QUOTE(Czerny @ Jan 30 2012, 08:50 PM)
Come on! - this is the internet - I was hoping for a better fight than that.
Incidentally, to expand my comment about being able to sense
the placement of a note within the bar (I'm not differentiating here between what it looks like on the page and the body feel of the same), this does, of course, rely on a whole bunch of skills:
Reading-wise: to be able to recognise small rhythmic cliche units, and to see how they relate to the bar unit and important pulses within the bar. (More advanced skill: to be able to read groups of cliches in sequence at speed.)
Body-wise: immediately being able to access the visually recognised cliches as a preformed aural/body unit, and to relate that to the groove/bar subdivisions.
(Incidentally, the reason I always give for not being allowed to put a minim rest in the middle of a 4/4 bar is that it is impossible to feel
a rest as being syncopated, unlike a note.)
So .... this is all why
it's important to follow the conventions - firstly, we need the fewest number of preformed notational units to express all the rhythmic cliches that we are hoping the player will play correctly first time; and secondly we need notation which does not disguise where important pulses within the bar are, so the eyes/body don't get conflicting messages. Oh, and then use the fewest bits of notation you can get away with (without transgressing on the previous two principles).
(Edit - apologies for the lack of acute accents over the e's in 'cliche'. Looks horrible, but this forum doesn't like accents - pah!)