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8

My answer would actually be different for your two examples. That is, given no other indication in the score, when executing a time signature change from 3/4 to 6/8, I would keep the 8th note constant, whereas when changing from 4/4 to 12/8, I would keep the beat constant, making the 4/4 quarter equivalent to the 12/8 dotted quarter. But, if the 4/4 - 12/8 ...


6

If we use 'em, it's because they seem necessary to us. It might be that we need an irregular effect for expressive purposes; it might be that if we don't group the notes just so, the lines won't line up properly together rhythmically; it might be that we need them to avoid arriving at a definite downbeat until exactly the right time, and that irregular ...


3

There are a couple things I consider when choosing time signatures. I don't write music quite like this but I can see a few reasons why something like this might take place. Generally speaking, it is easier to maintain a tempo than to switch. So when a composer is going from one time signature to another, it is easiest to maintain the tempo and use ...


2

Time signatures are how we define the measures that we use to organize our music. Music is not always rigid - in fact sometimes very fluid. At the risk of getting too zen, your own concept of time relative to the music that you realize externally dictates how you perceive and apply time signatures in your music. While most of us can agree on ranges of ...


2

Tabs are usually done in parallel with "real" scores containing the detailed timing information. Where a tab is supposed to be self-sufficient, it has to contain quite more information than a "standard" tab. Take a look at the LilyPond documentation for \tabFullNotation: the text a bit above shows how things look with a standard score/tab combination ...


1

Note that much of the real problem is that our notation is simultaneously too rigid and not expressive enough. It often does not reflect real performance accurately both because it can't convey that level of detail and because getting even close to real accuracy would make impossible to read and practice from. There are things in traditional musics which are ...



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