My problem with your system is that it defines a certain number of slashes to be unanimous with unmeasured tremolos, regardless of tempo or note values. I am a proponent of a more flexible system, based on musical judgement, and a dynamic relationship between measured and unmeasured tremolos. This might result in confusion if not handled properly, but if one overcompensates a bit, the number of slashes which at the given tempo is too fast to be effectively playable as measured tremolo, would to me be the appropriate indication for unmeasured tremolo. Normally, as Stone points out, the upper limit is four slashes (although, SMuFL recommends an upper limit of five).John Ruggero wrote:Knut, I don't have Kurt Stone's book and I don't have enough context to really understand the quote, but if his system is based on tempo and context, I think that this too indefinite and open to confusion.
So I need someone to tell me what is wrong with the simple system outlined above.
For music requiring an extended number of slashes to clearly indicate unmeasured tremolo, or composers such as yourself, who want a firm separation between the repeated notes of a measured tremolo and the effect of an unmeasured tremolo, one should use one of the alternate symbols suggested by OCTO throughout the piece for unmeasured, and reserve the slashes for measured tremolos.