So, I would play the duples in this example straight, as a contrast to the swing feel. Everything else either lands on the beat or is played as is. Typically, when a performer is instructed to swing something in this meter, it is the upbeats and only the upbeats that are swung, which would include all upbeat 8ths, and any upbeat quarters or dotted quarters. I looked and looked at it and couldn't work it out. Quote from: falala on November 17, 2014, 05:12:39 PM Wow that's really interesting. Since this is dividing a dotted crotchet length (albeit within a different meter) it should do so as well. These things occur in improvised jazz, when particular groups of notes divide the beat evenly and just cut across the swing, so I suppose the transcriber is just trying to get some of that freedom.Īctually I think the notation is wrong, isn't it? The normal way of dividing a dotted crotchet into duplet (eg in 6/8) would be to use quaver duplets, not crotchet ones. My best guess would be to play them all equal, as you say, and forget about the swing for that bar. But the application of swing means the division of the second beat of the bar is shifted later, so the two parts of the bar (beat 1 + first part of beat 2, and second part of beat 2 + beat 3) are of DIFFERENT lengths! Normally in a 3/4 bar each half would be a dotted crotchet long - ie the second half would begin halfway through the second beat of the bar. ![]() The problem is that the notation seems to suggest the bar is divided into 2, and then each of those two haves divided into 2 again. ![]()
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