We've got the triplet grid obviously but it would be so good if we also had quintuplet and septuplet grids. Sure there's workarounds but you can't quantise into those tuplets currently and it adds a barrier to being creative with then. Dividing in 5 and 7 is common enough that I could see other musicians benefitting from this too, and it might make it more accessible to others who have not experimented with odd subdivisions yet
Sounds like a 7-tuplet to me. Am I hearing things? Trying to figure out how the syncopation lines up there.
From what I know, they are indeed possible, let's have PI as an example, making a tuplet out of it would imply that the space has 3 equal length notes and a fourth that's 14.15...% the length of the others.
I'll actually make a custom DAW for my niche needs (microtonality, weird tuplets, irrational time signatures, polytempo) once my current project is finished, it already has concept art, can't wait to experiment with split nested irrational tuplets XD
So I wanna know the ratio how to insert a 11 note tuplet in a dotted quarter note in a 6/8.
Essentially 11 equal 32th notes spread in one 6/8 pulse of a dotted quarter note.
i can play triplets just fine but tuplets like quintuplets or septuplets is where my brain cant comprehend it. how do i feel these beats, and do any of you have exercises i could practice to build that skill?
I find that quintuplets, septuplets etc. are harder to play than a triplet, and don't sound as pleasing. A non-musical person could probably clap a triplet rhythm without too much trouble, whereas they'd struggle with a quintuplet.
Is there a reason for this, beyond the triplet being pretty ubiquitous in all forms of Western music and therefore highly familiar?
I would say I’m an intermediate musician/ composer and I love music theory. I’ve been wanting to have my compositions have more of a free flowing feel to them, mostly in the melodies and riffs. (I compose music in MuseScore). I’m pretty sure tuplets/nested tuplets the the answer, but I just can’t seem to quite grasp the concept the way I need to. Would anyone mind explaining them to me? Or if you have any links to good videos?
As the title implies
was just producing some beats and experimentin with "drunk", "dilla" style grooves and I wondered: how do you integrate kick and snare hits - which aren't on the 1 or the 2- into a groove with steady tuplets on the hihat. Do you adopt the tuplet division on the kick and snare or leave them "untupleted"?
https://imgur.com/a/HwcaBKY
I know this is a shitty question, but which of these two measures are notated correctly?
And if both are correct, which one is easier to read?
Time signature is 5/8 and ♪ = 85 btw
I'm writing an orchestral piece in (3+3+2)/8. At present I've beamed everything according to this 3+3+2 grouping, but I'm having second thoughts.
Here's the first page. The most "concerning" part is the recurring duplet seen here in the celesta. I think the asymmetrical beats are already complicated, and adding a duplet maybe would make it too tricky.
I think the present notation was ok when this was a piano piece, but the translation to orchestra always makes synchronization a big issue. I've seen many of orchestrations where the rhythms were renotated for this reason.
Furthermore, there's also quite a bit of syncopation (e.g. the tuba). Later in the piece there are also some tricky bits (e.g. here and here).
Therefore, I'm thinking of renotating it in 4/4 and beam according to the usual grouping. That duplet would thus become 2 dotted rhytms with a tie. The 3+3+2 pattern is very trypical of tango nuevo, and I've seen it's mostly notated as a normal 4/4 with sometimes additional accents to mark the grouping.
Whaddya think?
Here is a link to what keeps happening. Has anyone else encountered this issue, and do you know how I might fix it?
I've tried everything in this guide as well to no avail.
Thanks in advance!
I'm writing a piece where there's a section with lots of triplets, and I discovered this annoying feature
I press n, ctrl+3, write 3 notes using eighth notes and then if I continue to write a fourth one, it's just a normal eighth note. The behavior I would expect is for the fourth note to start a new triplet on the new quarter note, at least if it doesn't clash with anything already written there
I do also use that 3 triplet eighths + 2 eighths rhythm, but I imagine that's less common than continuing with the triplets unless specified otherwise
Now, there are probably many problems with this that I don't see, but the way it works now is problematic too (unless I'm just missing something or using it wrong)
I usually program drums and percussive elements on the timeline, since this kind of workflow seems to suit me best. When I work with the MIDI editor/piano roll, I can draw, for example, five notes, then select them, press alt and drag the edge of the first/last note to fit them into the space of four notes. It's very convenient and I absolutely love it. My issue is, that I'd like to be able to do the same on the timeline. Is there a mouse modifier or a custom action/SWS extension that'd allow me to do this more easily? Preferably close to the method in the MIDI editor, since it's so quick and effortless?
Just wondering how to practice septuplets and sextuplets and just fast played notes in general, any help/tips is appreciated. Thank you.
It's Wednesday, April 21, 2021, here's today's:
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image: Verteilu...
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video 2: Boat Stanchions - How to Install and Make Stanchion Poles
See you tomorrow!
Anyone know of some good usage of other swings besides classic quint sept and nontuplet? The only thing close to this I’ve been able to find has been the concept of micro rhythm, but it’s often the case that these rhythms aren’t transcribed in a western manner. Does anyone have any good songs/resources/diagrams that use or talk about transcribed swing rhythms or micro rhythms? Malcom Braff-esque shit? Thanks so much!!
I'm recently moving back into playing sticks (timbales/snare) after having been focused on piano and conga for a while in jazz/latin context. I'm looking for material that will challenge me to be more creative with odd tuplet (5s, 7s, 9s) ideas with syncopations (that's the big part).
Any recommendations? I'm really looking to expand my musicianship more than anything to be performed.
I'm not a concert or marching percussionist (or advanced) but I have some fundamentals from years of study as a toddler to a teenager on snare and strong general musicianship if that helps with skill level. Willing to be challenged but I would rather the challenge be in the topic at hand.
Everything up to 16th is pretty easy and we'll defined: 1 e + a 2 e + a 3 e + a etc. But tuplets are a little weirder. How would you guys denote say, a 7:3 or a 5:4?
For example, a duplet in compound meter could also be notated as 2 dotted eights. What's the trick to notating more complex tuplets like this?
I've been looking it up for the past couple days, but my brain cannot grasp it. I understand how triplets work (3 notes in what would normally only hold two), but I cannot understand the others (quadruplets, quintuplets, sextuplets, septuplets, octuplets). How do you find the note value it has, and which notes (eight, sixteenth) do you put into it.
