STRANGE NOTE DURATIONS HOW TO

using a 6:5 tuplet for the last 6 16th notes in bar 32 and 34, to show they should be played just a little bit faster (and thus fit it into 4 4)ДЄ different (albeit difficult with a program like Sibelius) approach comes from Olivier Messiaen's notion of additive rhythm. Sadly the music software i use doesn't allow irregular tuplets such as 7:6 and 6:5, which might have been useful, but i should gain access to a full version later this year and i'll be able to experiment with using them where appropriate e.g.

I'll be able to discuss the other alternatives such as using 7:6 tuplets with my piano teacher later this week, since i need to be sure that in bar 32 and 34, the last tenuto notes are very tenuto indeed ( they sound only a little bit shorter than the quavers ).

STRANGE NOTE DURATIONS HOW TO

Some of the music i'm trying to write seem only to fit in to some of these very obscure time signatures simply to be able to fit the right number of notes in rather than them being used because they have the 'feel' of that obscure time signature, they instead feel like 4/4 or 6/8 bars with 'extra' 16th notes in them, so we have 13/16 bars and 17/16 bars like this:Д¬urrently I have them grouped in 6 6 5 for the 17 16 bars and 6 6 1 for the 13 16 bars, though after discussion with my piano teacher, we concluded that it looked wrong, but couldn't conclude how to make it right after discussing just these 4 bars for half an hour, and she insisted that using 4 4 4 4 1 and that 6 6 1 bar was incorrect despite it helping to simulate the idea of a '4 4 bar with an extra 16th note'.ДЄny tips on improving the readability and making this more 'technically correct' would be greatly appreciated, even just a better note grouping system would help.Д®DIT: I have tried the suggestion involving using normal time signatures but adding grace notes to imply the same effect but making it easier to read and I've written it like this:

Strange note durations