On 3 Jul 2010, at 20:20, Carl Sorensen wrote:
The meter mentioned before, 12 = 3+2+2+3+2 with quadruplets, is very
popular in the historical region of Macedonia, on both the Macedonian
and the Greek side (though a lot seems to play it in 16 = 4+2+3+4+3).
There is a music example here, listening for especially at about time
2:00 and after.
...
I couldn't find the music example at this URL.
Typo. It should be:
http://www.ethnicdance.net/ethnicmusic/www/play_bufskoto.ram
Also see:
http://en.wikipedia.org/wiki/Leventikos
So here, to get subbeaming expressing the musical pattern, one might
want to write the meter as
((4:3)(2+2) + (2 + 2)) + ((4:3)(2+2) + 2) * 1/16
It is possible to sometimes have quadruplets on the 3s, and sometimes
not. For example, in the original version of Makedonsko Devojce,
which
is in 7 = 3+2+2. So one might want ot have more patterns:
3+(2+2) * 1/16
(4:3)(2+2) + (2+2) * 1/16
Thank you for this explanation. But what I wanted is not a specific
musical
example of such a meter, but a specific example of the notes in a
measure
and the desired beaming.
If you have quadruplets on the 3s, do you want to have the two
halves of the
quadruplet beamed separately, i.e. do you want to have a quadruplet
bracket
across two beamed pairs of 32nd notes? I wouldn't have expected
that. I
would have expected that you would want to have 4 32nd notes beamed
as a
group with a tuplet number of 4 above the beam.
Sorry, I though it was clear that the meter specification above
indicate what beaming one prefers. One could use both, depending of
the taste of the typesetter. So I have examples of of Bulgarian
kopanitsas typeset both as (2+2)+3+(2+2) and 4+3+4. In both cases,
there are three groups with space between them. In the first case
(2+2)+3+(2+2), the middle of the first and last group (2+2) have the
second level bems broken up. In the second case 4+3+4, they are
unbroken.
So as for the quadruplets, the 1/16 level within the 4:3 quadruplets
could be similarly broken up or unbroken, depending on how detailed
one wants to be with the accent subpatterns. (In the example above, in
the beginning, they play it as though unbroken, but later, at time
2:00, they start to play it as broken up.)
If I want to have them broken up, I write as above
((4:3)(2+2) + (2 + 2)) + ((4:3)(2+2) + 2) * 1/16
If I want them unbroken I write
((4:3)4 + (2 + 2)) + ((4:3)4 + 2) * 1/16
In the second case, the 4 is the what I called the simple meter
component, formally a primary accent on the first beat and secondary
accents on the other beats.
So the + defines both a metric accent hierarchy and a beaming
structure. So one could tie them together, only noting that in
typesetting, different note patterns may use different + expression
patterns.
Hans
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