I prefer to believe that the vast majority do not think this.
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3/4 vs. 6/8 (time signatures)
- Thread starter organworthyplayer337
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I prefer to believe that the vast majority do not think this.
Per your request, I've deleted my postings with all those "scores" and immediately disbanded our team.
Thanks for reminding me a very simple truth.
It's not what we say, it's what the other people hear.
You know Don, I tend to agree with you that 3/2 is less ambiguous than 6/4 - Good call.
Groove Master
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Actually I don't see the needs to write it in 3/2. 3/4 is perfect and rhythms will much more easier to read then that cut-time feel of 3/2. There are reasons in the feel to write in cut-time and there are none in that one. Real Brazilian music (samba) is written in 2/4, not 2/2 and there is an actual samba groove in that SD tune ;-)You know Don, I tend to agree with you that 3/2 is less ambiguous than 6/4 - Good call.
Indeed - in my first comment I said 3/4 as first choice, then 6/4 because it had been mentioned and I could see no objection. I would prefer 3/2 to 6/4, but 3/4 over either as it just fits the feel best, at least to my ears/feet and I will always look to simplify such that a bar is less than or equal to a semi-breve where possible.
Let's take "Footprints", by Wayne Shorter.
Some pro copyists are transcribing it in 6/4, some in 3/4.
Some pro copyists are transcribing it in 6/4, some in 3/4.
Another interesting example, IMHO, is Thielemans "Bluesette".
Most of the pro copyist transcribe it in 3/4 and it's just perfect if listen to the original 1962 debut version:
Here is Quincy Jones' arrangement of Bluesette (a la bossa nova).
Are we still going to transcribe it in 3/4?
Most of the pro copyist transcribe it in 3/4 and it's just perfect if listen to the original 1962 debut version:
Here is Quincy Jones' arrangement of Bluesette (a la bossa nova).
Are we still going to transcribe it in 3/4?
Groove Master
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Groove Master
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Humm Good question about Bluesette by Q. May be a 6/4 because of the bossa nova drums part
I respectfully disagree.
I'll quote Antonio Adolfo, from his book "Brazilian Music Workshop", pg. 17, paragraph 2 :
"The most used time signature is the 2/2 (cut time)."
This book uses 2/2 consistently for all Samba based examples.
Who or what are you basing your statement on?
Thanks for your time, interest and civility.
don kasper
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I know my statement may be bold, but from my own experience, I've seen mostly 2/4 instead of 2/2 for Brazilian music. I know there is a mix of both in the excellent book by Oscar Stagnaro "The Latin Bass Book" in the brazilian chapter. The 2 other books I have written mostly in 2/4 are "Musica Brasileiro para Contrabaixo" by Adriano Giffoni and Aebersold Volume 124 Brazilian Jazz where a lot of stuff is written in 2/4.
Here is quote from Oscar's book about Brazilian music: This tune (p.177) is written in 2/4, as most Brazilian music is notated in Brazil itself.
This is just for reference because I think we both know that we are splitting hair here and it is fine to write it both ways
Take care and same here,
Sylvain Bolduc
Here is quote from Oscar's book about Brazilian music: This tune (p.177) is written in 2/4, as most Brazilian music is notated in Brazil itself.
This is just for reference because I think we both know that we are splitting hair here and it is fine to write it both ways
Take care and same here,
Sylvain Bolduc
I hear this, (during the intro and 1st melody and outro only), as 3/2, OR, if 6/4, I would write it as 2+2+2, as there is a feel of a slow "3" as opposed to 2 groups of "3".
Th-an-ks.
Th-an-ks.
I wish all our threads at TB could be so relaxed as Tjader's "Speak Low".
I would transcribe some parts of the bass-line as slow 3/4 and some in 6/4 as 2+2+2 depending on the bass groove/"drive."
P.S. In order to preserve that peaceful Tjader's "atmosphere", I would recommend to figure out the time signature in Bobby Montez's rendition of "Speak Low" performed in 4/4.
On the other hand, I would be confused how to count Jessye Norman's "Speak Low".
Agree, kind of! In its simplest form (keeping to the principle of no more than a whole note per bar), I would go with 3/4 to 2:37, 4/4 to 4:47, then back to 3/4 to finish.
What would be the time signature for the first composition from The Zawinul Syndicate's superb live performance in Belgrade 2003?
3/4?
4/4?
Joe Zawinul - keyboards
Manolo Badrena - percussion
Sabine Kabongo - vocals
Amit Chatterjee - guitar, vocals
Linley Marthe - bass
Stephane Galland - drums.
3/4?
4/4?
Joe Zawinul - keyboards
Manolo Badrena - percussion
Sabine Kabongo - vocals
Amit Chatterjee - guitar, vocals
Linley Marthe - bass
Stephane Galland - drums.
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Definitely not 4/4. Since it's fast and has more of a doubled-up 3 feel to it, if it were up to me, I'd probably score it in 6/4 to make reading it a little easier unless the composer specified something else.
Something like 3/2 would make me have to think too hard
