Keith Lay:

for clarinet quartet

What would happen if tempo regularly changed asymmetrically – like the rhythm of waves meeting the shore or relaxed human breathing? These are examples of ‘organic’ meters which occur regularly but consist of unequal durations. The in-breath requires more time than the out-breath. Building to the peak-crash of the wave takes longer than the post crash. Similarly, flowing meter employs a set repetition of accelerandi and/or decelerandi employing standard practice notation. Musicians adapt to the ‘feel’ of the changing flow of tempo and they can correlate subdivisions to create a seamless compression and relaxation of time.

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