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Author Topic: British rhythmic terminology  (Read 2708 times)
aaron cassidy
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« Reply #75 on: 02:36:35, 10-07-2007 »

While we're on the notation question ... here's something that bugs the snot out of me:  notating rhythmic values that are 5 units long.  I thoroughly wish that Andriessen's invention of putting the dot to the left of the note/rest (indicating adding 1/4 of the note's/rest's value) had caught on.  (I assume this was Andriessen's invention, as it's the only place I've ever seen such a notational device (and it really only appears in a few early-ish pieces), but if anyone knows of prior examples, do let me know.)

It's really quite a great idea.


While I'm at it, here's another utterly nonsensical notational device having absolutely nothing at all to do w/ British rhythmic terminology:  I hereby declare my complete and utter disdain for the conventions of notating fingered tremolandi.  Richard -- don't you tend to just use "tr" to stand for both "trill" and "tremolo," skipping the silliness of the halved rhythmic values on the latter (instead just giving the rhythmic value of the duration of the figure, w/ "tr" and a parenthetical tremolo pitch)?


Right.  Back to my Finale work for the night ....
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Colin Holter
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« Reply #76 on: 03:15:13, 10-07-2007 »

Quote
(I assume this was Andriessen's invention, as it's the only place I've ever seen such a notational device (and it really only appears in a few early-ish pieces), but if anyone knows of prior examples, do let me know.)

I believe Ben Johnston used the same notation; I don't know who did it first, and Johnston may have gotten it from Andriessen.  I know a composer (once a student of Johnston's) who insists that a hollow dot adds 1/4 of the preceding value, but I'm not sure there's a precedent for it.
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aaron cassidy
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« Reply #77 on: 03:24:05, 10-07-2007 »

I know a composer (once a student of Johnston's) who insists that a hollow dot adds 1/4 of the preceding value, but I'm not sure there's a precedent for it.

What the *!&$ is a 'hollow dot'? 

 Huh

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Chafing Dish
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« Reply #78 on: 05:03:24, 10-07-2007 »

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aaron cassidy
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« Reply #79 on: 05:07:46, 10-07-2007 »

I believe we call that a circle.
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martle
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« Reply #80 on: 08:45:58, 10-07-2007 »

Over here, we prefer 'gutless speckle'.
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aaron cassidy
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« Reply #81 on: 08:53:28, 10-07-2007 »

Over here, we prefer 'gutless speckle'.

Yes, I'm sure you do.

 Wink




Okay, bedtime for me.  One of those ridiculous 15 hr work days.  Should be done w/ this piece by the end of the week .....

And then on to the next piece .....
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thompson1780
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« Reply #82 on: 10:50:06, 10-07-2007 »

This thread has become very interesting as it drifted into the realms of physics as well as actually getting round to talking about rhythmic notation, but please forgive me  highlighting an association my purile brain made whilst catching up on reading it.

Anything shorter than a quaver is just a bee's dick, mate.

Well, I fear in that you're a mite screwed.

 Shocked

Tommo
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George Garnett
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« Reply #83 on: 10:52:13, 10-07-2007 »

Tommo  Cheesy Cheesy Cheesy Cheesy

Here's something that bugs the snot out of me. Which is bigger, a bee's dick or a gnat's crotchet?
« Last Edit: 11:19:11, 10-07-2007 by George Garnett » Logged
thompson1780
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« Reply #84 on: 10:55:28, 10-07-2007 »

Actually George, I just started wondering what reproductive systems would be like in the quantum world.  But we might have to ask someone like Heisenberg about that.  (I bet he says he's not sure).

Tommo
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harmonyharmony
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« Reply #85 on: 10:58:34, 10-07-2007 »

Kyle Gann adopts Harry Partch's (hope I've attributed this correctly) notation for units of 1.25 length, but I can't remember off the top of my head what that notation is.
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richard barrett
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« Reply #86 on: 11:01:58, 10-07-2007 »

The difference is that he, Newton, chose to embed it in a metaphysical doctrine of absolutism (although this was not necessary for the physics still to work). Einstein, on the other hand, was careful not to do this but his theory could be so embedded without making any difference to his physics.
Indeed. But had Newton heard of Mach's principle he might not have thought that much of it, I reckon.

While we're on the notation question ... here's something that bugs the snot out of me:  notating rhythmic values that are 5 units long.  I thoroughly wish that Andriessen's invention of putting the dot to the left of the note/rest (indicating adding 1/4 of the note's/rest's value) had caught on. 
I'm not sure about that. I can imagine situations where a dotted note followed by a "half-dotted" note might get confused with a double-dotted note followed by an undotted one, etc. Also it could look rather inelegant in combination with accidentals. I think I'd prefer the little circle, but those too can be used for other unrelated purposes and could cause confusion.

Quote
don't you tend to just use "tr" to stand for both "trill" and "tremolo," skipping the silliness of the halved rhythmic values on the latter (instead just giving the rhythmic value of the duration of the figure, w/ "tr" and a parenthetical tremolo pitch)?
Mostly yes, though I do sometimes make exceptions in piano music like where two chords are alternated, in which case there's a chord with a stem indicating the duration, another chord with full-sized noteheads but without a stem, and four diagonal bars between them. The halved-duration-values convention is, as you say, pointlessly complicated.

I slept on the Klavierstück VI question last night (good thing I'm not a princess or I'd be bruised all over) and I'm beginning to think that something derived from it might be worth investigating. (For those who don't know this score, it has an extra 13-line "stave" above the usual ones, on which a line indicates changes of tempo (using a "scale" of 13 tempi) and a "full stop" indicates a pause.)
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George Garnett
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« Reply #87 on: 11:45:07, 10-07-2007 »

The difference is that he, Newton, chose to embed it in a metaphysical doctrine of absolutism (although this was not necessary for the physics still to work). Einstein, on the other hand, was careful not to do this but his theory could be so embedded without making any difference to his physics.
Indeed. But had Newton heard of Mach's principle he might not have thought that much of it, I reckon.

It's juuuurst possible he would have been right to be suspicious of it Shocked  http://www.padrak.com/ine/INERTIA.html  Even the General Theory of Relativity, although partly inspired by Mach's Principle, doesn't require it and can survive without it.

[But, ahem, sorry all, I do realise this has about as much relevance to British rhythmic terminology as an aphid's arse does to whether a princess would notice she'd had a pee in her mattress.]
« Last Edit: 12:12:40, 10-07-2007 by George Garnett » Logged
Ron Dough
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« Reply #88 on: 11:51:00, 10-07-2007 »

But, sorry all, I do realise this has about as much relevance to British rhythmic terminology as an aphid's arse...

Which might be very good teminological shorthand for a hemidemisemithingy. Very Percy Grainger.
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increpatio
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« Reply #89 on: 11:57:30, 10-07-2007 »

[quote author=richard barrett link=topic=1393.msg43985#msg43985
I think there is actually much less of a difference between Newtonian physics and Einstein's physics than there might appear to be on this issue of absolute versus relative spatial and temporal relations. IMHO the two theories, as scientific theories, are actually both neutral on the question of whether space and time (or space-time in Einstein's case) are independent of the things which inhabit them, or whether they are second order constructions out of relations between those things and events. Newton's physics qua physics is just as relational (in that sense) as is Einstein's. The difference is that he, Newton, chose to embed it in a metaphysical doctrine of absolutism (although this was not necessary for the physics still to work).

Yes, you're right there; it's a pity he didn't pay more attention to Galileo, who had done away with such things already!  Actually, at least in the baby formulations (with particles and other stuch things), they both have a very definite space/time-manifold in which things live.  But this is mainly a practical thing.  When it comes to talking about relativity of spacial/temporal relations, there's a pretty big difference between Newtonian physics and Einsteinian Relativity I think! (not as much between Galilean and Einsteinian relativity, in that both can be viewed in the same light).  I think that it was only in the Lagrangian formulation of classical mechanics that the concept of "ambient space" became much less obviously necessary.

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Einstein, on the other hand, was careful not to do this but his theory could be so embedded without making any difference to his physics. The important point (er, IMHO) is not that one is absolute and one is relational per se but that Einsteinian physics could not be embedded in the same absolutist framework as the one postulated by Newton.

I agree that this is an important conceptual jump.  (Also, though I have attended a course in the subject, and follow what news I can in the field with interest, I am not a physicist, and certainly not a theoretical physicist).  There were similarly abstract formulations of Newtonian physics developed by Lagrange, Hamilton, Jacobi, &c., but they could all be reduced back to the simple framework, and really only found their vindication when applied to quantum physics and Einsteinian relativity.

But there's no such thing as an overall static reference grid, as there was by implication in Newton's physics.

Yes there is; one has space-time Wink I don't know if it's a cheat to call spacetime static or not, but that's where the equations of gr live, and it's a very well-defined geometric object; as good as any grid really.... (by grid everyone means (hyper-)plane here I hope).

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The spacetime relationship between objects/events can only be given in terms of their relative positions, not in terms of map references.

This is not quite true; from a particular reference frame you get a particular view of (part of) the universe; you can map it out if you like.  But to communicate the information to other people in other reference frames who have their own maps, you'll need to figure out how both your views of spacetime fit together using Einstein's equations.

(apologies for pulling what is an interesting thread slightly further off topic)

Quote
I slept on the Klavierstück VI question last night (good thing I'm not a princess or I'd be bruised all over) and I'm beginning to think that something derived from it might be worth investigating. (For those who don't know this score, it has an extra 13-line "stave" above the usual ones, on which a line indicates changes of tempo (using a "scale" of 13 tempi) and a "full stop" indicates a pause.)

That sounds like a really charming/functional innovation.  This allows one to get at what I was mumbling about earlier with no trouble at all really.  Just to clear up one thing: would repeating a note on this stave correspond to changing the tempo twice, or would it just be asserting the same tempo twice?

EDT: actually I've tracked down the score; all makes sense now.
« Last Edit: 13:42:31, 10-07-2007 by increpatio » Logged

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