NOTATIO

I have often felt that Schenker's brilliant analysis of the pitch aspect of music (the melodic lines), should be supplemented with an as thorough rhythmic analysis. As often with the Classicists the symmetric periodicity isn't as innocent as it might seem. What are strong and weak measures here real...

Thanks, benwiggy. I think I might have found a niche there.

It's always troublesome when things go missing. Here's a fermata without the vault.

Would suit some, no doubt.

Understanding irregular rhythms can be made easy, or natural by establishing a recurring pattern. In measures 3 and 4 below there is such a pattern, in itself not that difficult, but quite common in the Swedish folk dance "Polska". For Swedish folk musicians it would come quite automatical...

And I couldn't rerfain from trying to find a situation where David's A would make sense.

Interesting, and a very nice idea, if I may say so. It looks simple, but I think you would have to practise it once or twice before playing it.

It may be a matter of preferences, but personally I find the notation in David's A easier to read than in B. In A you have to understand two things only: that it is based on a quarter triplet, and that on each beat of that triplet there's a dotted rhythm. In B you have to subdivide the quarter tripl...

Thanks, John, for sharing your thoughts.

I have to admit that I don't have a definite opinion of my own on this. I'm very much for consensus when it comes to music notation.

This is one of the most beautiful examples of centered beaming I have encountered. How clearly it brings out the phrasing to show that the higher A ends the bass melody and while it holds, the lower A enters from below it to lead back to the repeat of the opening section. One can almost hear a low ...