malik@galaxy.DEC (Karl Malik ZK01-1/F22 1-1440) (07/18/85)
2 comments: 1) Limits of notation -- Our current notational system is a very powerful system. The degree of precision you want (i.e., how exactly you want to communicate your wishes to a performer) is pretty much up to you. The limits are really more of a practical matter. Will you be at the rehersal to help performers understand how you want that subtle, 'out of tempo' section to be played? If so, you needn't worry too much about notating it exactly (stick a 'rubato' or whatever in the score and explain to the performers what you mean). If you aren't going to be around, you may wish to be more explicit. Another issue is whether you are writing in a known style. A lot of bebop composers wrote even eighth notes, but everyone knew to 'bounce' them. If you're doing something new, or dealing with performers who may not understand the style, you'd be better off notating things more precisely. 2) Composition rules; this is just a word argument. Being unaware of the rules by which you compose does not mean you are free of rules. The problem may stem from the belief that there really are some musical rules out there somewhere; there aren't. There's nothing to rebel against. Doing 'what sounds good' is simply composing according to that fuzzy-edged set of rules that comprise pop/rock. The prevalence of drums (and drum machines) is not coincidence - it is one of countless unspoken rules that make pop/rock pop/rock. ,km