I just clicked on a random video on this channel because I didnt know where to say this, but oh my god is this the best channel I have ever come across. I have been playing piano for 2 years, but I was never taught proper music theory besides names of notes. Recently I discovered that there is so much more to music theory and I've been trying to find places to learn it, but every other channel on youtube is for beginners, I've already watched all of those. Now I know the basics of music theory, but I haven't been able to find a channel above beginner. This is the best channel ever, I dont have to pay, or anything to just have music theory at the tip of my fingers. I'm a young teenager who wants to be a musician and pianist. I feel like I can actually be that without having to pay. Keep doing what you do.
Hi. Thanks for expressing your appreciation. That means a lot and I’m glad the material is so useful. If you really want to nail your theory and other aspects of the essential musical journey have a look at our courses at www.mmcourses.co.uk
When you get to extending yourself into more of the artistic side of music over the pure theory, Adam Neely has some great videos, although they do occasionally require the kind of background knowledge you’ll acquire here - not always though so you could check him out - he’s kind of like “this is how you could/should break the theory rules as a musician” Something to keep in mind for one day in the future
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Your feelings were validated, however, your feelings were wrong. The difference lies in your understanding. To a beginner, a beat and a division of the beat, and a measure, all sound the same, thus they count them, instead of *feeling* them. Even amongst "experts" such is often the case. However, with proper training you can learn to seperate them into categories, or layers, and recognize the difference between 3/8 and 3/4. The former is 1 beat in a measure, the latter is 3 beats in a measure.
Hi Gareth, In my experience playing in bands, the conductors I have worked with tend always to beat bars of 3 8 as 1 in a bar.! especially if the tempo is brisk.!
Is 15/16 is a compound or a complex time signature? Technically 15 is a multiple of 3 but when I came across it in actual music then the notes were arranged in 3 groups with 5 notes most of the time. That's also what I would use 15/16 for intuitively.
This is a very interesting question. If the sequence of Compound time signatures run 6,9,12 as the upper number then 15 is the next number in the series. This means it could be Compound Quintuple time but in reality, even though it appears rarely, it often includes irregular internal groupings. Also even if it has five beats it’s therefore an irregular time signature.
OMG. Best explanation EVER!!!!!! Subscribed!!!! Now whenever im stopped at a light and hear BOOSH BOOSH BOOSH BOOSH im going to think yep thats one!!!! 🎶🎶🎶
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I was expecting to know why a composer use 3 8 instead of 3 4 , specially when they can use the tempo notation if they want to speed up the music. It is then just a matter of personal taste about how the composer wants the score looks?
Actually, there does exist music which embodies only ONE beat per bar. All four of Chopin's scherzos are in 3/4 time, but the feeling of duple meter is only discernable when one counts each entire bar as one beat. Each measure has only three beats per bar, the dotted half note being the beat note, but all four scherzos are felt in duple meter. I have often wondered why Chopin notated these pieces in this way.
Time signatures have associations with specific genres, and Scherzos are almost always in triple meter. I Believe Chopin used it to say "This is a scherzo on steroids". A similar situation happens in Beethoven. In the 9th Symphony's Scherzo the 3/4 is so fast that you hear the dotted half note as a beat in a quadruple or duple time. Beethoven seems to aknowledge that since he writes "Ritmo di tre battute" (3 beat rhythm) at some point because if feels like it changed to triple meter. It also seems like a way to avoid changing the time signature, which was very uncommon at the time.
Hello there! How are you holding up? You seem to have lost some weight. Everything alright? Wishing you a good health.... Yours is one of the best YouYube channels on music theory that I've ever discovered. I've learnt a lot many things thanks to you.
@@MusicMattersGB God bless ❤ I just wanted to thank you for your episodes on music theory. Even the most intricate concepts in music theory now seem literally easy to me after watching your content.
What would you have to say about contexts where there’s clearly switching compound time, and 3/8 is included in the mix? For example, music where there’s quite a bit of 6/8 time and then one 3/8 bar is thrown in and then it goes back to 6/8? I’d argue that in those contexts, 3/8 may act as a compound bar with one beat even though there are often easy ways to avoid writing it. (for example, if I was in such a situation and wanted it to be clear for the reader that a compound feel was necessary, I would probably write a bar in 9/8, encapsulating the previous bar). I am curious as to how you deal with this example - would you say we still feel it as compound? Would it count as non-conventional usage? Would you go so far as to say that the writer has done it wrong if they used 3/8 in this way? It’s funny, I think there’s quite a higher chance of encountering a 3/8 bar that acts like one beat as opposed to a bar of 1/4!!!
That’s a fair argument. A temporary 3/8 bar in the context of 6/8 or 9/8 might be felt one in a bar - or not - it all rather depends on context. I certainly wouldn’t claim it to be “wrong”. If a whole 3/8 piece were performed one in a bar a whole series of single strong beats might be heavy going!
Something similar also happens when you want to extend 4/4 by 2 beats. Sometimes composers will use a bar of 6/4, which is compound and just a different way of writing 6/8, but it looks like a extended 4/4 if you beam it like it. Sometimes they'll use a bar of 3/2, which is simple meter but technically changes the beat to the half note. Sometimes they'll just throw a 2/4 bar, that adds an extra strong beat. Though in context is pretty clear what they're trying to indicate. Mahler uses these 3 methods in his compositions and I'm not sure why he chooses one or another ha ha.
3/8 is felt as a single (elliptical) orbit played out to the count of three. The orbit, or cycle, is like that of a moon, or a yo-yo looping around the hand. Whereas 3/4 is closer to a War of the Worlds tripod marching (2/4 a person marching; 4/4 a centaur marching). 3/4 is three pieces (a triangle); but 3/8 is a single elegant and swirling cycle traveled to the count of three. This video got close, around the 5:25 mark, when it said "it's *not* this". But in fact thinking of 3/8 like that does teach the audience something. Saying "3/8 is just 3/4 except with three eighth notes per bar" teaches us nothing, and we can already see that unhelpful info in the numbers. That's why we came seeking insight into the difference. And then after correctly explaining the difference between 3/4 and 3/8, it'd be great to play two examples of which the audience can say, yes, I hear the difference in feel. I didn't think that about the examples towards the end of this video. Bars 3-5 of Für Elise would work as an example. Play them in 3/4 (how they're not meant to feel), and then in 3/8 (as they are meant to feel) so that we can experience the difference, and reproduce that difference in our own playing.
In 3/8 there are three quaver beats (not triplets) and that’s why it’s classified as a Simple Triple time. Even though it might sometimes be played one in a bar we don’t classify time signatures in single beats, which is why it’s not Compound time.
You can't have one beat thumping at you? Wanna bet? Turn on the radio! :D Yes, I know, techincally it's all 4/4 on the radio but you know ... that pile crane groove might as well be in 1/4!
Music can most definitely have just "one beat" every measure. You said it wouldn't happen but my mind went straight to something such as a waltz being written in 3/4 but the score having a note to the conductor to direct it "in 1." I just realized, while watching this video and thinking about the waltz, that it would be just as easy to write a waltz in 3/8 and direct it as a compound measure than writing it in "3/4 - Direct in 1."
@@joseph-zoramcbride4029 It is the difference between 3/4 and 6/8. If you play the notes c1, e1, g1, c2, g1, e1 as one bar in a signature of 3/4 you would count 1 and 2 and 3 and having 3 beats on 1, 2 and 3. In 6/8 you would count 1 2 3 , 4 5 6 with a beat on 1 and 4. Same notes, same tempo but different.
If I am a drummer and want to give a pulse with my hi hat, for example: should I give three pulses with the length/interval of 1/8 each per bar in 3/8 ? That would be double as fast as three pulses with the interval 1/4 which I would use in 3/4. Or, in other words, is a bar half as long (in time) in 3/8 than in 3/4?
I transcribe the song by ear Willie Nelson - Red Headed Stranger. I can’t figure out which time signature to choose - 3/4, 3/8 или 6/8. Now I’ll still start doing it at 3/4, but your advice would be helpful for the future. I would be very grateful for a hint. I can just choose 3/4 and choose a tempo of about 150, but I can also choose a 3/8 time signature, but then the tempo would have to be 75. And I have a dilemma.
The British names go back at least to English renaissance music, and the terms of Latin origin had international currency at that time. Obviously, longa means 'long', and the rest rarely indicate relative shortness. Brave is from Latin bravis, 'short', minim is from minimus, 'very small', and quiver refers to the quivering effect of very fast notes. The elements sem-, dem- and hem- mean 'half' in Latin, French and Greek respectively, while quasi- means 'almost'. The chain semantic shift whereby notes which were originally perceived as short came progressively to be long notes is interesting both linguistically and musically. However, the crotchet is named after the shape of the note, from the Old French for a 'little hook', and it is possible to argue that the same is true of the minim, since the word is also used in palaeography to mean a vertical stroke in mediaeval handwriting. The U.S. names were originally translated from the German names for the notes because so many German composers immigrated to the United States in the 19th century.
Gareth, you didn’t mention what the composer would write if he had a section of music that he was writing in 3/8 that the hammer sound was desired 🤣 . I guess that would be written in..
That was interesting, thanks! I suppose time signatures like 5/4 and 7/4 exist in a kind of nether region, not quite simple and not quite compound time. I guess they're sort of compound, depending on how the composer wants them played (i.e.: 3/4 + 2/4 or 2/4 + 3/4).
Yeah those are technically referred to as odd or complex time signatures but they are sometimes or mostly grouped into certain groupings when played rather than seeing them written straight out.
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So Beethoven could have written Fur Elise in 3/4 but he just chose not to, and to communicate a faster tempo, would you say? Meanwhile, something like Chopin op 18 which is quite fast is written in 3/4. It would look very congested if it was in 3/8 😅
I argue with you on the one beat 3/8. Composers can do in compound time. Just in simple time it is like a hammer as you say. However, conductors are trained to conduct in 1 if I remember correctly from a conducting course too many moons ago.
Excuse me Sir, can you explain : is that 6/8 means 3 beats in a quarter-note, so the value of one beat is a quarter-note divided by 3 - 3.3333 ??? Thank you so much.
What about 3/2 and 6/4 time? I play alot of Scottish, Irish and English fiddle music. There are Scottish pipe marches and Irish slipjigs in 9/8, English folk dances and Morris dances in 3/2 and 6/4, etc. Are those just old fashioned relics from another age, or legit time signatures with their own internal logic and rhythm shorthand?
Time signatures of 16 are interesting, as they're best used to describe large divisions of the beat, for example, in Sciabin's op 10 sonata, there is 1 beat per measure, however it is divided into 9, and thus the time signature is 9/16
hello sir, Christmas is approaching, if you wish you can make a difference in the rhythm of the silent night song in the 3/4, 6/8 and 6/4 versions. what is the main difference. because some songs in church hymns use 6/8, 6/4, and 3/4, thank you
fantastic explanation ! specially about the tempo y the use of note values to write the same melody in each key signature.(loved the word congested ;) )
Some composers like to do that. It’s either a cross rhythm with another part using conventional 3/4 rhythms or it’s a temporary use of 6/8. If you’re in 6/8 and you decide to write two dotted quavers next door to each other within a beat we call those notes duplets.
sir, request a discussion on silent night song. I don't know what time the original used, but some translations of the church hymn use 6/4, 3/4, 6/8. Thank You
I’m theory, but who would want to see 32nd notes or smaller as the primary unit? It’s not very sensible in my opinion. I personally prefer to only see 3/4 and the tempo can vary just as much as anything. What you have to keep in mind is that typically in simple meters, you use the note represented by the bottom number as the primary beat for tempo. For example, 3/4 with (quarter note) = 100 bpm or 3/8 with (8th note) = 100 bpm. The only difference might end up being in the “vibe” coming from the performers in thinking about it, but it’s pretty much indistinguishable to the listener.
@@theclarionhall4755 yes I’m aware of that, but I was just wondering if the same could be applied to higher values such as 3/32 and beyond. There have been modern pieces with those time signatures in them and one does begin to question the practicality of it when it shifts into a /32 bar or something but music wise I suppose it’s possible even if it’s with a program and not for humans to play.
@@MusicMattersGB Yes, and Beethoven had some measures 9/16 in his C minor Sonata and maybe even beyond but I know of the /16 for sure in that one. Perhaps some other pieces as well.
When defining time signatures it is better to talk of the upper number defining counts rather than beats. Get it clear at the outset - it saves a great deal of later confusion. Counts are not neccessarily the same as beats. I'm amazed at how many publications and educators don't make the distinction early.
@@marciorjusto "Can you explain "Counts are not neccessarily the same as beats."" Consider what are known as compound time signatures (e.g. those with 6,9,12 as the upper number).. Let's use 6/8 to illustrate. The count is 6 to a bar. Yet the primary beats are two to the bar (on count 1 and 4). Two groups of three with the emphasis on the first of each group. Thus, the count and the beat are not synonymous. the way the beat and count structure is organised is known as the metre and is indicated in the time signature and its associated conventions. Beat is a hierarchical concept, some beats being stronger some weaker. They generally fall on instants that coincide with where the pulse lies (the underlying regular clock that unifies the rhythm) but sometimes not. The overall synthesis of such elements is collectively termed the rhythm. I hope i haven't misled with anything there. others fell free to correct me if I have. I suggest you use Wikipedia or a musical reference to look up the terms, Rhythm, time signature, metre (or meter), musical pulse, syncopation and musical beat.
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After watching this video, I have come to the conclusion that if a piece is in 3/X, and it's fast enough to be able to easily feel it in "One, one, one", then I shall call it 3/8, but otherwise stick to 3/4. Thanks!
Yes. My mind went to what's called direction "in 1." You see that a lot with a faster tempo 3/4 such as a waltz. Composers could more easily write it in 3/8 and direct in compound form and it would turn out the same.
@@MusicMattersGB reference Hedwig's Theme from John Williams in the movie Harry Potter. He wrote that in 3/8 and it seems it is definitely directed in a compound uno manner.
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I just clicked on a random video on this channel because I didnt know where to say this, but oh my god is this the best channel I have ever come across. I have been playing piano for 2 years, but I was never taught proper music theory besides names of notes. Recently I discovered that there is so much more to music theory and I've been trying to find places to learn it, but every other channel on youtube is for beginners, I've already watched all of those. Now I know the basics of music theory, but I haven't been able to find a channel above beginner. This is the best channel ever, I dont have to pay, or anything to just have music theory at the tip of my fingers. I'm a young teenager who wants to be a musician and pianist. I feel like I can actually be that without having to pay. Keep doing what you do.
Hi. Thanks for expressing your appreciation. That means a lot and I’m glad the material is so useful. If you really want to nail your theory and other aspects of the essential musical journey have a look at our courses at www.mmcourses.co.uk
When you get to extending yourself into more of the artistic side of music over the pure theory, Adam Neely has some great videos, although they do occasionally require the kind of background knowledge you’ll acquire here - not always though so you could check him out - he’s kind of like “this is how you could/should break the theory rules as a musician”
Something to keep in mind for one day in the future
I'm so happy you actually played something. Lots of videos out there that are 100% theory and thats not the beauty of music is it
Absolutely
Thank you so much, I though I was crazy but I couldn't find any musical difference between those two tempo. Now I shall have some piece
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Your feelings were validated, however, your feelings were wrong. The difference lies in your understanding. To a beginner, a beat and a division of the beat, and a measure, all sound the same, thus they count them, instead of *feeling* them. Even amongst "experts" such is often the case. However, with proper training you can learn to seperate them into categories, or layers, and recognize the difference between 3/8 and 3/4. The former is 1 beat in a measure, the latter is 3 beats in a measure.
Thank you so much for sharing this, most helpful. Happy Holidays!
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Hi Gareth, In my experience playing in bands, the conductors I have worked with tend always to beat bars of 3 8 as 1 in a bar.! especially if the tempo is brisk.!
Or sometimes 3/4 if the tempo is fast enough. Usually they'll conduct the measures in groups of 4; I believe the term is supermetric.
Absolutely
😀
Thank you for your clear and helpful, explanations.
Is 15/16 is a compound or a complex time signature? Technically 15 is a multiple of 3 but when I came across it in actual music then the notes were arranged in 3 groups with 5 notes most of the time. That's also what I would use 15/16 for intuitively.
This is a very interesting question. If the sequence of Compound time signatures run 6,9,12 as the upper number then 15 is the next number in the series. This means it could be Compound Quintuple time but in reality, even though it appears rarely, it often includes irregular internal groupings. Also even if it has five beats it’s therefore an irregular time signature.
YEAH! And what's about 17/19 ?
17/19 is not a time signature I’ve ever seen. 19 as a lower number doesn’t really fit into a recognised musical scheme.
OMG. Best explanation EVER!!!!!! Subscribed!!!!
Now whenever im stopped at a light and hear BOOSH BOOSH BOOSH BOOSH im going to think yep thats one!!!! 🎶🎶🎶
😀
so nice.. clear explanation now i understand.. thanxoomuch Sir.. God bless you abundantly...
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I see that music matters channel has its own shirts
Absolutely
I was expecting to know why a composer use 3 8 instead of 3 4 , specially when they can use the tempo notation if they want to speed up the music. It is then just a matter of personal taste about how the composer wants the score looks?
More or less. Tempo might affect things.
Actually, there does exist music which embodies only ONE beat per bar. All four of Chopin's scherzos are in 3/4 time, but the feeling of duple meter is only discernable when one counts each entire bar as one beat. Each measure has only three beats per bar, the dotted half note being the beat note, but all four scherzos are felt in duple meter. I have often wondered why Chopin notated these pieces in this way.
Certainly an unusual example
Time signatures have associations with specific genres, and Scherzos are almost always in triple meter. I Believe Chopin used it to say "This is a scherzo on steroids".
A similar situation happens in Beethoven. In the 9th Symphony's Scherzo the 3/4 is so fast that you hear the dotted half note as a beat in a quadruple or duple time. Beethoven seems to aknowledge that since he writes "Ritmo di tre battute" (3 beat rhythm) at some point because if feels like it changed to triple meter. It also seems like a way to avoid changing the time signature, which was very uncommon at the time.
😀 Not sure about the steroid quote in relation to Chopin - he lived about a century ahead of steroids.
@@MusicMattersGBnot unusual at all, a great majority of the time, 3/8 music is 1 beat per measure.
Many chopin waltzes are also 1 beat per measure.
Of course one often plays one in a bar, even though it’s a Simple Triple metre.
Thank you for clearing this up.
A pleasure
Great explanation, Master. Saludos desde Argentina!
A pleasure. Greetings to you too!
Thank you for the awesome explanation! It is very clear to understand.
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Hello there! How are you holding up? You seem to have lost some weight. Everything alright? Wishing you a good health.... Yours is one of the best YouYube channels on music theory that I've ever discovered. I've learnt a lot many things thanks to you.
That’s most kind. I’m well thanks. It’s been intentional weight loss, long overdue!
@@MusicMattersGB God bless ❤ I just wanted to thank you for your episodes on music theory. Even the most intricate concepts in music theory now seem literally easy to me after watching your content.
That’s brilliant. Much more at www.mmcourses.co.uk
@@MusicMattersGB Thanks I'll look it up :)
😀
Wow amazing explanation thank you!
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What would you have to say about contexts where there’s clearly switching compound time, and 3/8 is included in the mix? For example, music where there’s quite a bit of 6/8 time and then one 3/8 bar is thrown in and then it goes back to 6/8? I’d argue that in those contexts, 3/8 may act as a compound bar with one beat even though there are often easy ways to avoid writing it. (for example, if I was in such a situation and wanted it to be clear for the reader that a compound feel was necessary, I would probably write a bar in 9/8, encapsulating the previous bar). I am curious as to how you deal with this example - would you say we still feel it as compound? Would it count as non-conventional usage? Would you go so far as to say that the writer has done it wrong if they used 3/8 in this way? It’s funny, I think there’s quite a higher chance of encountering a 3/8 bar that acts like one beat as opposed to a bar of 1/4!!!
That’s a fair argument. A temporary 3/8 bar in the context of 6/8 or 9/8 might be felt one in a bar - or not - it all rather depends on context. I certainly wouldn’t claim it to be “wrong”. If a whole 3/8 piece were performed one in a bar a whole series of single strong beats might be heavy going!
Something similar also happens when you want to extend 4/4 by 2 beats.
Sometimes composers will use a bar of 6/4, which is compound and just a different way of writing 6/8, but it looks like a extended 4/4 if you beam it like it. Sometimes they'll use a bar of 3/2, which is simple meter but technically changes the beat to the half note. Sometimes they'll just throw a 2/4 bar, that adds an extra strong beat.
Though in context is pretty clear what they're trying to indicate.
Mahler uses these 3 methods in his compositions and I'm not sure why he chooses one or another ha ha.
😀
3/8 is felt as a single (elliptical) orbit played out to the count of three. The orbit, or cycle, is like that of a moon, or a yo-yo looping around the hand. Whereas 3/4 is closer to a War of the Worlds tripod marching (2/4 a person marching; 4/4 a centaur marching). 3/4 is three pieces (a triangle); but 3/8 is a single elegant and swirling cycle traveled to the count of three. This video got close, around the 5:25 mark, when it said "it's *not* this". But in fact thinking of 3/8 like that does teach the audience something. Saying "3/8 is just 3/4 except with three eighth notes per bar" teaches us nothing, and we can already see that unhelpful info in the numbers. That's why we came seeking insight into the difference.
And then after correctly explaining the difference between 3/4 and 3/8, it'd be great to play two examples of which the audience can say, yes, I hear the difference in feel. I didn't think that about the examples towards the end of this video. Bars 3-5 of Für Elise would work as an example. Play them in 3/4 (how they're not meant to feel), and then in 3/8 (as they are meant to feel) so that we can experience the difference, and reproduce that difference in our own playing.
In 3/8 there are three quaver beats (not triplets) and that’s why it’s classified as a Simple Triple time. Even though it might sometimes be played one in a bar we don’t classify time signatures in single beats, which is why it’s not Compound time.
Holy delusion
Beautiful illustration, by the way, when comparing 3/4 and 3/8 time signatures
😀
You can't have one beat thumping at you?
Wanna bet? Turn on the radio! :D
Yes, I know, techincally it's all 4/4 on the radio but you know ... that pile crane groove might as well be in 1/4!
😀
Music can most definitely have just "one beat" every measure. You said it wouldn't happen but my mind went straight to something such as a waltz being written in 3/4 but the score having a note to the conductor to direct it "in 1." I just realized, while watching this video and thinking about the waltz, that it would be just as easy to write a waltz in 3/8 and direct it as a compound measure than writing it in "3/4 - Direct in 1."
My point acknowledges that one might feel it one in a bar but that there are still two other beats in each bar, even if they’re treated lightly.
Me costó dar con la explicación exacta de este tema, muchas gracias!
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I would have thought 3/8 time signature would sound like "1 and 2, 1 and 2, etc."
Not ideally because it places 2 in the wrong part of the bar. Better to count 1,2,3.
@@MusicMattersGB Don't 8th notes signify an and? So counting 1 and 2 and 3 and 2 and 2 and 3, say, for 6/8? Thanks.
8th notes don’t particularly signify the end. In 6/8 better to count 123456 then reduce to two beats per bar.
@@joseph-zoramcbride4029 It is the difference between 3/4 and 6/8. If you play the notes c1, e1, g1, c2, g1, e1 as one bar in a signature of 3/4 you would count 1 and 2 and 3 and having 3 beats on 1, 2 and 3. In 6/8 you would count 1 2 3 , 4 5 6 with a beat on 1 and 4. Same notes, same tempo but different.
If I am a drummer and want to give a pulse with my hi hat, for example: should I give three pulses with the length/interval of 1/8 each per bar in 3/8 ? That would be double as fast as three pulses with the interval 1/4 which I would use in 3/4. Or, in other words, is a bar half as long (in time) in 3/8 than in 3/4?
In effect 3/4 sounds exactly the same as 3/8. It’s really just a notational difference
Theory Grade 2 in trinity college says to always beam the quavers in 3/8 time signature rather than writing it separately
That’s correct
@@MusicMattersGB but in the video you said that 3/8 must not be beamed and must be written separately. Which one is correct?
For notes they are beamed together. That’s what I say in the video.
@@MusicMattersGB okay... Im still learning these grades. Reached 2nd. And im very confused about it.
It can be confusing until you get it settled. Keep at it!
This video solve my confuses
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Why the muse feeling good song isn't in 6/8 as it sounds more like this than 12/8? Can you explain that to me please?
You have to listen for the first best emphasis.
05:55 yeh its called "Brutal Truth" lool except its a lot faster
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Is 5/4 a Simple Meter of Quintuple Or Irregular (Complex) Of Duple Composed Of (Compoud + Simple) ?
It’s an irregular time signature that can be 3+2 or 2+3
I transcribe the song by ear Willie Nelson - Red Headed Stranger. I can’t figure out which time signature to choose - 3/4, 3/8 или 6/8. Now I’ll still start doing it at 3/4, but your advice would be helpful for the future. I would be very grateful for a hint. I can just choose 3/4 and choose a tempo of about 150, but I can also choose a 3/8 time signature, but then the tempo would have to be 75. And I have a dilemma.
Probably easier to write in 3/4.
@@MusicMattersGB Thanks a lot!
@consterus 😀
What is the origin of the names of the notes used by the Brits?
The British names go back at least to English renaissance music, and the terms of Latin origin had international currency at that time. Obviously, longa means 'long', and the rest rarely indicate relative shortness. Brave is from Latin bravis, 'short', minim is from minimus, 'very small', and quiver refers to the quivering effect of very fast notes. The elements sem-, dem- and hem- mean 'half' in Latin, French and Greek respectively, while quasi- means 'almost'. The chain semantic shift whereby notes which were originally perceived as short came progressively to be long notes is interesting both linguistically and musically. However, the crotchet is named after the shape of the note, from the Old French for a 'little hook', and it is possible to argue that the same is true of the minim, since the word is also used in palaeography to mean a vertical stroke in mediaeval handwriting.
The U.S. names were originally translated from the German names for the notes because so many German composers immigrated to the United States in the 19th century.
Gareth, you didn’t mention what the composer would write if he had a section of music that he was writing in 3/8 that the hammer sound was desired 🤣 . I guess that would be written in..
Absolutely
That was interesting, thanks! I suppose time signatures like 5/4 and 7/4 exist in a kind of nether region, not quite simple and not quite compound time. I guess they're sort of compound, depending on how the composer wants them played (i.e.: 3/4 + 2/4 or 2/4 + 3/4).
I think of them as “complex.” Many people have just referred to them as odd time signatures.
Yeah those are technically referred to as odd or complex time signatures but they are sometimes or mostly grouped into certain groupings when played rather than seeing them written straight out.
Those are known as irregular time signatures.
The top time is smaller than the bottom number
2/4, 3/4 , 4/4 ,6/8
Sometimes they do.
Thanks . I understand that for mathemic it doesnt diff. btw 3/4 and 3/8
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Excellent
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Can the same thing be applied to time signatures with the same denominator in general? For example, the difference between 4/8 and 4/4.
Absolutely
So Beethoven could have written Fur Elise in 3/4 but he just chose not to, and to communicate a faster tempo, would you say? Meanwhile, something like Chopin op 18 which is quite fast is written in 3/4. It would look very congested if it was in 3/8 😅
Absolutely
No, fur elise is 3/8 because for every 3 eigth notes, there is a beat, 1 beat every measure.
Maybe you could add 3/2 time?
I argue with you on the one beat 3/8. Composers can do in compound time. Just in simple time it is like a hammer as you say. However, conductors are trained to conduct in 1 if I remember correctly from a conducting course too many moons ago.
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Excuse me Sir, can you explain : is that 6/8 means 3 beats in a quarter-note, so the value of one beat is a quarter-note divided by 3 - 3.3333 ??? Thank you so much.
6/8 means 6 eighth notes per bar but divided into two groups of 3, which results in 2 quarter note beats.
Compound divisible by 3, simple by 2
Absolutely true. These are both Simple time signatures.
What about 3/2 and 6/4 time? I play alot of Scottish, Irish and English fiddle music. There are Scottish pipe marches and Irish slipjigs in 9/8, English folk dances and Morris dances in 3/2 and 6/4, etc. Are those just old fashioned relics from another age, or legit time signatures with their own internal logic and rhythm shorthand?
3/2 gives you three minim beats per bar.
6/4 gives you two dotted minim beats per bar.
You can see some really unusal compound time like 16/32 in Beethoven late piano sonatas.
Yes. Late Beethoven is a good example
Time signatures of 16 are interesting, as they're best used to describe large divisions of the beat, for example, in Sciabin's op 10 sonata, there is 1 beat per measure, however it is divided into 9, and thus the time signature is 9/16
hello sir, Christmas is approaching, if you wish you can make a difference in the rhythm of the silent night song in the 3/4, 6/8 and 6/4 versions. what is the main difference. because some songs in church hymns use 6/8, 6/4, and 3/4, thank you
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fantastic explanation ! specially about the tempo y the use of note values to write the same melody in each key signature.(loved the word congested ;) )
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3/8 not clear to me. Please clarify easiest way by playing 3/4 compared to 3/8.
It’s more about how it’s written than how it’s played. See the explanation in the video.
Almost humour? So, in 3/4 time, if you have dotted quarter notes sequentially in several bars, are those called biplets?
Some composers like to do that. It’s either a cross rhythm with another part using conventional 3/4 rhythms or it’s a temporary use of 6/8. If you’re in 6/8 and you decide to write two dotted quavers next door to each other within a beat we call those notes duplets.
@@MusicMattersGB First, thanks! Sequential dotted quavers in 6/8 are duplets. Still learning.
Fabulous
It's ok that 2, 3, 4 make Simple time and 6, 9, 12 make Compound, but that about 5, 8, 10, 16 kind of things?
Those are irregular time signatures.
@@MusicMattersGB ok! Thanks a lot sir
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sir, request a discussion on silent night song. I don't know what time the original used, but some translations of the church hymn use 6/4, 3/4, 6/8. Thank You
It often works best in 6/8 to achieve the lilting rhythm fully.
@@MusicMattersGB can you make a simple video for 6/8, 6/4 and 3/4 difference. what would the song be like?
Okay
@@MusicMattersGB Thank you very much sir,😘😇
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Great explaination as always.
A pleasure
So 3/32, 3/64 and 3/128 in theory would follow the same principles as the others? If you wanted to use those in faster tempo pieces?
3/4 3/8 and 3/16 are commonly used. 3/32 etc are theoretically possible but we do not often encounter them.
I’m theory, but who would want to see 32nd notes or smaller as the primary unit? It’s not very sensible in my opinion. I personally prefer to only see 3/4 and the tempo can vary just as much as anything. What you have to keep in mind is that typically in simple meters, you use the note represented by the bottom number as the primary beat for tempo. For example, 3/4 with (quarter note) = 100 bpm or 3/8 with (8th note) = 100 bpm. The only difference might end up being in the “vibe” coming from the performers in thinking about it, but it’s pretty much indistinguishable to the listener.
@@theclarionhall4755 yes I’m aware of that, but I was just wondering if the same could be applied to higher values such as 3/32 and beyond. There have been modern pieces with those time signatures in them and one does begin to question the practicality of it when it shifts into a /32 bar or something but music wise I suppose it’s possible even if it’s with a program and not for humans to play.
Interesting that Bach likes to use 16 as the lower number in quite a few pieces.
@@MusicMattersGB Yes, and Beethoven had some measures 9/16 in his C minor Sonata and maybe even beyond but I know of the /16 for sure in that one. Perhaps some other pieces as well.
Drummer here.....thank you!
Excellent
When defining time signatures it is better to talk of the upper number defining counts rather than beats. Get it clear at the outset - it saves a great deal of later confusion. Counts are not neccessarily the same as beats.
I'm amazed at how many publications and educators don't make the distinction early.
A good way of thinking about it.
THANK YOU!!! I will never understand why educators will always use the unclear, inarticulate phrase "quarter note gets the beat".
Strange expression
Can you explain "Counts are not neccessarily the same as beats."? A "count" is a "pulse"? And what the difference between pulse and beat?
@@marciorjusto "Can you explain "Counts are not neccessarily the same as beats.""
Consider what are known as compound time signatures (e.g. those with 6,9,12 as the upper number).. Let's use 6/8 to illustrate.
The count is 6 to a bar. Yet the primary beats are two to the bar (on count 1 and 4). Two groups of three with the emphasis on the first of each group. Thus, the count and the beat are not synonymous. the way the beat and count structure is organised is known as the metre and is indicated in the time signature and its associated conventions.
Beat is a hierarchical concept, some beats being stronger some weaker. They generally fall on instants that coincide with where the pulse lies (the underlying regular clock that unifies the rhythm) but sometimes not.
The overall synthesis of such elements is collectively termed the rhythm.
I hope i haven't misled with anything there.
others fell free to correct me if I have.
I suggest you use Wikipedia or a musical reference to look up the terms, Rhythm, time signature, metre (or meter), musical pulse, syncopation and musical beat.
please sir, 3/4 and 6/4
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Very clear explanation. Thank you very much.
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did this man just say crotchet beats..... 🤣🤣 great video tho
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Good job.. 😘🙏
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After watching this video, I have come to the conclusion that if a piece is in 3/X, and it's fast enough to be able to easily feel it in "One, one, one", then I shall call it 3/8, but otherwise stick to 3/4. Thanks!
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Yes. My mind went to what's called direction "in 1." You see that a lot with a faster tempo 3/4 such as a waltz. Composers could more easily write it in 3/8 and direct in compound form and it would turn out the same.
All true but 3/8 is not regarded as a Compound Uno time.
@@MusicMattersGB reference Hedwig's Theme from John Williams in the movie Harry Potter. He wrote that in 3/8 and it seems it is definitely directed in a compound uno manner.
It can certainly be performed as such even though 3/8 remains a Simple Triple time signature.
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We can safely claim that the most popular classical piece is in 3/8 time
There are lots of popular classics in various time signatures.
@@MusicMattersGB ahh I'm talking about Für Elise, that's what brought me into classical.
Excellent
3/4 and 3/8 are the same.
3/4 has a crotchet beat, 3/8 has a quaver beat. That’s the difference.