----- "Mathieu Bouchard" matju@artengine.ca a écrit :
On Tue, 6 Jul 2010, João Pais wrote:
that's the same thing. then you'll be loosing time by typing a score
which has always the same rhythm/tempo. better put a metro with a
mod,
and you have it. the music for which the program is made is more
like:
Ah yeah, that's a good example score-wise.
But then, the problems with such scores are things like the flirting too close to the "uncertainty principle" (tempo is used for a time too short to be really felt) and the "consonance" of tempos (13:10 can be quite hard to distinguish from 4:3 in many circumstances, just like such ratios of frequencies can). But you picked extreme scores, and I can see very well how pieces of much lesser complexity than that can be a lot more followable by the ear _while_ at the same time having much of a use for a complex programmable super-metronome.
This uncertainty principle would only apply to uncertain styles of music, main differences between rythms are about how you interpret them
If the rythm is played like every step with no accent, no one would make a difference between 11:8 , 4:4, 7:16 ... that's why we use some patterns where it's easier to recognize differents ratios, and those patterns are things that defines the style of the music. If we compare both the music of Ministry and the music of a Taraf de Haïdouks we would have for the same complex bars but different kinds of musics, because they use different kinds of patterns.
In fact even in a simple 4:4 bar, the need for a variable metronome is quite necessary for orchestras. Different sections don't play their parts at the same tempo, if you pay attention to it, technicaly a section would play better if the tempo is slower or higher for different parts, that's why there is conductor.
pryvitannie
forgot to answer this one...
On Tue, 6 Jul 2010, patko wrote:
If the rythm is played like every step with no accent, no one would make a difference between 11:8 , 4:4, 7:16 ...
I always thought of the metric as something that happens not only with rythmic patterns, but also with melodic patterns. I mean that the melody is making another kind of rhythm. Usually, the bars are aligned with changes of chords and scales : the frequency and phase of the bars is chosen to most closely match the greatest number of chords and scales. That's a lot of the reason why plain 4/4 rock music is written with strong 2nd and 4th beats, instead of shifting the whole bar system by one beat just so that the strong beats be numbered 1st and 3rd.
In fact even in a simple 4:4 bar, the need for a variable metronome is quite necessary for orchestras. Different sections don't play their parts at the same tempo, if you pay attention to it, technicaly a section would play better if the tempo is slower or higher for different parts, that's why there is conductor.
I don't believe that... I mean, for pieces that don't make explicit use of battements.
I always thought that a large part of the reason why the conductor is there, is because on a large stage, if musicians only listen to each other, they will be out of phase due to sound propagation delays, and if we are to be picky about it, then we need a guy in the middle to sync the whole thing in a non-auditive manner. (Of course, a conductor does a lot more than that, but that's not what I say).
(If the stage is 15 metres across, the latency between one musician at one end and one musician at the other end is about 44 ms...)
_ _ __ ___ _____ ________ _____________ _____________________ ... | Mathieu Bouchard, Montréal, Québec. téléphone: +1.514.383.3801
Selon Mathieu Bouchard matju@artengine.ca:
forgot to answer this one...
On Tue, 6 Jul 2010, patko wrote:
If the rythm is played like every step with no accent, no one would make a difference between 11:8 , 4:4, 7:16 ...
I always thought of the metric as something that happens not only with rythmic patterns, but also with melodic patterns. I mean that the melody is making another kind of rhythm. Usually, the bars are aligned with changes of chords and scales : the frequency and phase of the bars is chosen to most closely match the greatest number of chords and scales. That's a lot of the reason why plain 4/4 rock music is written with strong 2nd and 4th beats, instead of shifting the whole bar system by one beat just so that the strong beats be numbered 1st and 3rd.
That is right, in fact any of the five musical parameters (tune, tone, volume, space, length) could be modulated for giving a metric, even different metrics at the same time.
In fact even in a simple 4:4 bar, the need for a variable metronome is quite necessary for orchestras. Different sections don't play their parts at the same tempo, if you pay attention to it, technicaly a section would play better if the tempo is slower or higher for different parts, that's why there is conductor.
I don't believe that... I mean, for pieces that don't make explicit use of battements.
I always thought that a large part of the reason why the conductor is there, is because on a large stage, if musicians only listen to each other, they will be out of phase due to sound propagation delays, and if we are to be picky about it, then we need a guy in the middle to sync the whole thing in a non-auditive manner. (Of course, a conductor does a lot more than that, but that's not what I say).
(If the stage is 15 metres across, the latency between one musician at one end and one musician at the other end is about 44 ms...)
If I have understood the main discussion, it is about using a metronome, admitting that each stand has an earphone that play a metronome, there would be no latency taken into account, we could even reduce latency that would come from the percussions that are always at the backside of those kinds of orchestras.
_ _ __ ___ _____ ________ _____________ _____________________ ... | Mathieu Bouchard, Montréal, Québec. téléphone: +1.514.383.3801
On Thu, 5 Aug 2010, colet.patrice@free.fr wrote:
That is right, in fact any of the five musical parameters (tune, tone, volume, space, length) could be modulated for giving a metric, even different metrics at the same time.
I don't know of a concept of "the" musical parameters being only five and not more than five, and I don't know the meaning of those five words in that context.
Whose theory is it ? Does it have a name ?
_ _ __ ___ _____ ________ _____________ _____________________ ... | Mathieu Bouchard, Montréal, Québec. téléphone: +1.514.383.3801
-
colet.patrice＠free.fr -
Mathieu Bouchard -
patko