![]() ![]() And it doesn't get at the two-fold division implied by the 6/8 meter, which emphasizes the first and fourth eighth notes of the bar (even at slower tempos). I have to admit, as someone who leans toward the latter view, that I sometimes cringe when I see 6/8 introduced in textbooks with the "6 beats" definition, as it's generally an unhelpful way to view the meter 95% of the time. I've seen lots of practical method textbooks written for instruments that introduce 6/8 as "6 beats per measure, where the eighth note gets the beat," whereas the majority of music theory textbooks introduce 6/8 as "compound duple time," implying a two-fold division with the word "duple." The first group generally starts yelling about how the 6 is obviously in the time signature, while the latter group shout back about the history of time signatures with 6, 9, and 12, and how they obviously indicate "compound" meters. ![]() Different teachers often have different opinions. "6 beats" seems to cause a lot of arguments and consternation among beginning music students.Īnd for good reason. Specifically, this question of "2 beats" vs. To those of you who teach music: I don't really care how many "beats" you say are in 6/8, but please teach students the groupings of the eighth notes, not just "6 beats per bar." Otherwise, students won't feel the meter correctly, and it will lead to lots of confusion later.Ī lot of questions appear on the nature of 6/8 in this forum. How many "beats" you feel or how you count it can vary. Classical guitar composers use similar rhythmical and melodic devices to aid the listener and help us feel 6/8.TL DR: 6/8 implies a measure of 6 eighth notes, by default grouped into two groups of three. Thus, the melody of the rhythm helps us feel the metrical accents of 6/8. Placing short notes (eighth notes) before the longer ones (quarter notes) offers a natural stress on those longer quarter notes. ![]() If we count 6/8 like this: 1-2-3, 4-5-6 (with a stress on 1 and a slightly weaker stress on beat 4) then The Farmer in the Dell would count like this:Ħ (The)- 1 ( Far-), 3 (-mer)- 4 ( in), 6 (the)- 1 ( dell) Short-long metrical accents What’s great about this tune is not only that it is so universally familiar but also that the melody is structured to help us feel those bigger beats of 1 and 4. The Farmer in the Dell is a great example of 6/8 time. Before we get to those, you might consider a popular nursery rhyme to help you get the feel. And most of them carry with them that feel of swaying back and forth. Many of our favorite classical guitar tunes are written in 6/8. ![]() Again, a barcarolle (which is a boat song) is often written in 6/8 time and has this same feel of swaying back and forth on beats 1 and 4. Those two “big beats” or accents in the measure gives us the sense of swaying back and forth, like a boat rocking on the waves. In 6/8, however, which is a compound meter, the accents fall on beats 1 and 4 (again with 1 being slightly stronger than 4). And so many waltzes are written in 3/4 time. That feel of strong-weak-weak or “boom-chuck-chuck” is the natural feel of the waltz dance. Likewise in 3/4 we have natural accents on beats 1, 2, and 3 where 1 is strong and 2 and 3 are a bit weaker. Think of the military drill sergeant leading a soldier’s march: “ Left-right! Left-right…!” 3/4 meter There’s a natural walking feel to this meter, and so it’s often associated with the march. For instance, in 2/4 there is a natural accent on beat 1 and a slightly weaker accent on beat 2. Every meter has certain accents that help you “feel” the meter. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |