May 31, 2006, 3:24 p.m. (Message 45436, in reply to message 45385)
Steve Wyrick wrote: | John, a minor correction: I'm pretty sure you meant _8_ 8th-notes and 2 | beats per bar (which works out to cut time). Yeah; of course. It can be hard to spot typos like that. | Incidentally, this business of confusing common (4/4) and cut time | signatures isn't a new issue. Looking at facimiles of Robert Petrie's and | William Marshall's tunebooks from around the turn of the 18th/19th century, | reels in both collections are notated in either cut or common time, with no | apparent reason for the choice of one or the other! -Steve Part of what's going on is that there has been a very slow change to the use of shorter notes over the centuries. If you look at music from the 1500s and 1600s, you'll see that what we call a whole note was the usual way to write a "beat". By the 1700s, a beat was more often written as a half note, and the cut-time notation for reels is a relic of this. In the 1800s, it became more common to use a quarter note for the beat, and that's the standard way to write polkas and waltzes. But there has always been confusion or disagreement on this. A few years ago, I got curious and went through my music books, and counted the key signatures for a few rhythms. The one that really stood out was marches, which were almost evenly divided between 2/4 and cut time. It got even more confusing because of a third, rarer choice: 4/4 with a quarter note for the beat and half as many bar lines. I've seen a few cases of cut-and-paste pages for SCD that had marches in all three notations. This sometimes causes problems when you reach the 4/4 tune, and part the band plays it twice as fast as the others (as if it were a cut-time reel). Some marches have sufficiently long notes that you can double the speed and they work, though they're no longer marches. (It's one reason to have rehearsals. ;-) The Early Music crowd sometimes has problems with this. There are some pieces of music for which the tempo isn't known, and the music works at several different speeds (and with a different note value for the "beat"). Of course, if it's music for a dance that can't be reconstructed, it doesn't matter, and you can play it any way you like. But if you're a dedicated Early Music sort, you probably find this worrying, because you want to play it "right". I ran across a case like this a few months ago. I also play for ECD, as well as for the local New England "vintage" dancers who like to do 18th-C dances. Not surprisingly, these two crowds tend to be the same people. Anyway, the dance leader had sent us a tune he wanted, but there was no clue to the tempo. We played it at both a fast "reel" tempo and a slower "walking" tempo, and we liked it both ways. Email asking him about it didn't help; we didn't have enough terminology in common to get across the problem. What we did was, before the dance was taught, we played both versions and asked which was right. He picked the "walking tune" version, so we played that one. Most ECD musicians can probably tell similar stories, as this is a common problem with the notation for that music. -- _, O John Chambers <:#/> <xx@xxxxxxxx.xxx.xxx> + <xxxxxx@xxxxx.xxx> /#\ in Waltham, Massachusetts, USA, Earth | | ' `