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That is a duplet. It works like a triplet, but instead of playing three notes in the time of two, you play these two in the time of three. Another way to write this is by using dotted eights. But for example in 6/8 time, it's preferred to use duplets. It helps signifying how foreign the rhythm is in relation to the time signature you're in.


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 ...


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 ...


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 ...


It's an 11-tuplet. Like a triplet, but with 11 notes where there would otherwise be 8 (or some other power of 2).


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.


The dotted minim/half in the lower stave shows that 6 quavers/eights fit. So the "2" means "2 in the time of 3". It indicates an irregular group of notes; usually a higher number of notes have to be played in the time of a lower number, and thus quicker than notated; here we have the less usual situation where a lower number (2) have to be played in the time ...


This is fairly common in 6/8 time, for example. X: 1 T: Duplets in 6/8 M: 6/8 K: none V:V1 V:V2 %%score (V1 | V2) [V:V1][K:none clef=perc stafflines=1] BBB BBB | (2BB (2BB | [V:V2][K:none clef=perc stafflines=1] BBB BBB | BBB BBB | The upper staff's second measure is written in duplets, with the lower staff showing the rhythmic alignment. Each of the ...


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!


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:


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 ...


The notes in the upper staff are tuplets. As an aid towards your eventual goal, here is some sample code to create what you're looking for: \version "2.19.82" musicA = \relative c' { \key cis \minor \time 2/2 \omit TupletNumber \override TupletBracket.bracket-visibility = ##f \tuplet 3/2 4 { gis8_\markup { \italic { sempre \dynamic pp e senza ...


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 in ...


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 ...


Each bar (measure) would be the same length time-wise. Like it is in almost every piece. Your calculations have been thrown because there is a tuplet in the first bar. The bracket with a number 5 is the culprit. Those five notes need to be played in the time of two quavers. That, along with the quaver rest, will account for the first three quavers in 12/8. ...


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.


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 ...


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 ...


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 ...


The second E and the C of the triplet on the third beat are purely ornamentation. Try playing the phrase without them, you'll find that you'll automatically swing those two notes. Then try to fit the triplet in the first (swing-elongated) eighth.


In piano music (at least) it fairly common to write in 4/4 time with all triplets. This most frequently happens when the melody itself is best expressed in 4/4, while the accompaniment, in triplets, could otherwise be expressed in 12/8. Examples "Moonlight" Sonata" This is the case of the "Moonlight" Sonata. While the accompaniment ...


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 ...


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.


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 ...


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.


The notes on the treble clef are triplets. That's all.


Unless you are one of King Henry's wives, you don't need to worry too much!! The '6' there is indicating six notes in the time of four. Like double triplets.Called sextuplets in the trade. It looks like a slightly different font from the fingerings on the music stave - and again different on the tab. The lower numbers are the suggested fingerings.


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.

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