> Now: in 6/8 mesure what is better, bar2 or bar3 in this example? > %2 > b24dx4 D"right?" a g fs / % (4 crotchets in a bar of 6/8)
> %3 > [ b8d D"better?" ad gd fsd ] / % (4 dotted quavers) > %4 > [m1 b24dx4n6 D"wrong?" a g fs ] Rd / (4 quavers) I have seen all three notations. My personal preference would be for the 4 quavers; and my suggestion would be to avoid the dotted quavers except for isolated cases. (To me, they disguise the intention slightly---at first glance they look slightly syncopated.) Others could well disagree! Examples I know which use the ``wrong'' notation are Debussy's Clair de Lune (and some of the Preludes), and Tchaikovsky's 5th Symphony (the slow movement). I guess that this slow movement provides the reason for the notation: the time signature switches between 12/8 and 4/4, and one would expect a note lasting 1-eighth of a bar to look ``the same'' in both cases. (Does this make sense?) The first movement of Sibelius' 2nd symphony provides an interesting example: in 6/4, there are some bars where the rhythm is c2dx2 c c2dx4 c c c / (that is, duplets then quadruplets in the two halves of the bar) and BOTH these x-tuplets are in crotchets! Who said musicians have to make sense? Cheers, Andrew _______________________________________________ Tex-music mailing list [EMAIL PROTECTED] http://icking-music-archive.org/mailman/listinfo/tex-music
