Re: Notation convention: dotted notes, duplet or else?

[bruys .]

I would have to agree with the other correspondents here, that there is no one answer. 

Conventionally, your 4th example is likely to be used, as it keeps the 3
 beats in the measure clear. Generally, dotted notes don't start on the 
weak part of a beat and extend into the next beat.

However, if the part were playing a consistent cross-rhythm, playing 2 
beats against 3 beats in the other parts, then your 1st example (or 3rd,
 depending on your notation) would be the usual way to do it, as this 
would make your intentions clear, in this case. This may be related to your idea of there being a tempo 
relationship.

Your 2nd example is not likely to be used often, as the two ties are 
fussy without introducing any extra clarity to the beat. But, I can 
imagine it might be used to visually make a parallel to another part, in
 rare circumstances.

Regards,
Bruys

On Tue, May 31, 2011 at 8:17 PM, Xavier Scheuer <address@hidden> wrote:

Hi,

I have a question not about LilyPond itself but about notational
conventions (rules).  Maybe you know better or I know some have great
references such as Ted Ross or Gardner Read.

In 3/4 times, what would be the recommended notation of the following
rhythm?

 \time 3/4
 % proposal 1: dotted notes
 c4. c4. |
 % proposal 2: tied notes
 c4~ c8 c8~ c4 |
 % proposal 3: duplet
 \times 3/2 { c4 c4 } |
 % proposal 4: mix (not "symmetric")
 c4. c8~ c4 |


Does it depend on the tempo (fast = one beat (2.)
or slow = 3 beats (4 4 4))?
I would say that duplet is better for fast (one beat) tempo, but maybe
dotted notes are better at slow (3 beats) tempo?

Thanks in advance!

Cheers,
Xavier

--
Xavier Scheuer <address@hidden>

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