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In this particular quartet, the solid bar lines are being used for coordination, but the instruments themselves are following their own metres which are demarcated by the dotted bar lines: the music is polymetric. The beaming across the bar line confirms this interpretation. In the first example, the first violin is counting 4/8, 5/8, 3/8, 4/8; the 2nd ...


5

This sort of notation normally means a "semi-barline". I have seen it where (e.g.) a 4/4 bar is divided into two halves by a dotted barline, meaning "It's in 4/4, but well you might also feel it in 2/4". This example is a bit more difficult, but then it is Bartok. I would guess that the parts are supposed to "feel" the tempo divided into different ways. ...


2

There's no reason, really, that it's better the other way. If you keep thinking as you have been, it works for you (and me !). When it has to be translated into real chords for a particular key, then the real chords will be written. At that point, anyone playing the piece will know what to play. I, IV and V in a major key will be the same letter names as i, ...


1

The standard way that I learned in music school is that in a major key, the tonic-subdominant-dominant chords are all major and therefore are notated in upper case Roman numerals: I - IV - V. Arabic numbers are for individual notes, for example "3" is the third note in the scale (starting from the bottom). For a minor key, generally speaking tonic is ...


1

I'd say to always use the key-chord as 1. I'm a classical guy and never really got NNS. Maybe this is somewhat from ignorance, so downvotes are welcome. :) My biggest problem with many chord description systems is that they don't handle complexity with clarity or can't describe some chords - half-diminished seventh chords are a typical case. There are ...



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