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7/8 Time would be an irregular time signature (5 and 7) 3/4 Is just plain ol' 3/4 ...and 13/16 sounds like something the poster made up. You do get twelve time which is compound quad time but 13 sounds to me like rubbish.


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It literally just means create a piece of music where the time signature alternates between 7/8, 3/4, and 13/16 in that order. There's nothing more to it. Here's a 12 bar score template to give you a better idea of what he means: As you can see, there are 4 complete 7/8, 3/4, and 13/16 measures. Most likely you would want them together to make one ...


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At the start of every measure, no matter the time signature beat one typically gets a stronger accent than the rest of the notes and any musician either consciously or subconsciously will do this. Every beat will have some kind of accent based on the time signature and this can be extended in certain time signatures like 4/4 and 6/8 where there is a second ...


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Yes, indeed. The time signature together with an understanding of the musical style of the period in which the music was written tell you what the rhythm is and what the accents are supposed to be in general. Specific notes in specific measures might be written in such a way as to over-ride the default pattern. For example, in classical music in general, in ...


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A time signature implies a structure of the music, just like spaces in a written sentence imply a structuring into words. When reading a sentence, you don't make an explicit pause after each word, yet the word structure is related to the conveyed meaning, and somebody reading a written text does it subtly different from somebody reading a continuous ...


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No. Accents can be on each on the crotchet beats like you mention. It can be on the weak part of the pulse (Syncopation) There can be no accents. The accent can be on certain quavers. None of which has all that much to do with the time signature. There is no concrete place where a accent must be. There are places where an accent would be natural and places ...


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To answer the second question, you can use the "voices" feature of GP6 : You can have 4 voices. Each voice has it's own "bar duration count" which is independent from the other. To change the current voice, use the "1", "2", "3" and "4" buttons. When you'll add a note, it will be added to the currently selected voice. The notes from the other voices are ...


1

Adding to Dom's excellent answer, the tails on the dots are the clue. There's one set of notes with up tails, and one with down tails. Showing two parts to the line. Trouble is, it's a compromise, as it looks like the first note in the bar could be a minim with a tail AND a beam. Of course, this sort of note doesn't get used. It's written like that (and has ...


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As Patrx2 notes, JP did not indicate a tempo. There are reasons that suggest that this piece was played at a moderately fast tempo at the time it was written - say 100-120 BPM, where a beat in this case is a quarter note. However, when played on strings (violins and bass), modern tastes place this piece firmly in a lento (slow) tempo; say 56-64 BPM. ...


5

Slow it down then. Pachelbel's manuscript has no tempo affixed. With the basso ostinato suggesting a fairly deliberate pace, try somewhere between 72-92 bpm. If the shorter notes start blurring, slow the tempo down a bit; if they are dragging a bit, speed it up. In general, the tempi specified for a given piece (when specified) are suggestions anyway. ...


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It's an octave clef. It's telling you all the notes written are actually down an octave. Since the guitar is already a transposing instrument where everything is transposed down an octave, it's essentially showing you the actual notes being played instead of the implied octave transposition. So for simplicity's sake you can just ignore it and play as you ...


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Just take your two index fingers and beat them on your table (if you happened to have one - I don't ;-) -> (edit: talking about the table not the index finger) Start with your stronger hand - for me it's the right hand - and try to make only the sound of the right hand ( R ) audible. The left hand ( L ) only beats the (almost) inaudible - so called - ghost ...


2

These time signatures are very interesting in nature and have a very specific purpose just like most things in music. A measure of (3/5)/4 would mean each measure contains 3/5 of a quarter note or 3 eighth note quintuplets. A simpler example is 2(1/2)/4 where where would be 2 and a half quarter notes or 5 eighth notes. As Matthew Read pointed out in the ...


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I'm going to make a literal and mathematical assessment here, not because I'm not sure how to interpret why someone would write that way but because I really don't think it matters HOW it's written. It matters how the piece is heard, not about some strange writing on a page. So if I play in 3/4 time, that has a waltz feel, and if I play in 4/4 time, that ...


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This could be written as an alternation of two additive meters: 9 + 4 / 8 and 9 + 2 / 8, where the 9 quavers are naturally subdivided in 3+3+3, so no need for triplets. You could also write the two additive meters as 3+3+3+2+2 / 8 and 3+3+3+2 / 8, but this might be an overkill.


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A time signature seems unnecessary for what you're describing, unless "moving a note" would invoke "moving all similar notes" where similar means the same note at the same spot in a measure: the concept of measure would require a time signature. If you don't need that concept then you don't need the associated time signature. For tempo... same thing: do you ...



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