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Determining a piece's time signature isn't only a matter of counting up the beats, it's also about how to notate a piece so it has logical rhythmic units. Time signature is something that's (1) set by the composer, and (2) for the convenience of musicians who will read and perform the piece. So there are pieces that can be written in more than one way, and ...


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While tab is a good way to convey the specific notes played in a passage it is not great at getting timing across and as such should be taken with a large grain of salt. Some tab conventions are better than others but if you are trying to learn a specif passage you still need to listen to the original and get to know it to work out which notes are crucial ...


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When playing crotchets- 4 in a bar - there are few ways to divide up the bar. 4 beats, 3+1 beats, 1+3 beats, or 2+2. With quavers (8ths), the number of variants is much greater. So being able to put in the last quaver of a bar, followed by the first beat of the next, for example is an advantage of being able to use 8s. Popping usually occurs on the 'off ...


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They're a staple of rock, and as bass guitar is often used as a rock instrument, they are seen as one of the basic techniques of bass playing. With many rock rhythms, quarter notes are too slow and make the song feel lethargic, while 16ths are too frantic and hard to play. 8th notes are, for many songs, just the right thing to drive things forward with the ...


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The IAMX example is pretty much oom-pah bass, which typically goes root - chord - 5th - chord. The downbeats are strong single notes (from the tuba in a brass band), usually alternating between the root and the fifth of the current chord, and the offbeats are chords (played by the higher pitched horns in a brass band). This puts a kind of emphasis on the ...


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Without any more context, the snippet in your OP "feels like" it is really four beats in a bar, with the left hand playing triplets. But almost everything in your notation contradicts that visually. The main purpose of music notation is communication, and this disconnect seems (to me at least) to be a major communication failure. If you really intend this ...


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My recommendation is to quadruple your note values, and write it in 6/8. That is, the first 6 32nd notes become one measure. If the music is supposed to be fast (which is the impression I get), then let that be reflected by the tempo mark.


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Oh, yes. First time I heard the finale to Prokofiev's 7th piano sonata, I latched onto the bass accents and thought that it was 2 chords to each beat, with an upbeat to the first bar. So, wrong beats as well as wrong bar-lines. Hemiola in pieces in triple-time can lead people astray. Sometimes, I think the composer deliberately tried to mislead listeners, ...


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Play an easier piece. Think of playing with a metronome as a skill to be learned. You'll be frustrated if you try to use a metronome and learn something else at the same time, so start with music that's so simple that it requires almost no conscious attention to play. If you have a lesson book, try the metronome with one of the early lessons. Playing the ...


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When trying to find out the time signature, the first thing you do is try to find a strong beat. This beat is often the loudest or something significant will happen on the beat. Next, you count the rest of the beats in a bar before the next bar starts, so if you count 3 beats it might be in 3/4, or it might be in 4/4 if you count 4 beats ect. Additionally, ...


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I would start by ignoring the left hand, and figuring out how to notate the right hand part on its own. From about 0:20, it seems to have two beats in the bar (a quarter note, then four 16th notes). Before and after that, there seem to be a lot of irregular tuplets (5:4, etc) so figure out where the main beats are and fit the rest of the notation around them....



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