Re: triplet question

[David Rogers]

Some composers used to feel that, in music that changed its metre 
frequently, a consistent time signature would help the performers. The 
example that comes to my mind first is the sonata for trumpet and piano 
by Kent Kennan - because he wrote it with a consistent time signature, 
despite all the changes that were actually happening. In a second 
edition, he changed his mind and wrote a new key signature wherever it 
made sense. (The second edition is now the only one available, so you 
can't compare them side-by-side unless you know where to borrow the 
first ed.)

I don't know whether the first edition of that piece has any triplets 
over the bar line - just pointing out that it would be possible, 
although not usually advisable.

Another possible place for this sort of thing is in music with 
unevenly-grouped eighths (7:4, etc) where some composers use the beams 
to make the melodic groups clear.


David