Argue wrote:
On 29 Jun 2005, at 9:28 PM, Raymond Horton wrote:
And, so far, my question hasn't been answered with any degree of
consensus by the experts on
On Jun 29, 2005, at 11:34 PM, David W. Fenton wrote:
On 29 Jun 2005, at 9:28 PM, Raymond Horton wrote:
The work in question is most definitely in two groups of 3 beats
each (although it often hemiolas into 3/2 temporarily).
That's not the right meaning of hemiola. A hemiola is:
W W
On Jun 29, 2005, at 9:14 PM, Christopher Smith wrote:
Subdominant (used to mean the 4th of the scale, or the chord built on
it. Now means ANY chord that can lead to a dominant
Really? I only know the term as referring to the chord built on the
4th of the scale.
So you're telling me that a
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