Whose solo piano music floats your boat?

[MickyD]

Thank you Beefy, I really enjoyed that!

[teamsaint]

never seen a time signature like that before.

[Pulcinella]

never seen a time signature like that before.

You need to get out more, then!
Or, get the scores out more.
And I'm not talking football or cricket.

[Bryn]

You need to get out more, then!

I immediately thought of Bartók, though Out of Doors is not perhaps the best example among his oeuvre. Anyway, here's an informative link:

https://en.wikipedia.org/wiki/List_of_musical_works_in_unusual_time_signatures

[Pulcinella]

I immediately thought of Bartók, though Out of Doors is not perhaps the best example among his oeuvre. Anyway, here's an informative link:

https://en.wikipedia.org/wiki/List_o...ime_signatures

That's an interesting link, Bryn, even though the numerical representations in the table look very odd in places, not helped by the common use of slash when writing time signatures (e.g. in 3/4) rather than stacking the numbers.
Tippett does a slightly different thing in the last movement of his Concerto for double string orchestra, in that in a couple of places in an 8/8 bar he says 'Beat 3', with phrasing that produces a bar with 3 then 2 then 3 quavers, so making 8/8 = 3/8 + 2/8 + 3/8.

[Pulcinella]

never seen a time signature like that before.

Ha!
Caught you out.
If, as you say elsewhere, you have sung in Bernstein's Chichester Psalms, then you SHOULD have seen this sort of thing before.
The Allegro molto section in the first movement, in 7/4, also has the designation C + 3/4 in brackets at the time signature change, and each bar is actually split as such, with dotted vertical lines after the fourth beat.

[ferneyhoughgeliebte]

Tippett does a slightly different thing in the last movement of his Concerto for double string orchestra, in that in a couple of places in an 8/8 bar he says 'Beat 3', with phrasing that produces a bar with 3 then 2 then 3 quavers, so making 8/8 = 3/8 + 2/8 + 3/8.

Erm ... almost, Pulcie: the 3-2-3 feeling is frequently present in the first movement (the first bar, orchestra 1, for example), but whenever he marks "beat three" (at the cadential figure on pages 2, 4, 6, 13, 15, 17, 19) the pattern is the more orthodox 3 - 3 - 2.

[Pulcinella]

Erm ... almost, Pulcie: the 3-2-3 feeling is frequently present in the first movement (the first bar, orchestra 1, for example), but whenever he marks "beat three" (at the cadential figure on pages 2, 4, 6, 13, 15, 17, 19) the pattern is the more orthodox 3 - 3 - 2.

True, and I suspected that I'd be 'caught out' too!
But in the first movement the first bar accents are specifically marked (and footnoted).
The 8/8 bars I was talking about are in the last movement, page 40, though of course you are right about the first movement ones.
I'll just lie low for a while, till ts gets his revenge one way or another!

[cloughie]

never seen a time signature like that before.

Never mind see it, try and play it?

[ahinton]

That's an interesting link, Bryn, even though the numerical representations in the table look very odd in places, not helped by the common use of slash when writing time signatures (e.g. in 3/4) rather than stacking the numbers.
Tippett does a slightly different thing in the last movement of his Concerto for double string orchestra, in that in a couple of places in an 8/8 bar he says 'Beat 3', with phrasing that produces a bar with 3 then 2 then 3 quavers, so making 8/8 = 3/8 + 2/8 + 3/8.

Tippett's friend Alan Bush does something very similar in Alla Bulgara, the last of his Three Concert Studies for piano trio although, in that instance, Tippett's Concerto came first and so he'd not have been able to say, as he did of something in his second (I think) string quartet, "oh, I got that from Alan!"...

[ferneyhoughgeliebte]

But in the first movement the first bar accents are specifically marked (and footnoted).

- that's what I meant when I referred to "the first bar, orchestra 1". "Marked", though, not in the "additive Time Signature" style that ts commented on.

The 8/8 bars I was talking about are in the last movement, page 40

- yes, it was I who was "caught out": you very clearly said "in the last Movement in your post It's curious that Tippett doesn't put the Bartokian Time Signature here (he might not have done so in the first bar of the First Movement because the Second Orchestra has the rhythmic pattern shunted across to half-way through the bar) where everyone is in rhythmic unison (and needs a change of Time Signature in the next bar).

[teamsaint]

Ha!
Caught you out.
If, as you say elsewhere, you have sung in Bernstein's Chichester Psalms, then you SHOULD have seen this sort of thing before.
The Allegro molto section in the first movement, in 7/4, also has the designation C + 3/4 in brackets at the time signature change, and each bar is actually split as such, with dotted vertical lines after the fourth beat.

Alright, can't remember seeing one before.
I sang the Chichester Psalms in about 1974.

Funny, because I remember everything else from 43 years ago.........

[teamsaint]

Never mind see it, try and play it?

Doesn't look too bad................ played very slowly......

[teamsaint]

Ha!
Caught you out.
If, as you say elsewhere, you have sung in Bernstein's Chichester Psalms, then you SHOULD have seen this sort of thing before.
The Allegro molto section in the first movement, in 7/4, also has the designation C + 3/4 in brackets at the time signature change, and each bar is actually split as such, with dotted vertical lines after the fourth beat.

Well I just dug out my score of the CPs, ( with orchestral reduction), and indeed it is as you say at Bar 12, not that I was doubting you,of course.
But is isn't written out like the signature in the Erkki - Sven Tuur piece, which was the specific point I was getting at.
But anyway,thanks for making me dig out my score, and have a proper listen.

I'd need plenty of practice to sing that decently nowadays........

[Pulcinella]

Looks like everyone's honour has been maintained, and ts gets to listen to the CPs again: a result!