Why You Should Break the Middle of the Bar
ฝัง
- เผยแพร่เมื่อ 5 ต.ค. 2024
- or, The Two-Level Rhythmic Parsing Rule
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Music Credits:
Mendelssohn: Symphony No. 4 "Italian", Movs. 1, 4
Debussy: Nocturnes, Mov. 2 "Fêtes"
Captions have been added in English!
![ลองสั่งของจากแอพ temu ถูกจริงหรอ?? ( part : 1/2 ) [โกงไหมครับ ep.89 ] | DOM](http://i.ytimg.com/vi/RTcZSQTiDZw/mqdefault.jpg)
Everyone on musecore NEEDS this video
This needs to be standard material in Theory classes. I can't express how painful it is to see things beamed incorrectly. And trying to convince someone to do it the right way is so difficult if they haven't been taught the right way from the start. Great video!
Chapter 69 Verse 420.
Nice
Well played :p
OMG! I am cracking up at the memes throughout this video.
The content is outstanding, and I intend to dig through it and employ some of these explanations for my students. Thank you!
BTW, I would really enjoy seeing some more deep dives like this, including one on compound time.
Outstanding, Justin. Makes sense now. This will be helpful for anyone who cares to engrave correctly.
Yes please, a video on syncopation would be amazing!
13:34 - the white spaces created by the 2ndary and 3rdary beamings remind me of the markings on a ruler for the inch: the 1/2 is longest, the 1/4 and 3/4 are next, the 1/8, 3/8, 5/8, and 7/8 are next...
Welcome back! I wheezed when Dame Maggie showed up. 😆
I can’t believe you managed to talk about this while being fun 😮😮😮😮😮😮
More (music) people should know your channel
This is one thing I hate about Musescore. When I’m writing a composite rhythm of eighths and sixteenths, it goes by the rhythmic rule for the eighths, *not* the sixteenths, and there’s no way to change that in time signature properties without changing the 8 eighth notes rule, which is undesirable if I’m putting in something like Brandenburg concerto no. 3 that has the eighths in the double bass beamed into groups of 4, but the little rhythmic motive of sixteenth sixteenth eighth beamed by the quarter note.
I kind of figured this out on my own. I would need to check my own consistency to do it, but when I “handletter” the notes that is what I do
Thanks. Love this. Can you make the rhythm dots and syncopation video? Or is it posted and I just can't find it.
Hah, I assumed this was going to be about when a bar should be split over a system break.
Please can we have a British version of the subtitles. with semibreves, minims, crotchets, quavers, semiquavers, demisemiquavers, hemidemisemiquavers, semihemidemisemiquavers, demisemihemidemisemiquavers and hemidemisemihemidemisemiquavers please, as well as an American English version?
Great video by the way!
A version on triple meter would be interesting. There do seem to be rules where sometimes you can group together 6 eighth notes in triple eighth note meters (6/8, 9/8. 12/9, etc), and sometimes you can't, though you can always group 6 sixteenth notes together.
For compound or odd meters I tend to beam by beat
So everything you said makes sense but I’m here to talk about something else. I absolutely hate eighth notes grouped in fours.
Still trying to work it through how this applies to triple meters, and compound meters.
In 3/4, two levels up from eighth notes is a dotted half note, so we can (and should?) beam 6 eighth notes together as a dotted half note unit. Thumbs up. Your rule/principle neatly explains why it HAS to be precisely 6 eighth notes, and cannot include dotted eighth notes, or sixteenth notes.
BUT!
In 6/8, two levels up from eighth notes is a dotted half note - but we should never beam 6 eighth notes together, we group them into dotted quarter note units, which is only one level up.
Where have I gone wrong?
You're finally back!!
Outstanding - by the way! :)
So four eighth notes in a bar of 2/4 can all be beamed together? Because MuseScore keeps grouping them in twos, and if I put them in fours, it changes them back.
Wait, what? What do you mean, it changes them back? If it does change it back it may be some sort of bug... You should create a new time signature, make it 2/4 and put the beaming how you want
@@musicfriendly12 It's not a bug. That's the way the beaming is set up in 2/4. But I found how to change it in the edit time signature screen.
Triple meter plz
Yeeeeeees. I'd dig that!
Proleomenon!!!!??? That might be the FIRST and LAST time I shall hear this spoken by a human of the species! 🤣🤣🤣🤣
SO!! Mendelssohn WON~!
what about odd time signatures, such as 5/8, 7/8, 10/12 etc. I am currently writing a fugue in 7/8, so how would this rule work? I just have it as 4 crotchets, followed by 3 crotchets, or 3 + 2 + 2.
It would be a combination of these rules for the duple parts of the measure, and then the rules for triple meter for the beats with three crotchets. The Triple Meter video is coming out soon!
@@Tokkemon Has the triple meter video been discarded?
👍
The information was very useful, but the actual video was extremely visually cluttered. I don't need an emoji and a picture for every word to be cute and clever. I suggest you think about the clarity of the video quality the same way you think about clarity in music engraving. I hope your other videos are better. I will probably watch a few to see because the information was good. I hate to leave a negative comment, but all the pop ups were extremely distracting, and I wanted to look at the music you were referencing, not have to process a picture of Einstein.
This doesn't work when lyrics are added, where syllables cross those 'essential' boundaries.
I don't see why this wouldn't work with lyrics. I'm guessing you're thinking of melismas, but they are best expressed with a slur. The basics of the rhythmic notation should be the same for all instrumentalists.
But........
If you think the system actually makes sense, don't compare it to English spelling I've been speaking it all my life and i still spell so many things wrong and don't understand it.
Resources pleaseee???
E.Gould- Behind bars :)
Or you could beam each beat separately.
The general rule I always followed was group them by beat. Musicians need to see where the beats are. If a measure is the street, then the beats are the houses, y' know?