Knut, while I would agree you and OCTO. (and also with Arnstein) that such "rules" clarify orchestral parts, I would not hold to them for other kinds of music. E. Gould discusses "Beaming to the Meter" and remarks that scale passages can "remain undivided" to show the lack of internal stresses, but she seems to be referring only to secondary beam breaks. But I could find no discussion in her book of NOT beaming to the meter.
If there is no such discussion, then this is quite an omission, because as a pianist, I constantly see such beaming patterns, including great numbers of notes in regular and irregular patterns with or without secondary beam breaks. Here are some examples from Bach's Partita no. 4 and Liszt's Hungarian Rhapsody no. 15 which have regular subdivisions of the beat. In each case, I think that the composer is asking for no internal stress within the run, just as it would appear intuitively. Now the question is: did the composer do this because it was easier to write, or because he was trying to get a point across?
Ex. 1 the 16 32nds divide a half measure in 4/4 with no beam break to clarify the fourth beat
Ex. 2 the piece is in 9/8 which is one more 1/8th than 4/4
Ex. 3 the 16ths divide the 4/4 regularly, and this first edition beams them over two measures!
Ex. 4 the same in a later edition, which "modernizes" the notation and uses beam breaks as in Style B in my test
- Bach Partita Ex 1.jpg (22.89 KiB) Viewed 11214 times
- Bach Partita Ex 2.jpg (35.36 KiB) Viewed 11214 times
- Liszt Ex 3.jpg (80.31 KiB) Viewed 11214 times
- Liszt Ex 4.jpg (51.37 KiB) Viewed 11214 times
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