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1

Lilypond handles this without fuss if you can do without a GUI: you just write \time 7/6 and enclose the notes in \tuplet 3/2 { ... } \version "2.20.0" \relative c'' { \numericTimeSignature \time 4/4 e4 b8. c16 cis8 cis gis4 | \time 7/6 \tuplet 3/2 2 { bes4 bes f8 r g!4 d8 r e4 b!8 r } | \time 4/4 cis4 fis8. f16 e8 e ...


0

In 3/2 time signature the length of a Whole note or Rest is 2 beats long because the bottom no.of the time signature is 2, which is equivalent to 1 beat so a Half note's length is equal to 1 beat here.Since 2 Half notes equal a Whole note,the length of a Whole note is 2 beats long that can't cover an entire measure in 3/2 time. A Whole rest usually applies ...


6

You don’t count it. It’s a group of four eighth notes followed by a group of 5 faster notes (like triplets) followed by a group of 5 even faster notes (like 16ths). Sort of an accelerating 3/2. If you played exactly eighths then triplet eighths then 16ths that would indeed add up to 59/48. Icebreaker played the ‘triplets’ more like quintuplets and the ‘16ths’...


1

Recognizer seems to be 4/4 throughout. The fast notes in Son of Flynn are in groups of 6+6+4=16 so they can be viewed as 16th notes in a 4/4 bar; this isn't the only way to think about it though.


0

The standard numerators are 2, 3, and 4 for simple meters (beats subdivided into two parts) and 6, 9, and 12 for compound meters (primary beats subdivided into three parts). For quadruple meters (four primary beats per bar, i.e., numerator of 4 or 12), the third primary beat has secondary stress in each measure. For all other numerators, the patterns can ...


0

As the other answers say, there is no rule that is inherent in the piece itself - the same time signature can be subdivided in different ways. However, you can get very strong hints from the history of the piece. Before the 20th century, you will typically find uneven metrums in the folk music of countries with Turkish cultural influence. Within these ...


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