Quote:
Originally Posted by JonPR
Well, it can sometimes sound like a pair of 3/4 bars, and it would be a subtle difference in that case. For two 3/4 bars to be better written as 6/8, there would need to be a clear difference between the downbeats of alternate bars.
Another argument for making pairs of 3/4 bars into single 6/8 bars - in addition to that subtle rhythmic emphasis - would be the harmonic rhythm (rate of chord change). If the chords change every two 3/4 bars (as well as a weaker downbeat on the second of each pair) then 6/8 makes a lot of sense. (In some case, 6/4 would be better, but that's rare.) Harmonic rhythm is often a good way to decide between 6/8 and 12/8.
A single bar of 6/8 can be made to sound like a single bar of 3/4 - and vice versa - by means of cross-rhythm, but normally a piece will be clearly in one or the other for the most part.
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Harmonic rhythm is how I tell them apart or decide if what I came up with is in 3/4 or 6/8. I set the metronome to 6/8 when I recorded this. It felt more natural since it doesn’t have the waltzy feel of a 3/4. Don’t listen to the whole thing, it still needs a whole lot of work. [emoji15]
https://soundcloud.com/1neeto/never-done