polarbreeze wrote:Encore does indeed understand the term "on the beat" and in fact it uses that concept when it makes decisions for the "beam on beat" function. In fact, it seems to me the logic about how to pair notes for swing treatment is the same as the logic for how to pair notes for beam-on-beat.
I meant it does not understand the verbalism, "beam on the beat". It may fulfill a concept that we describe that way.
But regarding its fulfillment of that concept it does it in the way I described. Any attempt to condense or popularize that definition is risky.
Note that, if we take "beat" to have its usual meaning (four of them to a 4/4 measure), then, depending on the setting of what I call the "basis note", the criterion on which Encore makes its decision about the application of swing may not be "on the beat" but rather "on the wink" (where I have been hoping to get an acceptable musical terms for the counts of a pattern of smaller notes).
In any case, (as you well know, having read my description), Encore's decision is not made (we'll assume an eighth note basis note for convenience and pertinence) based on the first note beginning "on the beat", but rather on its ending
on the "and" (that is, an eighth note after a beat). And the decision regarding a "second note" is based on its beginning
on the "and" (even if there is no preceding "first note".
So in this example, with the basis note at eighth note, both notes would be given swing adjustment (in the traditional sequence):
(I realize that the notation is not what is recommended, but I used it for best clarity of the actual technical considerations.)