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@@lucynagawlikguitar8128 Thanks

Thank you so much!

@@lucynagawlikguitar8128 Thank you!

@@kapkalandew4920 Thanks!

I love ❤❤❤this melody! Great Job!

@@ThatClassicalGuy Thank you!!

@@Danielsmusic-rv6mu Anytime. :)

@@Frederic_Liszt Thanks!

Already made the video. th-cam.com/video/QkkeISOyfHY/w-d-xo.htmlfeature=shared

@@elenaberger7790 Thank you!

@@prizm8530 I originally planned to use 3/4 but accidentally changed it to 6/8. In this song they are interchangeable. Sorry for the confusion.

@@Danielsmusic-rv6mu you’re fine lol. I don’t really think that 6/8 is meant to be used like that though. Usually when a time signature is in compound time, you either see groups of three eighth notes, or dotted quarter notes. It’s never really just quarters. I don’t mean this rude or anything btw, nice piece, I just thought you might want to know for future reference

@@Danielsmusic-rv6mu and yes, technically 3/4 and 6/8 both fit the same rhythm interchangeably, (terrible way to phrase that but I’m tired lol) but generally it is more confusing to the performer when you use a compound signature with a piece like this. Again I don’t want you to be like embarrassed or anything and honestly this stuff is all kinda confusing but like you might want to know for later 🙂

@@prizm8530 Thanks

Well 6/8 = 3/4, but the 8/8 is needed for the structure of the melody. If I hadn't used it, the song would be shifted by a quarter note every time the first melody finishes.

@Danielsmusic-rv6mu Sorry, but I must explain to you. 3/4 is not the same as 6/8. In 6/8, you'll have two compound pulses, 3+3 eight notes per measure. Look at Chopin's fourth ballade for an example. On the other side, in 3/4, there are three simple times in a measure, 2+2+2 eight notes. Ok, but both signatures have six eight notes, you may say... But the point is the difference of grouping and the beat pattern in each one. BUT... you can use all this ambiguity in your favor. See Brahms' second symphony, first movement: we have a clear 3/4 metric, until measure 64, when he suddenly group the notes not in 2+2+2 anymore, but in 3+3, without change the time signature! Another example is Haydn's E flat sonata (Hob. 49). He's in 3/4, but constantly changing the group between 2+2+2 and 3+3. Try a look at a more complicated case. Ravel, in Une Barque Sur L'Ocean, uses 6/8 as a middle point between the binary beating of 2/4 and and the ternary structure of 3/4. In fact, 6/8 is a compound binary time, even if we can fit three simple pulses in it. In your music, very good music indeed, the perception is almost aways in a simple ternary direction, so, 2+2+2. And 3/4 fit better. Except in the 8/8. In these moments, you should write 4/4, because you have a four simple times per measure. Keep the 8/8 for use when you have an assimetrical logic, like 3+3+2, 2+3+3 or 3+2+3. The importance of a good understanding of time signatures is be able to match the writing to the perception and give clarity for the performer in what is the pulse. Ask yourself how a conductor will count these beats if this was an orchestral piece. It would help you to understand metric better. You write very well. Keep studying and you'll be amazed with all the kind of musical interesting things you'll be able to write.

@@luanmateus7227I know that they are different, but in this song they are practically the same. So you are right, they are different but in this case you can replace the 6/8 with 3/4 and it will stay the same.

@@luanmateus7227 Thank you for the analysis of the two time signatures and for how the composers use them for their advantage.

@@小柴-m4m I'm twelve years old.

@@liszt132 I'll also make a recording of this. Very excited for yours.

Go or it. The music is available.

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