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Double Bass Tuplets
- Thread starter IamGroot
- Start date
If its in a score, the beaming, grouping and phrase marks amd maybe bow marks might give a clue. Can you post a sample?
In the world of notation, scoring and arranging, there's a genereal consensus that beaming does not imply phrasing. Phrase marks do.
Generally true, but in the absence of other clues to the intent if not explicitly stated...
@IamGroot, it depends on a lot of things. I find it helpful to understand rhythm as groupings of 2 and of 3, and everything else is either that or a multiple of that. 6/8 is two groups of three so the default feeling of it would be something like a stronger stress on 1 and a second stress on 4, and then within each sub-group of 3, the primary accent is on beat 1, beat two is the weakest, and beat 3 somewhere in between as it leads back to the next 1.
We have to be careful with the word accent - it means different things to different people and in different contexts. The above is how I think of 6/8, but that doesn't mean I'm going to play with audible/perceptible accents and, unless there is a written or verbal instruction to accentuate something, I'm not going to do that.
On piano, as an example, I might drop my wrists on 1 and 4 in 6/8, but that doesn't mean I'll allow that to make those notes louder unless that's something I'm specifically trying to do.
Sometimes, with young or new students, I will tell them to accent 1 and 4 in 6/8, but that's a whole other thing - it's a teaching technique, not a performance instruction to a professional musician.
JMO, YMMV.
-S-
We have to be careful with the word accent - it means different things to different people and in different contexts. The above is how I think of 6/8, but that doesn't mean I'm going to play with audible/perceptible accents and, unless there is a written or verbal instruction to accentuate something, I'm not going to do that.
On piano, as an example, I might drop my wrists on 1 and 4 in 6/8, but that doesn't mean I'll allow that to make those notes louder unless that's something I'm specifically trying to do.
Sometimes, with young or new students, I will tell them to accent 1 and 4 in 6/8, but that's a whole other thing - it's a teaching technique, not a performance instruction to a professional musician.
JMO, YMMV.
-S-
6/8 can also be 3 groups of 2. that's the beauty of 6/8. you can flow back and forth between
If the basic feel is two beats of three 8ths, you write it 6/8. You may subdivide it with three beats of two 8ths in some measures ("/I wanna live in A/merica/"), but if the basic feel is three beats of two 8ths, you write 3/4.
It also depends on style and tradition etc. Some classical performers will probably lightly accent the first 8th in a 8th note triplet in some styles. In big band swing, the last 8th in a 8th note triplet will almost always be accented if there's a rest after, etc etc.
Exactly. The basic feel is two beats of three, in some bars, the melody is three beats of two.
What you're flowing back and forth between is 6/8 and 3/4 time with the value of the 8th note the same in both. 3 groups of 2 in 6/8 is a syncopated rhythm.
You can tell us this all day long but it's not correct as far as the conventions of playing are concerned. That's not to say you can't have the syncopation you describe and write it in 6/8 time - I've seen that, but, well ...
6/8 is a compound meter. 3/4 is a simple meter because it's just what is says it is: 3 beats per measure and the 1/4 note gets one beat. 6/8 is a compound meter because it's not 6 8th notes in a measure, it's 2 dotted 1/4 notes in a measure, and each of those 2 beats is divided into 3 part.
This Invalid Link Removed is correct and useful.
-S-
I don't think anybody in the world would notate that video with changing time signatures. The fact is 6/8 can be felt in two or three, even simultaneously. We all know the traditional way of notating it. I'm pointing out that time is arbitrary and a very common technique to use in 6/8 to be slick is to bounce back and forth, but if I were going to write that so someone could play it I would not be switching time signatures. That would be too confusing. The point of notation I believe is to communicate your ideas in the most simple way possible so your music can get played.
Ah the beauty of 6/8. You're calling that two? I'm feeling triplets there. the only reason Im pointing anu of this out is because I think it's common enough in 6/8 that the Op should be aware
That's obviously a two beat feel in this part of the melody in this version, yes. The arrows show the beats.
