#91
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But "as written", in this case, means (almost certainly) allowing that dotted 8ths stand for triplet feel, in the tradition brahmz118 outlined. Do you dispute his post?
If so, why do you think this song should be an exception? Quote:
That isn't the correct use of 6/8 at all! While it sounds correct like that, it's unnecessarily busy to read, and a 6/8 sig makes no sense with those note placements. To write it in 6/8, one wouldn't convert a 2/2 measure into one 6/8 measure, but into two measures of 6/8. (You seem to have missed the parts of my posts which described that.) So the above excerpt would be 4 measures of 6/8. The alternative would be two measures of 12/8 which - IMO - would be a little harder to read than either 4 measures of 6/8, or the original 2/2. Quote:
They (and/or the composer himself) is using the convention of "dotted 8th+16th to be played as triplet 2+1 8ths" (quarter+8th with triplet marking, or three 8ths as in a half measure of 6/8). Quote:
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It is a very small difference between the drums (dotted 8ths) and the 6/8 backing rhythm, but enough to jar, to my ears. Quote:
At this tempo (around 120), the difference in placement between the last 8th of a triplet and the last 16th of a beat would be 1/24 of a second. You can hear that difference in a drum part, but in vocals the attack portion of a syllable is more gradual. IOW, I remain a "lingering doubter". I'm impressed with your efforts to back up your conviction, but none of it convinces me. In fact, the audio examples only support the triplet feel. |
#92
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#93
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Rick, everything Jon said was right on. Your 6/8 score is not properly notated. It really doesn't help your case to call that 'more readable.'
Also, are you saying that the 'holly green' measure is played in strict dotted 8ths + 16ths, and then the following measure 'prettiest picture' is played in even triplets? That doesn't make sense - the feel should be the same in both measures, and throughout the piece. Since you used the example a drum track + audio file to support your point - how would an actual drummer play along with the tune? Would he play dotted rhythms in the first measure, and then switch to triplets in the second measure, and then switch back to dotted rhythms in the 2nd half of the second measure? I think the drummer would most likely play the same 'lilt' in every measure. It's kind of an odd methodology to try to derive performance practice from a micro-analysis of a recording. If you don't believe Jon and me, just go seek out some historians, musicologists, teachers, performers of this music, etc. - the more the merrier. If you find a bunch of people who agree with you, then go ahead and write us off. But I can't imagine that you will. |