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This is always a tough situation, but it is definitely something pro musicians will have to deal with at some point. A friend of mine once pointed out several instances of the beat getting flipped during some classic jazz recordings. I can't remember them specifically, but the recordings included some of the best jazz musicians ever, like Thelonius Monk and ...


...I've never seen a baroque piece using triplets... Bach autograph, Wilhelm Friedman Noteboook... Handel, Chaconne HWV 484, var. 12... Corelli, Violin Sonata Op 5, no. 12 La Follia, var. 12... ... not one single time on one particular score, but used several times by many composers... Three composers (pun intended), the triplet aren't singular ...


If you look for the term "rhythm vocabulary" you will find many books and other resources for developing rhythm. Many of the materials will be large compilations of different rhythm patterns intended to be learned by students to develop their rhythm reading, which you could use as examples or ideas.


When played without an accent on the second 3/4's downbeat, then you're right in hearing it as 4/4 + 2/4 or, more pedantically, 3/2. That accent may often be omitted because it would distract from the melody, which is more interesting than the straightforward harmony. Why do "they" still notate it as 3/4? Because how it progresses from teacher to pupil ...


Basically you would count it like that:


Your interpretation of the first example is good. The second example should be played exactly like the first one. It's just notated differently. Both examples are badly notated: the Bb7 should be over the last eight note in the bar before.


In my experience working with dancers, they usually count quarter notes, so it would be more like 8/4 than 8/8. But the choreographer determines the counting themselves - they aren't referring to the score, so they will choose whichever pulse they feel regardless of what is notated. Lastly, the reason that they count in groups of eight is because most ...


There are a lot of rhythms we would now notate with tuplets in medieval music, although mensural notation works differently (there is, for example, a 9 over 4 polyrhythm in Ph. de Caserta's ballade 'En remirant', from about 1380; ars subtilior music is full of such things). In music before Franco of Cologne's innovations, you can also find things that must ...

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