A few posts getting lost on the symantics of notation, there are various shuffle beats, the notation shown is just one example, as are there swing examples. A players experience will let them make the right (or wrong) choice of how to swing a line.
Ternary and binary is as much about 'implied' rather than any stated notation. Since music is more than a bar long, ternary needs to be implied over the first 'meeting point" between the note number/value.
Even numbers multiplied always make even numbers, odd number multiplied can make even or odd numbers?
An easy example is 4/4,
4/4 multiplied by 3 = 12, so we can consider every 12 beats the point where ternary (odd number) and binary (even number) meet within the meter, so that is three bars to play for the feel..not one
So you can play 3 bars with a binary feel (4/4) or imply 3 bars with a ternary feel.
12/8 would be my choice for say a slow 4/4 blues.
But rather than any number to count, i use phonetics, words or phrases that have the same symbolic feel to what i play.
So rather then 123123123123, my feel is blue purple blue purple blue purple blue purple.
So the phonetics of blue pur-ple has the elements of threes i want to feel.
As mentioned, 12/8 in a slow blues song flows with a ternary feel because the three feel implied divides into the number 8th notes to be used, and over three bars the 8ths meet every 24 beats. 2x12 = 24 as does 3x8 = 24.....and so it goes on with the nuances of sub-division within ternary and binary sub-divisions
Sub-division has nuances, those nuances are how a player feels a count or a beat, not only how it is written, but over a number of bars. The player then applies that feel over all bars therefore over the whole song.
Its the same as being asked to hold back the line by playing behind the beat, its a skill of interpretation, experience and technique, rather than an exact application......its about knowing what is intended...not how it is spelt.
Since most players practice varied and wonderful things, they as a rule practice it with binary feel. Scales, arpeggios, triads, fingerings etc all practiced with a 4/4 feel. This will ingrain a players resistance to learning different meters, when i say resistance i mean that as an internal thing as in "not feeling it", or "not getting it" more than any conscious resistance to learning.
I was taught that once a player has 4/4 ingrained then they need to practice 3/4, once they have that ingrained they are better prepared to handle all time signatures/meters they will encounter as they will in effect be based on those two meters.
How we then learn to sub divide those meters is another matter, it is not a bar to bar skill, it is a skill over many bars, so a sectional skill.
Every song can be sub-divided, the deeper a player looks into a song the more they will understand its feel in sections rather than bars. How many bars make up a section is sub-division.
This is why when learning a song, once you have the notes, play it all the way through, do not stop when you make mistakes
If you continually stop you are breaking that sectional flow so the feel is harder to master, and as such that leads to more problems.
Examine the music, find how many bars make a section for your feel and things become easier to feel rather than count....less to count means more to feel.
