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The Radio 3 Boards > The Music Boards > Music Through The Ages > Take Five
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Author Topic: Take Five  (Read 911 times)
Tony Watson
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« Reply #45 on: 08:12:54, 29-10-2007 »
Quote from: Reiner Torheit on 04:39:52, 29-10-2007
It can be extremely enlightening to perform these pieces (for study purposes, rather than necessarily in concert) from barless notation - the "barline imperative" of the military bandsman evaporates, resulting in a much more transparent texture.

I wonder whether that is why Satie didn't always use barlines. On a different level, I suppose, The Sorcerer's Apprentice is notated in 3/8 rather than 9/8. I wonder what Dukas' thinking was there. And, digressing a bit I know, I sometimes wonder what significance notation has on the resulting performance and sound. I'm thinking of the scherzos in Beethoven's symphonies which are usually in a brisk 3/4. Would it make any difference at all if they were in 3/8?
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Reiner Torheit
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« Reply #46 on: 08:27:43, 29-10-2007 »
Quote from: Tony Watson on 08:12:54, 29-10-2007
Would it make any difference at all if they were in 3/8?
I've often wondered the same myself?!  I wonder what others think?

I see a kind of "musical inflation" at work here.

It's worth remembering that the longest note currently available to composing mortals is the Breve, worth two semibreves.

But breve means "a short/quick note"?  And indeed it always used to be, back in the C12-13th, those organa were flying-around in breves.  Semi-breves...  well, nothing could be shorter than half a quick note!!

Yet today we see time-signatures like 3/16 and don't think they're unusual?
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
-  Leon Trotsky, "My Life"
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