How to notate additive rhythms?

Hi everyone,

I’m looking for some advice on how to notate additive, prose-like rhythms. They aren’t typically too complex, but they don’t fit into clean metrical cycles. I’ve been discouraged before from having a time signature change in every bar, out of practical concerns, but I’m not finding a more practical solution.

Another tricky part is notating passages where rhythmic cycles might be offset in different instruments. I need a good strategy to ensure ensemble coordination (right now it’s mostly chamber music). One thing I’ve seen in Ligeti’s scores is to have a 4/4 signature as a basic grid, but indicating rhythmic stresses by beaming or accents instead of metrical position. I’ve tried it, but I’ve found it makes my rhythms seem even less intuitive, often with pesky ties across bars.

Here’s a rhythmic excerpt, that I’ve included to demonstrate how I’ve currently been notating. It most clearly reflects how I think the rhythms. The omission of the denominator was inspired by scores of Mompou (you may agree with it or not), and the general format was influenced by some additive-based pieces by Arvo Part. Is it possible to keep this solution? Or does it hinder sightreading or ensemble coordination?

Thanks in advance for any advice you can offer on the matter. I’d really appreciate it!

01 - Full score - Rhythmic notation sketch.pdf

Edited Saturday at 06:22 PM1 day by CrystalCanon

Hello !......Here's 3 examples that might Inspire.

https://en.wikipedia.org/wiki/Additive_rhythm_and_divisive_rhythm

https://en.wikipedia.org/wiki/Prose

https://en.wikipedia.org/wiki/Drone_music

Edited 7 hours ago7 hr by interlect

I can see that some composers of art songs (Messiaen, Barber, etc.) omit time signatures entirely in their art songs. I wonder if this is an option -- though probably less practical for larger instrumental groups?