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Many contemporary composers prefer to divide time unevenly, and some don't divide time into anything at all (the timelessness feeling that is mentioned in the question). This is contrary to the approach in most music genres that divide time into equal grids. But consider that there is a big cultural reservoir of styles and notation built around this equal ...


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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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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 ...


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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 ...


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I think in modern music, especially when you start reaching into the grounds of progressive metal, they simply do it because they can, whether it's to show technical prowess or just because they "happened" to come up with a cool riff that's in 13/16 time. It also entirely depends on the situation. If it's anything like what I described above, the answer is ...


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(7/16 + 4/8) is exactly the half of (7/8 + 4/4), then it's completely different. Why do contemporary composers love complex time signatures? I think that often their use is not justified as it could be in the music from the first half of 20th century. For me a good contemporary composer always writes music taking into account performers needs, and never ...


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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 ...


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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 ...


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If you are writing something, and you are maintaining the tempo through the passage, don't change the meter if: it is a case of temporarily moving between 6/8 and 3/4 (if the 8th note is constant). This is how Brahms did it (from Op. 117 #1, with an indicated meter of 6/8): It's a standard rhythmic effect called hemiola. Grouping the notes is ...


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You should not approach them the same way even if they have the same amount of notes. 3/4 is Simple Triple time while 6/8 is compound duple time. Where 3/4 has a strong air of waltzes about it 6/8 time not so much. You have three groups of crotchets versus two groups of dotted crotchets. This may sound like I'm just being pedantic but there must be ...


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For classical scores, it is mostly determined by the style and usually known intuitively. For example 3/4 can be a waltz and a latter 6/8 can be a 3/8 + 3/8 triplet then q=1.5e but no need for an indication. But when scoring contemporary pieces, you should always indicate clearly whether q=q or q=e (or whatever) as it is very hard to relate most pieces ...


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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 ...


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I think that unless there is a change of tempo indicated on the score, your eight note will have to be faster when changing from */4 to */8 since you will now have to play 3 eight notes per beat instead of 2.


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NO! 6/8 is not six groups of quavers it is compound duple time with each bar consisting of a dotted crotchet. If you group six quavers together it implies 3/4 time. 12:8? Here you have compound Quadruple time with each beat consisting of a dotted crotchet 4:2? Here you have four groups of minims Now let us think critically of what a time ...



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