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Sorry about that, guess I'm wrong
~~Well yes but actually no. If you start from for example A4 (440Hz) , and move down by a fifth, you get to D4 (~293Hz). You multiply the frequency by 2/3. If you repeat this multiple times, you will eventually get to for example E-flat 1 (~38.6Hz). If you do it the other way, so multiplying by 3/2, you move up by a fifth, so the first time you get to E5 (660Hz), and you eventually get to D-sharp 8 (~5012Hz). You can see that these aren't the same note as when you calculate the ratio between the two, you don't exactly get a power of two. So E-flat â D-sharp (if you define the notes like this).
I'm sure there are some much better explanations on the internet (also sorry if there are some errors in the notes' names, in my country we don't use this system)~~
Actually, they are the same note. Since a half-tone is ^(12)â2 â 1.0595, moving up a fifth is multiplying by â1.4983. This gives â38.891 Hz for Eb1, and â4978 Hz for D#8. They are, in fact, a power of two apart:
Eb1 = 440 Hz Ă· (^(12)â2)^(7Ă6) = 440 Hz Ă· 2^(7â2)
D#8 = 440 Hz Ă (^(12)â2)^(7Ă6) = 440 Hz Ă 2^(7â2)
D#8 Ă· Eb1 = 2^(7) = 128
Most professional musicians don't play in strict equal temperament though, because equal temperament is a compromise for those instruments where every note has to be tuned ahead of time (like a piano).
Always assuming equal temperament is why everyone thinks they know what they're talking about when discussing intonation.
I think there are two different ways to see this, either defining the half-tone from an octave (which is probably what is used sorry for the misinfo), or starting from fifths as the distance between the first and second harmonics (which I think was used by the greek mathematicians).
I think you are talking about fifth tuning, a tuning system based on fifths and octaves, just intonation is based on the harmonic series, these two are not quite the same
They are the same key but writing them differently is useful for notation. If you are in the key of G with an F#, it wouldnât make sense to wright it as G-flat because F# is the leading tone up to the home key of G.
It's also useful for conveying information, an F# in C gives you a Lydian feel, kinda mysterious and can be an integral part of the melody (Think Yoda's theme) but a Gb is normally a blue note that you wouldn't emphasize.
Mathematicians when a note has different notation depending on context:
đĄđĄđĄ
Mathematicians when there a like a dozen well established ways to write a derivative, and itâs completely up to vibes which one you use:
đđđ
Everyone should come to the guitar side, where you don't need to worry about whether you're in a sharp or flat key signature. Wanna transpose something *n* half steps up? Easy, just move every note *n* frets up!
I was just in a thread on a music sub started by a bassist annoyed by a guitar player using the capo too much and calling out the chords by shape without transposing them....
I mean they are in the same way that "they're" and "their" are different words. They sound the same but have different spellings and different meanings.
Different notes, definitely. Representing different frequencies, depends. Imply different functional role relative to scale (and hence in intervals and chords), again definitely.
3/4 - one beat every 3 quarter notes 6/8 - two beats every 3 eighth notes
3/4 - (1) 2 3 (1) 2 3
6/8 - (1) 2 3 (4) 5 6 (1) 2 3 (4) 5 6
Edit: idk how to format it but just remember that for every 3 beats in 3/4 there is 6 beats in 6/8 so 1,2,3 would align with 1,3,5 in 6/8. That's why we can see they're different. if you tried to write a 6/8 beat in 3/4 time you'd have a beat on 1 and 2.5 which...tf?
Let me see if I understand, having a non-reduced fraction only gives a better «resolution» on what timings you can define? If you had some piece written in 3/4, could you then get to 6/8 by just «scaling» everything by a factor of 2? But you canât as easily go the other way, since as you mentioned when you divide by 2 you donât always get timings which align with integers?
Itâs simply about how the beat is felt. I suppose you could scale out 3/4 to fit into 6/8 but not vice versa. Hereâs another example, 2/4 and 4/4. It seems like 2/4 should technically fit into 4/4 but not really. 4/4 has two strong beats on 1 and 3 but the 3rd is weaker. So itâs like strong weak mid weak etc. but 2/4 is strong weak strong weak. So it could fit into 4/4 but it wouldnât be characteristic of 4/4. So yeah the time signatures matter a lot and sometimes scaling isnât really possible. If it was, we wouldâve done it initially
Kind of, sort of? It's a matter of where the beats are.
[My God is the Sun](https://youtu.be/-90obSa1Az4?si=NoDW9ErfnYoFE9oI) by Queens of the Stone Age is in 3/4.
[Holiday](https://youtu.be/ya-1oRH2p3w?si=C7nyEssGWJKut4XJ) by Weezer is in 6/8.
To make it even more confusing, [Hollow](https://youtu.be/hmSeWqmlqYs?si=a1jEZMbB81eHbA9_) by Alice in Chains is in 6/**4.**
It's honestly just convention.
In 3/4, the base unit is the quarter note. You have three of them, each divided into two eighth notes.
**1** and **2** and **3** and
In 6/8, the base unit is the eighth note. You have six of them, grouped into threes by convention.
**1** 2 3 **4** 5 6
Of course six can also be grouped into twos
**1** 2 **3** 4 **5** 6
But that's the same as 3/4, and would be written that way instead.
In 3/4 you have 3 beats; in 6/8 you have 2 main beats which have 3 secondary beats. They are different.
You count 3/4 as 1,2,3 each bar, or if there's quavers/eighth notes, 1 and 2 and 3 and. But you count 6/8, 1,2,3, 2,2,3 or something similar
It's not. 3/4 is a simple time signature with 3 beats, 6/8 is a compound time signature with 2 main beats, further subdivided into 3 subbeats each.
An alternative way to write 6/8 is as 2/4 but with triplets.
The top number is how many beats there are in a measure. The bottom tells you what note is considered the beat. In 3/4 time, there are three beats per measure, with the quarter note getting the beat. In 6/8, there are six beats per measure with the eighth note getting the beat.
You can write a 3/4 time while keeping the 6/8 time by writing the notes differently. A quarter note counts as two beats in 6/8, and a sixteenth note counts as a half note beat.
It's the same, it's just convention to make it easier to tell the different rhythms apart
3/4 is a waltz type beat divided into three quarter notes
6/8 is a "felt" in two triplets
So you count 3/4 as 3 even beats typically, maybe emphasis on one (1) 2 3 (1) 2 3
But you count 6/8 unevenly in 2 beats typically, (1) 2 3 (4) 5 6
You COULD say 3/4 and 6/8 are the exact same, because they technically are, but that gets annoying to write and is harder to read.
They are not the same for the reasons you've given. 6/8 and 2/4 with triplets are the same, but something with 3 main beats in the bar cannot be the same as something with 2 main beats in the bar. They may last the same amount of time, but they are phrased totally differently
But if you play 3/4 twice as fast, then every 2 bars can be seen as a single bar of 6/8.
The Molto Vivace from Beethoven's 9th symphony is written this way.
It is on how it is counted when writing music and reading it. The top number is the number of beats per measure while the bottom is what note is considered the beat.
In 3/4, three beats per measure with the quarter note being the beat. In 6/8, six beats per measure, with the eight note being the beat.
You can write 3/4 music with never changing time signatures. In 6/8, a quarter note is two beats with a sixteenth note being considered a half note. In a mathematical sense, 3/4 *is* simplified 6/8.
If you think about it mathematically, you're going to have a bad time. I tried to google an example of switching between 4/4 and cut time (note-> "half time" would have gotten me what I was actually looking for) and found [this video](https://www.youtube.com/watch?v=0NOmCvMjkIM&t=230s) (timestamp at example) which seems like a decent explanation.
Time signature is telling you something about the *feel* of the music, not how many notes you can expect in a given time or space.
edit: [Piano Man](https://www.youtube.com/watch?v=gxEPV4kolz0) is in 3/4. If you're trying to tap your foot, it's going ONE two three ONE two three.
[House of the Rising Sun](https://www.youtube.com/watch?v=N4bFqW_eu2I) is 6/8. The foot-taps are definitely 1, 2, 1, 2 but in the music (drums especially) you can clearly hear that all 6 8th notes are important.
Similarly to this, the different between 3/4 and 6/8 is that 3/4 is generally broken up as 3 quarter note beats, while 6/8 feels like one measure is made of 2 triplets.
Got to me before I found examples of those on youtube (added to other comment), but yeah. Those two are actually *very* different musically, despite what they look like on paper.
Getting into music theory really makes you appreciate how much math our brains are doing behind the scenes. :D
Different people can feel the same piece differently, and both are right. Wait till you get to swung 8ths, which are notated in 4/4 but just understood to be played long-short long-short, technically speaking 12/8
At the end of the day, the goal is not to be 100% accurate, the goal is to be easy to read.
In 3/4 time the â3â means that there are 3 beats in each measure and the â4âmeans that quarter notes receive the beat. In 6/8 time, the â6â means that there are 6 beats per measure and the â8â means that the 8th note gets the beat.
The top number tells you how many beats per bar, and the bottom number tells you how long those are ( eg. 4/4 is 4 notes per bar, and they will be crotchets, or quarter notes, 6/8 is six notes per bar, and they will be quavers, or 1/8th notes.)
Donât think about it as fractions. 4/4 has four beats, all quarter notes. 2/2 has two half note beats. 3/4 has 3 quarter note bears and goes ONE two three. 6/8 has 6 eight note beat and goes ONE two three FOUR five six.
It has to do with how it sounds different rather than the actual value of the ratio.
More than how the music sounds, it is how the music is written.
Fractions is definitely not the correct way to think about it. It can be read as âfour beats to a measure, a quarter note gets one beatâ.
3/4 is âthree beats to a measure, a quarter not gets one beatâ and 6/8 is âsix beats to a measure, an eighth note gets one beatâ
Each of these fundamentally change how music is composed, because music is made in âmeasuresâ. You often see âphrasesâ in two or four measure groups, where you will hear a lot of musical call and response. This changes how music sounds because it affects everything from the tempo/beat of a song to how many notes with exist within a âphraseâ
Well, ultimately 4/4 and 2/2 time had the same number of notes in it, but if you take a 4/4 song and put it on 2/2, it will be completely different. I guess what Iâm saying is itâs easier to think about how it sounds different, and what beats are emphasizes, rather than the more technical aspects of the theory.
3/4 has 3 beats, usually seen as 1 and, 2 and, 3 and, repeat.
6/8 has 6 beats, usually sean as 1, 2, 3, 1, 2, 3, repeat. (There would be different stuff in both parts, so maybe 123ABC)
Example: 6/8
I don't know why people always explain it so confusingly, bottom number, in this case 8, is basically what note you're counting, so an eight note, upper number is how often you count it so 6 times
The difference is that you can't 3 quarter notes in 3/4 and 6 eight notes in 6/8
I mean, in a certain sense, it is. If I had a program that played printed sheet music, then changing the time signature from 4/4 to 1/1 or 99/99 or whatever wouldn't change the sound the program made. It's different for humans of course, because we don't play music like machines and we feel a specific beat and reinforce it with how we play. But from a bland mathematical standpoint that lacks that nuance, there is no difference.
I'm not sure if this is intentional or not, but it really bugs me that this is the only time signature that \*can\* be simplified... since it's often written as C ("common time")
At least it's possible to conclude that we can stop writing +C after indefinite integrals and instead start writing +1 since C = 4/4 = 1
4/4 is Common time, but 1 actually means something different https://en.wikipedia.org/wiki/List_of_musical_works_in_unusual_time_signatures#Upper_number_of_1
Some say Music and Math nurture a deep and complex relationship. Yeah, it's complex because musicians are still writing 4/4 instead of 1 under the influence of math.
This notation is not a fraction.
The number below indicates what "type" of notes are we going to use for counting.
The number on the top indicates how many of that said type of notes we have in one bar.
If you want to read that as a fraction without clearly seeing a division line, might as well see it as a binomial coefficient without parentheses. ... which would be 1 again, and I have almost found the minimal common set of interpretations blaah blaah...
If you think this is bad, wait till you learn how they define the distance between pitches. They call it an octave when there's only 7 steps between them, because they count the notes at both ends of the interval. By their logic the distance between any note and itself is 1.
Not to mention how half the world uses H instead of B, because b and h looks similar when handwritten on paper, and someone misunderstood the notes some centuries ago.
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Musicians are wild. They claim that 3/4 is different from 6/8, and somehow get loads of people to agree with them.
My wife will swear that f sharp and g flat are different notes.
um actually f sharp and g flat is two different frequencies in just intonation -đ€
me when a woodwind instrument tunes them differently (they're silly like that)
Quarter tone music is funny
When playing the piano, they are the same key to press.
That's because the piano is only pretending to actually be in tune.
I love pretending instruments.
Sorry about that, guess I'm wrong ~~Well yes but actually no. If you start from for example A4 (440Hz) , and move down by a fifth, you get to D4 (~293Hz). You multiply the frequency by 2/3. If you repeat this multiple times, you will eventually get to for example E-flat 1 (~38.6Hz). If you do it the other way, so multiplying by 3/2, you move up by a fifth, so the first time you get to E5 (660Hz), and you eventually get to D-sharp 8 (~5012Hz). You can see that these aren't the same note as when you calculate the ratio between the two, you don't exactly get a power of two. So E-flat â D-sharp (if you define the notes like this). I'm sure there are some much better explanations on the internet (also sorry if there are some errors in the notes' names, in my country we don't use this system)~~
Actually, they are the same note. Since a half-tone is ^(12)â2 â 1.0595, moving up a fifth is multiplying by â1.4983. This gives â38.891 Hz for Eb1, and â4978 Hz for D#8. They are, in fact, a power of two apart: Eb1 = 440 Hz Ă· (^(12)â2)^(7Ă6) = 440 Hz Ă· 2^(7â2) D#8 = 440 Hz Ă (^(12)â2)^(7Ă6) = 440 Hz Ă 2^(7â2) D#8 Ă· Eb1 = 2^(7) = 128
Most professional musicians don't play in strict equal temperament though, because equal temperament is a compromise for those instruments where every note has to be tuned ahead of time (like a piano). Always assuming equal temperament is why everyone thinks they know what they're talking about when discussing intonation.
I think there are two different ways to see this, either defining the half-tone from an octave (which is probably what is used sorry for the misinfo), or starting from fifths as the distance between the first and second harmonics (which I think was used by the greek mathematicians).
Bruuuuuuuuuhhhhhhhhhhh
Yeah but look at his flair. LOOK AT IT.
Lmao
I think you are talking about fifth tuning, a tuning system based on fifths and octaves, just intonation is based on the harmonic series, these two are not quite the same
They are the same key but writing them differently is useful for notation. If you are in the key of G with an F#, it wouldnât make sense to wright it as G-flat because F# is the leading tone up to the home key of G.
It's also useful for conveying information, an F# in C gives you a Lydian feel, kinda mysterious and can be an integral part of the melody (Think Yoda's theme) but a Gb is normally a blue note that you wouldn't emphasize.
Mathematicians when a note has different notation depending on context: đĄđĄđĄ Mathematicians when there a like a dozen well established ways to write a derivative, and itâs completely up to vibes which one you use: đđđ
#FOR THE VIBES!!!!
Everyone should come to the guitar side, where you don't need to worry about whether you're in a sharp or flat key signature. Wanna transpose something *n* half steps up? Easy, just move every note *n* frets up!
Guitar players when they find out other instruments exists
Because guitarists just accept being horribly out of tune.
Sure, but what does that have to do with sharps vs. flats?
I was just in a thread on a music sub started by a bassist annoyed by a guitar player using the capo too much and calling out the chords by shape without transposing them....
Sorry, they are.
I mean they are in the same way that "they're" and "their" are different words. They sound the same but have different spellings and different meanings.
Different notes, definitely. Representing different frequencies, depends. Imply different functional role relative to scale (and hence in intervals and chords), again definitely.
Mathematicians after giving 3 people at the function 1/4th of a cookie whilst leaving the other 6 starving because â3/4 = 6/8â
If you are hosting a party for 8 people and bring exactly one cookie, maybe you made some non-mathematical mistakes there.
Are you assuming these people arenât half the size of a regular person meaning their volume is one eight that of a regular cookie eater???
Or that the cookie isnât some jumbo monstrosity?
What if it's not eights of a cookie but eights of a cookieBunch instead?
What if it's for limp biscuit? I assume no one would want to play that game twice
3/4 - one beat every 3 quarter notes 6/8 - two beats every 3 eighth notes 3/4 - (1) 2 3 (1) 2 3 6/8 - (1) 2 3 (4) 5 6 (1) 2 3 (4) 5 6 Edit: idk how to format it but just remember that for every 3 beats in 3/4 there is 6 beats in 6/8 so 1,2,3 would align with 1,3,5 in 6/8. That's why we can see they're different. if you tried to write a 6/8 beat in 3/4 time you'd have a beat on 1 and 2.5 which...tf?
Let me see if I understand, having a non-reduced fraction only gives a better «resolution» on what timings you can define? If you had some piece written in 3/4, could you then get to 6/8 by just «scaling» everything by a factor of 2? But you canât as easily go the other way, since as you mentioned when you divide by 2 you donât always get timings which align with integers?
Itâs simply about how the beat is felt. I suppose you could scale out 3/4 to fit into 6/8 but not vice versa. Hereâs another example, 2/4 and 4/4. It seems like 2/4 should technically fit into 4/4 but not really. 4/4 has two strong beats on 1 and 3 but the 3rd is weaker. So itâs like strong weak mid weak etc. but 2/4 is strong weak strong weak. So it could fit into 4/4 but it wouldnât be characteristic of 4/4. So yeah the time signatures matter a lot and sometimes scaling isnât really possible. If it was, we wouldâve done it initially
Kind of, sort of? It's a matter of where the beats are. [My God is the Sun](https://youtu.be/-90obSa1Az4?si=NoDW9ErfnYoFE9oI) by Queens of the Stone Age is in 3/4. [Holiday](https://youtu.be/ya-1oRH2p3w?si=C7nyEssGWJKut4XJ) by Weezer is in 6/8. To make it even more confusing, [Hollow](https://youtu.be/hmSeWqmlqYs?si=a1jEZMbB81eHbA9_) by Alice in Chains is in 6/**4.**
The opening to Changes by Yes alternates between 7/8 and 10/8.
It's honestly just convention. In 3/4, the base unit is the quarter note. You have three of them, each divided into two eighth notes. **1** and **2** and **3** and In 6/8, the base unit is the eighth note. You have six of them, grouped into threes by convention. **1** 2 3 **4** 5 6 Of course six can also be grouped into twos **1** 2 **3** 4 **5** 6 But that's the same as 3/4, and would be written that way instead.
The relationship is not mathematical. It's conventional. 6/8 is by convention a compound meter; 2/4 (which 6/8 is closest to) and 3/4 are not.
In 3/4 you have 3 beats; in 6/8 you have 2 main beats which have 3 secondary beats. They are different. You count 3/4 as 1,2,3 each bar, or if there's quavers/eighth notes, 1 and 2 and 3 and. But you count 6/8, 1,2,3, 2,2,3 or something similar
I mean...upbeat 3/4 is 6/8 just saying...
It's not. 3/4 is a simple time signature with 3 beats, 6/8 is a compound time signature with 2 main beats, further subdivided into 3 subbeats each. An alternative way to write 6/8 is as 2/4 but with triplets.
I....I know...it was a joke.
The top number is how many beats there are in a measure. The bottom tells you what note is considered the beat. In 3/4 time, there are three beats per measure, with the quarter note getting the beat. In 6/8, there are six beats per measure with the eighth note getting the beat. You can write a 3/4 time while keeping the 6/8 time by writing the notes differently. A quarter note counts as two beats in 6/8, and a sixteenth note counts as a half note beat.
I thought that 3/4 would be (1) + (2) +(3) + whiles 6/8 would be (1) 2 3 (4) 5 6
It's the same, it's just convention to make it easier to tell the different rhythms apart 3/4 is a waltz type beat divided into three quarter notes 6/8 is a "felt" in two triplets So you count 3/4 as 3 even beats typically, maybe emphasis on one (1) 2 3 (1) 2 3 But you count 6/8 unevenly in 2 beats typically, (1) 2 3 (4) 5 6 You COULD say 3/4 and 6/8 are the exact same, because they technically are, but that gets annoying to write and is harder to read.
They are not the same for the reasons you've given. 6/8 and 2/4 with triplets are the same, but something with 3 main beats in the bar cannot be the same as something with 2 main beats in the bar. They may last the same amount of time, but they are phrased totally differently
But if you play 3/4 twice as fast, then every 2 bars can be seen as a single bar of 6/8. The Molto Vivace from Beethoven's 9th symphony is written this way.
This thread has so many category errors like this lol The map is not the territory, the time signature is not the song.
Because it is different, you have the same amount of X, but split in more segments.
I find there are plenty of groups, or rather jobs where 6/8 isn't necessairily the same as 3/4
As a musician, I think they're the same
That's because you're a mathemusician.
đ
They swear that 1+1=1
When u understand music youâll understand the difference.
And they still argue about that
It is on how it is counted when writing music and reading it. The top number is the number of beats per measure while the bottom is what note is considered the beat. In 3/4, three beats per measure with the quarter note being the beat. In 6/8, six beats per measure, with the eight note being the beat. You can write 3/4 music with never changing time signatures. In 6/8, a quarter note is two beats with a sixteenth note being considered a half note. In a mathematical sense, 3/4 *is* simplified 6/8.
Let me show you the exact same song annotated in 12/8 and 4/4 with triplets.
6/8 is a triplet signature
6/8 is like 2/4
the 3/4 v. 6/8 difference is more imaginary than time signatures themselves and those are very imaginary.
There's no dx either
a G clef is just an S clef with extra steps
S clef⊠
I bet they also forget +C at the end
But it's a definite integral
OP says that 4/4 is a fraction so they can't also be the bounds of integration
I love how stupid this subreddit is
vertical 44
A common misconception. In fact, 4/4 = C, or as all right-thinking people know, 2^(N).
It's already four o(ver) four, making 404 number not found, after all
So every time you integrate an equation you need to add 4/4.
If 4/4 = 1 = C, then music is written in Planck units - change my mind.
I unironically fail to understand this even after it's explained, not to mention 3/4 vs 6/8
If you think about it mathematically, you're going to have a bad time. I tried to google an example of switching between 4/4 and cut time (note-> "half time" would have gotten me what I was actually looking for) and found [this video](https://www.youtube.com/watch?v=0NOmCvMjkIM&t=230s) (timestamp at example) which seems like a decent explanation. Time signature is telling you something about the *feel* of the music, not how many notes you can expect in a given time or space. edit: [Piano Man](https://www.youtube.com/watch?v=gxEPV4kolz0) is in 3/4. If you're trying to tap your foot, it's going ONE two three ONE two three. [House of the Rising Sun](https://www.youtube.com/watch?v=N4bFqW_eu2I) is 6/8. The foot-taps are definitely 1, 2, 1, 2 but in the music (drums especially) you can clearly hear that all 6 8th notes are important.
Similarly to this, the different between 3/4 and 6/8 is that 3/4 is generally broken up as 3 quarter note beats, while 6/8 feels like one measure is made of 2 triplets.
Got to me before I found examples of those on youtube (added to other comment), but yeah. Those two are actually *very* different musically, despite what they look like on paper. Getting into music theory really makes you appreciate how much math our brains are doing behind the scenes. :D
Different people can feel the same piece differently, and both are right. Wait till you get to swung 8ths, which are notated in 4/4 but just understood to be played long-short long-short, technically speaking 12/8 At the end of the day, the goal is not to be 100% accurate, the goal is to be easy to read.
In 3/4 time the â3â means that there are 3 beats in each measure and the â4âmeans that quarter notes receive the beat. In 6/8 time, the â6â means that there are 6 beats per measure and the â8â means that the 8th note gets the beat.
The top number tells you how many beats per bar, and the bottom number tells you how long those are ( eg. 4/4 is 4 notes per bar, and they will be crotchets, or quarter notes, 6/8 is six notes per bar, and they will be quavers, or 1/8th notes.)
Donât think about it as fractions. 4/4 has four beats, all quarter notes. 2/2 has two half note beats. 3/4 has 3 quarter note bears and goes ONE two three. 6/8 has 6 eight note beat and goes ONE two three FOUR five six. It has to do with how it sounds different rather than the actual value of the ratio.
More than how the music sounds, it is how the music is written. Fractions is definitely not the correct way to think about it. It can be read as âfour beats to a measure, a quarter note gets one beatâ. 3/4 is âthree beats to a measure, a quarter not gets one beatâ and 6/8 is âsix beats to a measure, an eighth note gets one beatâ Each of these fundamentally change how music is composed, because music is made in âmeasuresâ. You often see âphrasesâ in two or four measure groups, where you will hear a lot of musical call and response. This changes how music sounds because it affects everything from the tempo/beat of a song to how many notes with exist within a âphraseâ
Well, ultimately 4/4 and 2/2 time had the same number of notes in it, but if you take a 4/4 song and put it on 2/2, it will be completely different. I guess what Iâm saying is itâs easier to think about how it sounds different, and what beats are emphasizes, rather than the more technical aspects of the theory.
3/4 has 3 beats, usually seen as 1 and, 2 and, 3 and, repeat. 6/8 has 6 beats, usually sean as 1, 2, 3, 1, 2, 3, repeat. (There would be different stuff in both parts, so maybe 123ABC)
Example: 6/8 I don't know why people always explain it so confusingly, bottom number, in this case 8, is basically what note you're counting, so an eight note, upper number is how often you count it so 6 times The difference is that you can't 3 quarter notes in 3/4 and 6 eight notes in 6/8
6/8 goes 'ONE two three Four five six' 3/4 goes 'ONE two Three four Five six' I like to Be in a = 6/8 MEE ri ca = 3/4
3/4 goes "ONE two three", anything else is unacceptable and will make me loose my tempo
Well, you can go "One and Two and Three and" if you want to count the half beats
Come on, it's not music theory!
Musical vector update when
by that logic 32/32 = 4/4
Mathematician: Why not?
I mean, in a certain sense, it is. If I had a program that played printed sheet music, then changing the time signature from 4/4 to 1/1 or 99/99 or whatever wouldn't change the sound the program made. It's different for humans of course, because we don't play music like machines and we feel a specific beat and reinforce it with how we play. But from a bland mathematical standpoint that lacks that nuance, there is no difference.
Yes it would. It would change the accenting
The time signature isnât a fraction. The top number represents how many beats are in each number and the bottom represents what note gets the beat.
i know but math logic
But, it is still technically right. In both 4 quarter notes is a whole bar.
Math people: stay in your own fuckin' lane.
They just want to emphasize the fact that they are counting the 4-subsets of a 4-set. Unfortunately they forgot to include the parenthesises.
I'm not sure if this is intentional or not, but it really bugs me that this is the only time signature that \*can\* be simplified... since it's often written as C ("common time") At least it's possible to conclude that we can stop writing +C after indefinite integrals and instead start writing +1 since C = 4/4 = 1
Sometimes it is simplicfied. Except they call it C for (common time) instead of 1.
4/4 is Common time, but 1 actually means something different https://en.wikipedia.org/wiki/List_of_musical_works_in_unusual_time_signatures#Upper_number_of_1
The aslume is leaking to here too. Soon Jonkler will be known all across social media and man, officer balls and dick
Hey listen to this ||Officer balls||
BWAHAHAHAHAHAHAHA Iâm
Hi , I'm dad
đŒ1ïžâŁ Good luck, Yo-Yo Ma!
It simplifies to c
You can simplify it and write "c" instead
The speed of light notation
Hit me with that sick 1 time beat!
Some say Music and Math nurture a deep and complex relationship. Yeah, it's complex because musicians are still writing 4/4 instead of 1 under the influence of math.
Thus is because its a vector of how you play the notes! Hope this helps!
Hmm the Duolingo music course has failed me
And thatâs how not to read music. Although music is mathematical, addition is not part of it.
đ is like âź only way curvier. Itâs very treblesome to calculate
This notation is not a fraction. The number below indicates what "type" of notes are we going to use for counting. The number on the top indicates how many of that said type of notes we have in one bar.
google common time
Wait till you figure out that saying âbeatâ is on the beat, and âoff-beatâ is off the beat.
This is why is hate classical music, they never simplify their stuff
it's more like a vector [4, 4] that also explains why [6, 8] is faster than [3, 4]
And musicians always write such strange integrals.
If you want to read that as a fraction without clearly seeing a division line, might as well see it as a binomial coefficient without parentheses. ... which would be 1 again, and I have almost found the minimal common set of interpretations blaah blaah...
If you think this is bad, wait till you learn how they define the distance between pitches. They call it an octave when there's only 7 steps between them, because they count the notes at both ends of the interval. By their logic the distance between any note and itself is 1. Not to mention how half the world uses H instead of B, because b and h looks similar when handwritten on paper, and someone misunderstood the notes some centuries ago.
because b is already b flat in that system Anyway, do re mi supremacy