Re: Large time signatures

[Libero Mureddu]

Hi!
I just want to say that there's a reason to put large time signature, : 
in my opinion this is quite useful from the conductor point of view: in 
a ensemble or orchestral score, maybe written using lots of 
contemporary music resources (I mean, full of indications, special or 
custom notation) but with a rich, complex, continuosly changing, and 
precise metrical structure, the conductor need to see immediatly at 
least the time signatures; i.e. lots of Boulez scores have an 
"invisible staff" for the conductor (without staff lines), with large 
time signatures and the subdivision of the metre using the - so called 
in Lilypond - Measure Grouping signs. In any case, as you said,  is a 
praxis quite common, now: many of Ligeti, Stockhausen, Ferneyough, 
Grisey, Berio, Lutoslawski scores use that way.

Libero Mureddu

Il giorno 07/set/04, alle 12:44, Kim Bastin ha scritto:

> On Tue, 07 Sep 2004 11:21:15 +0200, Arvid Grøtting wrote:
>
> > Kim Bastin <address@hidden> writes:
> >
> > > Well, I could give "scores" of examples, but I'm not sure what pieces
> > > or editions you can conveniently consult. Anyway, here are a few from
> > > one pile of music on my shelves:
> > >
> > > Schoenberg: Klavierstück Op. 33a, Universal-Edition Nr. 9773
> > > Schoenberg: Klavierstück Op. 33b, Belmont Music Publishers BEL 1003
> > > Schoenberg: Sechs Stücke für Klavier zu vier Händen (1896). Belmont
> > > Music Publishers BEL-1019
> > > Schoenberg: Fünf Klavierstücke Op. 23, Wilhelm Hansen Edition nr. 
> > > 2326
> > > Schoenberg: Suite Op. 29, Universal Edition UE 8685
> > > Schoenberg: Sechs Stücke für Männerchor. Bote & Bock, Berlin (a
> > > different style to the above)
> >
> > Ah.  Schönberg.  Like I guessed to myself.
> >
> > [...]
> >
> > > Can this style be emulated in Lilypond?
> >
> > Let me ask you a question, quite seriously, coming from a singer
> > having to read such music once in a while:
> >
> > Why would you want to?
> >
> > (I'm a tenor, so the line I read is close to the number that actually
> > changes.  It's still quite a nuisance.)
>
> Because it's a recognised and long-established engraving style. If a
> composer or publisher wants it, I should be able to supply it.
>
> Kim Bastin
>
>
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Libero Mureddu
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