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30

They aren't necessarily supposed to be played with metronomical precision of the 13:8 ratio, but they are supposed to make up a homogeneous run with no unequal subdivision. In particular, there should be no note in the run that clearly hits the 2 beat, as the B and A do in your proposed subdivision, so that approach is no good. I would at least not train to ...


24

Math Alert! Also, I will be very much discussing what is theoretically possible, not necessarily what is convenient for the poor musician. The notation for musical rhythm is more or less equivalent to writing a fractional number in binary (e.g. using a radix point). Each note type represents a different place value. For example: Whole note = 1.02 Half note ...


23

They are actually eighth note triplets instead of eighth notes. The alternative notation to this would be to group the eighth notes and rests in threes and put a 3 over them like a standard triplet, but it's easy enough to see that you are fitting 12 equally spaced notes in a measure which end up being eighth note triplets which would kind of screw up the ...


19

The eighth notes in the left hand are all triplets. The ones in the right hand are normal. Note how the note heads line up vertically in measure 4. On a purely technical level, this is incorrect notation. But it's something that can be figured out pretty easily, so I guess Liszt either didn't care or wrote it like that for artistic reasons.


17

It is to do with the triplet. The three quarters are played in the time of two, so there are only four beats in the bar. Hope this helps!


16

Yes it is possible. Similar to triplets, there are duplets which tell you 2 notes go where 3 use to. Similarly to triplets you would group the eigth notes in two and put a two over there beams like below:


13

The 2 is a fingering notation; the 3 is over the middle and in a different font and size, so I can tell that the 3 is the indication to play a triplet (and the measure only adds up for a triplet). So that 3 doesn't necessarily mean to finger the first A with the 3rd finger, though you may wish to. The notation means: Play the F♯ with your 2nd finger Play ...


12

It's definitely a mess; there are a couple of notational aspects that suggest the person that did this is not well-versed in notational norms. Listening to the recording on the website you listed in the comments, it's clear that the triplet figure should encompass the first three eighth notes, not just the first two. (Indeed, there is a weird 3 above the ...


10

Let me focus on the first rhythm only: The sixteenth triplet takes the place of an eighth note, which together with the quarter note sits in a triplet. Thus, the quarter takes up 2/3rds of a normal quarter note value, and the three notes in the triplet each take up 1/9th of a quarter note value. Thus, together the larger triplet takes up one quarter note ...


9

The one six note phrase is correct, but instead of putting a 3 over the phrase you would put 6 because you are playing 6 notes instead of 8 (just like on a standard triplet you play 3 notes instead of 2). This site shows a few good examples of grouped 16th note triples in examples 2, 6 - 9 with example 2 shown below. The idea is you want to keep the ...


9

It's worth pointing out that as of LilyPond 2.17.11, you can write \tuplet 3/2 8 {c16 d e d e f} and get 3:2 tuplets in groups of duration 8 (in this case, two groups of three tuplets each). This is basically the same as temporarily overriding tupletSpannerDuration.


8

The short answer is yes. Triplet marking is often optional. The composer is basically saying these are triplets, and play all the others the same. The basic rule is if you see three 8th notes that are taking up a single quarter note's place, then you play them as triplets whether they are marked as such or not. Another clue is that 8th notes beamed in ...


8

For practicing purposes, you can think of it as this in 9/8 which then it would reduce to: It's very easy to play, but another tricky thing is as you mentioned is playing a normal 4/4 bar then fitting this into a measure of 4/4. Practice them separately at first and once you are comfortable with both split the measure of 4/4 into 3 sections then split the ...


8

It's a triplet. It means that you should play the three notes indicated in the amount of time that you would normally take to play two. This means that the three crotchets/quarter notes take the same time to play as the one minim/half note below.


8

as addition, here is a simple score example to illustrate the counting of 3 quarter triplets against straight quarter counting in a 4/4 time signature: in your special case the rhythm would be as follows: Update: tweaked a bit on the proportions of the first image. why this is a score example and not a diagram (image) why a piano player should be able to ...


8

You might find this easier to comprehend if you count 6/8 as two in a bar, not 6. Then you have a three-group followed by a two-group, both taking up one beat. ONE-and-a TWO-and, ONE-and TWO-and-a. It's the exact equivalent of using triplets in 2/4.


8

Oh, goodness. Please, for your own sake, find another version of this. No musician should ever have to play from something like this. It's likely this score wasn't created by a human (or at the very least, not a musician). Find another score ASAP; you're only wasting your time by trying to read this score. As a sample of some of the notational atrocities ...


7

You have to specify the property tupletSpannerDuration to get several tuplets using only one \times command: \set tupletSpannerDuration = #(ly:make-moment 1 8) \times 2/3 {c16 d e d e f } See LilyPond Documentation for more on this.


7

I think that your problem isn't intrinsically with the triplets, but rather with controlling beams; one approach is to manually set the beams: Running lilypond 2.16 on { \times 2/3 {c16^"Two 3-note phrases" d e } \times 2/3 { d e f } r4 r2 \times 2/3 { c16^"Manual Beaming" [d e] d [e f] } r4 r2 \set tupletSpannerDuration = #(ly:make-moment 1 8) \times 2/...


7

It's not a question of 2+2+2=4, though you're on the right track. The idea of a triplet is that you have three notes squeezed into the area that two notes normally take up. So if you have triplet half notes (which is kind of rare, I have to say), they'll take up the same timespan as two half notes, meaning 2+2=4, and the world is alright again. In other ...


6

It's written out well, as you can see the semiquaver does come after the third triplet, physically on the music, and actually when played. R.H.- one beat is split equally into three. L.H.- one beat split into four. So the first chord is together, then the two R.H. parts, followed by the L.H. Best way to learn is get each hand sorted separately, so it's ...


6

It appears that there is not consensus on how these polyrhythms should be played. I have not yet found anything on your (a) case, but have some information about your (b) case. The quotes are long, but I think seeing the author's reasoning is helpful. Johann Quantz, in his treatise On Playing the Flute, late 1700s, holds that dotted rhythms are non-literal ...


6

The closing parenthesis has to be attached to some note, not an expression, and the tuplet is an expression. This works by writing it right after the last note of the tuplet: e8( d \tuplet 3/2 { b16 gis e) } |


5

If that is what you want to do, you wouldn't use standard notation at all. It's ok to use other forms of representing music like graphic notation or even make your own when it doesn't fit in the system. You could theoretically represent it in standard notation, but I would be very hard to comprehend and write. The way to represent it on standard notation ...


5

The way I approach polyrhythms is this: I break them down much as you do, in terms of their lowest common denominator, but I try to memorize the sound of the pattern right away and not rely on seeing it graphically. At UC we learned an example for two against three: "FARMS in BERkeley". I then practice it in many different ways- tapping the two parts with ...


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