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I just don't know how to thank you sir.... This lesson was very very important to me, because it's been a year I've learned to read staff notation, but I just completely understand those numbers today.. before watching this I only understand the upper number, and a huge confusion was left in me about the lower number, and you just cleared it... I deeply thankful to you.. take love from 🇧🇩🇧🇩🇧🇩 sir.
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The basic difference to me as a percussionist is each meter creates the basic stress points of the eighth notes. In 3/4 it's 3 duples, 1+2+3+. In 6/8 it's 2 triples 123,456. Beats 1 and 4 being the strong beats. In manys cases the 2 meters are interchangeable depending on how you accent the rhythm. Composers generally pick one or the other depending on basic stress points they want to hear rhythmically in any given phrase. In a lot of Latin American orchestral music you'll often see the meter switch back and forth between 3/4 & 6/8 depending upon when the composer wants to hear duples or triples, while the eighth note tempo remains the same. It's all about using notation to aid the musician to, " feel it baby, feel it"!
I think that's a terrific way of explaining 6/8 time. We've been taught from the onset of any musical education understanding Time Signature starting with 4/4 Time "Top Number Beats in a Measure, Bottom Number what Note gets a Full Beat". 6 Beats per measure and every 1/8 note gets a full beat??? View it as 6 of something in a measure and what those 6 of something are is simplistically brilliant. Thank you!!🤗
I have known for years that there is a difference between 3/4 and 6/8, but you have done a great job of explaining why. My favorite rhythms on the piano are 9/8 and 12/8. They have such a wonderful “swing” to them, with the various sets of triplets involved. Thank you!
Thank you for getting me through my music theory course at my university. I nearly died because of the new information coming in every time. Without you, I wouldn’t have understood it as well as I do right now.
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i used to think of 6/8 as a 2/4 where everything is triplets. that's fundamentally what's happening but the patterns in 6/8 aren't typical triplet patterns
I shall sit down with a cup of tea and concentrate! The beauty of a RUclips video is that you can play it over and over until it sinks in, unlike a classroom scenario. The sooner the education authorities take this onboard the better.
As a drummer, I have always loved 6/8 time. For me, 6/8 is a "half-time feel". I enjoy playing halftime feels because as the name implies the rhythm feels like it is playing at half the speed of the "normal" rhythm. For example in 3/4 I will place the bass drum on beat 1 and will either play the snare on 2 and 3 or just 3. When I play in 6/8 I play the bass drum on beat 1 and move the snare to beat 4 (which in 3/4 would be the + of 2) which "elongates" the groove and makes it feel more relaxed. Anyway, that is how I see it. Thanks!
Nice explanation. I play Irish music, so the best way we distinguish, especially for those whose don't read music well, is to say that 3/4 is basically a waltz time, while 6/8 is essentially a jig time. The key is, as you finally got around to saying, the number of beats in the bar. The waltz is a 3-beat bar, while the jig is a 2-beat bar.
Absolutely and that works especially well for Irish music. Slow 6/8 tempi cause people more trouble in my experience because then it’s not a jig but the principle is the same. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
@@MusicMattersGB If you have two dotted quarters in a 3/4 measure, how is that different than two quarters in a 2/4 measure, since tempos can vary within time signatures? Both situations would be two equal length notes per measure.
Well this was very diffent? On a more serious note thank the Lord someone has taken the time to explain this. I have a drummer friend who said he didn't like taking a solo in 3. I said to him: don't think of it as 3 but feel it as 6. . . . . . And now you have just corrected diffence . . . . . . as I'm watching. Great explanation thank you so much x
Thank you, Mr Green, for the most straightforward simplest English in which you can tell the difference of simple & compound time. I'm listening to the words and ideas you're able to ennunciate come as "music" to my ears. A non-native speaker of your language, I am very appreciative of your insights of music AND your ability to get through to me. Thanks again.
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Thanks to the RUclips algorithm, I ran into this video. I'd never really given a thought to it and then reminisced about playing Minuano some 25 yesrs ago. The Bob Lowden arrangement written in 6/8, with a bass part playing 3/4 time, horn parts shifting between phrases with a 3/4 feel and phrases with a 6/8 feel.
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HALLELUYA!! After 45 years, I FINALLY understand and "get it"! i went to boarding school with a 1st class music department, and was always very musical, but despite spending 4 years studying music theory, i got none of it in truth, and this has quite literally haunted me ever since, as i want to be able to make sense of it all, as my type of music is very complex, and it would help me to understand more. Anyway - `many thanks for clearing that up, and i will now rummage through your other materials!
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As an ex band member guitarist in a rock band, we covered a few track from Status Quo, which many criticise as being "dead easy" to play. I always challenge them to play the intro of "Whatever You Want", which is of course played in 6/8 timing. But with just the lead guitarist, with no drum track, it is not always obvious, and catches out many who try to play it for the first time.
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This information is very clearly presented and all musicians and especially songwriters should know this! I always approached it this way, but I couldn’t articulate it like this. As a professional drummer, the wacky thing is when someone writes a chart or score that should be in 6/8 but they write it in 3/4….and vice versa! It’s crazy and the counting is whacked!
A great composer and music teacher of mine often said that our notation system was an imperfect solution with no better system available, meant to be a musical guide as to what notes to play and when. But all of the subtle musical nuance is impossible to notate (exact note start and stops, exact dynamics, pushing and delaying the notes for feeling, etc etc...). The notes are meant to help us recreate the composition over time, as a document meant to preserve the composer's notes. Here lies the world of musical performance teaching and the various interpretations that it requires. Though certain interpretations of the great classical works have become accepted, there is always room for new ways of playing these notes and rhythms and many teachers ready to teach them over their lifetimes! The beauty of notating our musical ideas is that it forces us to make choices as composers, and performers of our own compositions. By writing our ideas down on paper we are making a physical choice that this is our preferred note here which may seem simple but in fact and creates a lot of self discovery. See, often when we play our musical unwritten ideas, they go by quickly without concern. But when we write them down we take responsibility for those notes on paper and we have to say, yea, that is my preferred note choice here. It becomes something of a model composition for what we may have only improvised in different ways until this notation step. As a composer you are saying, I like this way as my standard arrangement, and now you might improvise on it or play variations but you always have authorship of this exact composition for future musicians to reference, interpret, and play.
It's IMportant to place the emPHASis on the correct sylLABle (as well as the correct beat). Thank you so much for explaining one of the great mysteries of music composition. I'm a novice and this is the first really good explanation I've heard. Thanks again!
I learned reading music year by year in grade school through to high school music and band classes and must be known to get into school marching bands or bands or orchestra settings or such as military bands and music groups with instruments and vocals. I was taught that 6/8 was called and considered as being "WALTZ TIME" !!! Thanks for this video sir, it is most appreciated !!! 👍😎🎸🤘👏☺️🎼🇺🇸🙏 DDH 8-22-2023.
godamn.. I finally get it. that might have been the most concise explanation of the most confusing part (at least to me) about time signatures I have ever watched. Your a gentleman and scholar good sir, thanks. Might not have to say it but I’m not being sarcastic. I’m just really that happy i stumbled onto this.
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Thank you Sir 🎉 For nice explanation of Simple time and Compound time. In Indian music we are also using 5/8 & 7/8. Thank you for detailed simple English speech 🙂👌🤝😊
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I think it really can help to set things out like this on a whiteboard and to then go through examples as you show in this video is a very effective way of making things clearer. Thank you very much for this video , have a lovely day P.S I am an intermediate piano player and I skipped two grades, not having much actual basic music theory knowledge so these videos are very useful to me !
Thankyou for this clear explanation of the nuance differences between these two time signatures. I have played the bass for years and this has helped my understanding enormously. Thanks!
As a beat producer, I've written music pieces in 6/8, that had a very interesting feel to them. The songs felt like they where slower than their actual tempo. I'd write a song in 6/8 at 120bpm, but it sounded like it could pass as a 4/4 song at 90bpm with a bit of swing thrown in the beat. Watching this video on 3/4 vs 6/8 really helped me understand the feel of the time signatures better. Thank you very much! 😁
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I first met this in my early days of learnning piano, playing Einaudi's African Melody 3. The right hand groups the bar as two dotted crotchets, in a manner typical of 6/8, , and the left hand as three crotchets, in a manner typical of 3/4.
Well done ..solid correct info presented at a steady pace for beginners and more advanced people to learn. from....helping them to build a solid music base from which to become much better musicians.......well done you 🙏🙏🙏🙏
friend of mine pointed this out to me years ago, it helped quite a bit. "6/8 is really 2 beats with triplets". I think what this does is gives you a difference of accents on those two beats, whereas if you have 3/4 you'd have equal emphasis on the beat.
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Also, you may notice that, at least with popular music, the main chords tend to change on the bar. So, if the chords change primarily every three beats it is likely in 3/4; if the chords change every six beats it is likely to be in 6/8.
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I think you're an amazingly good teacher. Even from you though, I have such a hard time with the crotchet/quaver thing; it's so distracting. I'm learning other languages, so I'm trying to move out of my Americanism where I need to have things said my way or it's wrong. But, wow. This pushes buttons for some reason. It definitely stops me from looking into what Music Matters has to offer. Please don't take this as a rant. I realize that there is cultural history and musical tradition there. I just needed to say this out loud. Maybe this post will help me break through whatever the huge annoyance is. Thanks for what you share.
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I think the better question is what's the difference between a bar in 6/8 and two bars at double the tempo in 3/4, since there are many waltzes written in both ways.
I have fun in my mind with Mozart, Eine Kleine Nachtmusik, 3rd Movement (minuet and trio). It can be interpreted in the mind both ways, and switch back and forth between 6/8 and 3/4 like an auditory illusion!
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Great video but I think the explanation ignores the main reason why 3/4 and 6/8 are confused when listening eg the 4th quaver beat in the first bar of a 6/8 piece (especially when stressed) can be heard as the 1st beat of the second bar of 3/4. In this way, a slow six eight can be heard by the uninitiated as a fast 3/4 with two-bar phrasing.
Thanks for reminding me of what I forgot . I played clarinet jr and high school, and I loved it. I also understand why I also had so many headaches then as well.😁
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Thank you so far, our teacher says, that most build in metronoms in keyboards count 6/8 to fast.... Maybe you can explain that... Greetings from Germany
@@MusicMattersGB thank you very much, i,'m a drummer, approaching the keys since only 1year now but with age of 49😉 never came so far only by yt vids, i appreciate the work of every teacher in music👍
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Thank you so much! This was so helpful. I took my abrsm exam last month, and without your help, I probably wouldn't have passed in theory! Thanks so much Mr. Green! Every video you make, I get better at theory :D
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I was just having a similar discussion with a composition student. Even though he plays the drums, he really didn’t understand meter as a function of rhythm. It has been my experience that many performing musicians don’t fully understand this concept, and as a result, don’t always play with an accurate feel. Composers need to understand this so their pieces accurately reflect the rhythmic expression they wish to convey. Thank you for a concise explanation of this important musical concept.
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Chopin's Fantasy Impromptu Op 66 showed just how revolutionary the composer was. Written in cut time (2/2) but the top and bottom are uneven, so you play it making it fit. That piece really defied conventions. So to play this piece you are dealing with polyrhythm (two different rhythms in each hand - 16th notes in the right hand with left hand triplets). Cool! He wrote this in 1834, but it also mimicked Beethoven's Moonlight sonata's polyrhythm and that was published like 1802. Chopin's Op 66 was published in 1855 against Chopin's wishes that any of his posthumous works would be released.
@@MusicMattersGB You have to admit Chopin's Op 66 is odd to play. But it sounds so beautiful. You have to depend on your ear to make the top and bottom staves fit right.
This is great and it is a perfect explanation but it is only the western classical method. In African/ African Diasporic/Middle Eastern music 6/8 is felt in the duple meter or "3/4" grouping you mentioned in the end. Where the over all beat would be "dotted quarter notes" but each bar sounds like 3 sets of two 8th notes. And this also why I think time signatures are either incomplete or obsolete. Because all really matters is the top number. An 8th note in one tempo is a quarter at half speed. It seems the only real difference between 3/8, 3/4, 6/8, 6/4, is the phrasing of the melody or the progression/ harmonic rhythm; whether the whole phrase takes 6 beats or 3. But then this even gets murky cuz let's say you have 5/8. First of all vs. 5/4 the only difference is tempo (hence what I said before) all you really need to count is how many of whatever the pulse is.
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whew, so glad of the spelling fix later on 😁 I wonder if feeling the difference between 3/4 and 6/8 is better done with a dance step. Also in some ear training patterns it sure seems like sometimes 6/8 feeling can be confused with 4/4 feeling (but the same pattern is definitely not 3/4). From the exam rhythm practice, it is possible to say "that is definitely not 3/4 but ambiguous between 4/4 and 6/8, not sure". I jotted down in my rhythm training (conducting) book that 6/8 is rarely yet sometimes done as 2+2+2 but don't have specific score examples written down. Recently I have seen percussion scores (South American rhythms) which are notated with both (!) "3/4 6/8" at the start, I think it is because it indicates the kick drum voice to be 6/8 and the sidestick-snare voice to be in 3/4, but notated together on the same staff. It is strange and have not seen this in any textbook.
It gets even more confusing when you get into flamenco, where the individual bars have different accents and phrases begin not necessarily on the first beat of the bar.
In the pieces that I've performed in my choir, the occurrences of 6/8 as 2+2+2 usually only lasted a measure or two to provide a little rhythmic tension to the rest of the piece. But I honestly can't remember if that was more indicitive of a specific composer or time period (baroque, romantic, classical, etc).
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THANK you Maestro for the free lessons you give to us !!!
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Thank You for making these bc you explain and demonstrate- unlike some others!
❤
Thanks.
For sure Gareth has made music simple. I'm glad for that
It's amazing you are sharing this for free in this era where everything is money... Thankyou so much for this
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He truly is a gem
You’re too kind
It's what the internet was supposed to be; not a cesspool of idiocy.
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I just don't know how to thank you sir.... This lesson was very very important to me, because it's been a year I've learned to read staff notation, but I just completely understand those numbers today.. before watching this I only understand the upper number, and a huge confusion was left in me about the lower number, and you just cleared it... I deeply thankful to you.. take love from 🇧🇩🇧🇩🇧🇩 sir.
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Excellent presentation! Rarely have I seen this explained with greater clarity.
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Ditto
Thank you.
one of the best music theory teacher on youtube, thanks so much sir, really appreciate your work🙏
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The basic difference to me as a percussionist is each meter creates the basic stress points of the eighth notes. In 3/4 it's 3 duples, 1+2+3+. In 6/8 it's 2 triples 123,456. Beats 1 and 4 being the strong beats. In manys cases the 2 meters are interchangeable depending on how you accent the rhythm.
Composers generally pick one or the other depending on basic stress points they want to hear rhythmically in any given phrase. In a lot of Latin American orchestral music you'll often see the meter switch back and forth between 3/4 & 6/8 depending upon when the composer wants to hear duples or triples, while the eighth note tempo remains the same.
It's all about using notation to aid the musician to, " feel it baby, feel it"!
Absolutely
I agree
😀
I think that's a terrific way of explaining 6/8 time. We've been taught from the onset of any musical education understanding Time Signature starting with 4/4 Time "Top Number Beats in a Measure, Bottom Number what Note gets a Full Beat". 6 Beats per measure and every 1/8 note gets a full beat??? View it as 6 of something in a measure and what those 6 of something are is simplistically brilliant. Thank you!!🤗
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I have known for years that there is a difference between 3/4 and 6/8, but you have done a great job of explaining why. My favorite rhythms on the piano are 9/8 and 12/8. They have such a wonderful “swing” to them, with the various sets of triplets involved. Thank you!
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Thank you for getting me through my music theory course at my university. I nearly died because of the new information coming in every time. Without you, I wouldn’t have understood it as well as I do right now.
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i used to think of 6/8 as a 2/4 where everything is triplets. that's fundamentally what's happening but the patterns in 6/8 aren't typical triplet patterns
It’s good to know the real difference
this channel is good because it actually reads comments and replies to them
I shall sit down with a cup of tea and concentrate! The beauty of a RUclips video is that you can play it over and over until it sinks in, unlike a classroom scenario. The sooner the education authorities take this onboard the better.
Absolutely
As a drummer, I have always loved 6/8 time. For me, 6/8 is a "half-time feel". I enjoy playing halftime feels because as the name implies the rhythm feels like it is playing at half the speed of the "normal" rhythm. For example in 3/4 I will place the bass drum on beat 1 and will either play the snare on 2 and 3 or just 3. When I play in 6/8 I play the bass drum on beat 1 and move the snare to beat 4 (which in 3/4 would be the + of 2) which "elongates" the groove and makes it feel more relaxed. Anyway, that is how I see it. Thanks!
😀
Nice explanation. I play Irish music, so the best way we distinguish, especially for those whose don't read music well, is to say that 3/4 is basically a waltz time, while 6/8 is essentially a jig time. The key is, as you finally got around to saying, the number of beats in the bar. The waltz is a 3-beat bar, while the jig is a 2-beat bar.
Absolutely and that works especially well for Irish music. Slow 6/8 tempi cause people more trouble in my experience because then it’s not a jig but the principle is the same. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
@@MusicMattersGB If you have two dotted quarters in a 3/4 measure, how is that different than two quarters in a 2/4 measure, since tempos can vary within time signatures? Both situations would be two equal length notes per measure.
That could be possible if you matched up the tempo…
Well this was very diffent? On a more serious note thank the Lord someone has taken the time to explain this. I have a drummer friend who said he didn't like taking a solo in 3. I said to him: don't think of it as 3 but feel it as 6. . . . . . And now you have just corrected diffence . . . . . . as I'm watching. Great explanation thank you so much x
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Thank you, Mr Green, for the most straightforward simplest English in which you can tell the difference of simple & compound time. I'm listening to the words and ideas you're able to ennunciate come as "music" to my ears. A non-native speaker of your language, I am very appreciative of your insights of music AND your ability to get through to me. Thanks again.
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Thanks to the RUclips algorithm, I ran into this video. I'd never really given a thought to it and then reminisced about playing Minuano some 25 yesrs ago.
The Bob Lowden arrangement written in 6/8, with a bass part playing 3/4 time, horn parts shifting between phrases with a 3/4 feel and phrases with a 6/8 feel.
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You have never disappointed when it comes to music theory online lesson... best ever... Keep it up sir.
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HALLELUYA!! After 45 years, I FINALLY understand and "get it"! i went to boarding school with a 1st class music department, and was always very musical, but despite spending 4 years studying music theory, i got none of it in truth, and this has quite literally haunted me ever since, as i want to be able to make sense of it all, as my type of music is very complex, and it would help me to understand more. Anyway - `many thanks for clearing that up, and i will now rummage through your other materials!
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What a wonderful, clear explanation. Thank you for sharing your considerable knowledge!
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As an ex band member guitarist in a rock band, we covered a few track from Status Quo, which many criticise as being "dead easy" to play. I always challenge them to play the intro of "Whatever You Want", which is of course played in 6/8 timing. But with just the lead guitarist, with no drum track, it is not always obvious, and catches out many who try to play it for the first time.
Absolutely
Lol
Oooookay
😀
Another clear, perfectly explained video! Thank you.
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Thanks for fixing the typo at 9:55. It was hugely distracting the whole time. Great lesson though - really enjoyed it.
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This information is very clearly presented and all musicians and especially songwriters should know this! I always approached it this way, but I couldn’t articulate it like this. As a professional drummer, the wacky thing is when someone writes a chart or score that should be in 6/8 but they write it in 3/4….and vice versa! It’s crazy and the counting is whacked!
Absolutely
A great composer and music teacher of mine often said that our notation system was an imperfect solution with no better system available, meant to be a musical guide as to what notes to play and when. But all of the subtle musical nuance is impossible to notate (exact note start and stops, exact dynamics, pushing and delaying the notes for feeling, etc etc...). The notes are meant to help us recreate the composition over time, as a document meant to preserve the composer's notes. Here lies the world of musical performance teaching and the various interpretations that it requires. Though certain interpretations of the great classical works have become accepted, there is always room for new ways of playing these notes and rhythms and many teachers ready to teach them over their lifetimes! The beauty of notating our musical ideas is that it forces us to make choices as composers, and performers of our own compositions. By writing our ideas down on paper we are making a physical choice that this is our preferred note here which may seem simple but in fact and creates a lot of self discovery. See, often when we play our musical unwritten ideas, they go by quickly without concern. But when we write them down we take responsibility for those notes on paper and we have to say, yea, that is my preferred note choice here. It becomes something of a model composition for what we may have only improvised in different ways until this notation step. As a composer you are saying, I like this way as my standard arrangement, and now you might improvise on it or play variations but you always have authorship of this exact composition for future musicians to reference, interpret, and play.
Absolutely
It's IMportant to place the emPHASis on the correct sylLABle (as well as the correct beat). Thank you so much for explaining one of the great mysteries of music composition. I'm a novice and this is the first really good explanation I've heard. Thanks again!
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Been trying to wrap my head around 6/8 for years - without much success. Finally, the explanation I was looking for all this time. Thank you!
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6/8 traditionally is a Marching Rhythm and has a triplet feel like an old English Sea Shanty.
Absolutely
Thank you. You answered my question more fully than I thought anyone would.
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Thank you. This is the first time this has ever made any sense to me.
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Thanks for making this. I've been struggling with time signatures and you've made something click in my head. Your delivery is great too.
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I learned reading music year by year in grade school through to high school music and band classes and must be known to get into school marching bands or bands or orchestra settings or such as military bands and music groups with instruments and vocals.
I was taught that 6/8 was called and considered as being "WALTZ TIME" !!! Thanks for this video sir, it is most appreciated !!! 👍😎🎸🤘👏☺️🎼🇺🇸🙏 DDH 8-22-2023.
A pleasure
Finally! I've been looking for a proper explanation that makes sense, and this is it - thank you so much!
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godamn.. I finally get it. that might have been the most concise explanation of the most confusing part (at least to me) about time signatures I have ever watched. Your a gentleman and scholar good sir, thanks. Might not have to say it but I’m not being sarcastic. I’m just really that happy i stumbled onto this.
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Completly grand! Thank you! I´m a music teacher this year newly teaching in english. My english i so-so. And you stuff is so helpful for me.
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Thank you Sir 🎉
For nice explanation of Simple time and Compound time.
In Indian music we are also using 5/8 & 7/8.
Thank you for detailed simple English speech 🙂👌🤝😊
A pleasure. 5/8 and 7/8 also appear in Western music.
Wonderful. I learnt piano as a young person. Having retired from being a doctor, I am back. You are an excellent revision for me. Thanks
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@@MusicMattersGB I dont live in the UK. I appeared for the penultimate LTCL exam long ago!
That’s great. Music Matters is a global musical community so you’re very welcome.
Some teachers are better than others. This one is good. Well done, thank you.
That’s kind. Thanks
I think it really can help to set things out like this on a whiteboard and to then go through examples as you show in this video is a very effective way of making things clearer.
Thank you very much for this video , have a lovely day
P.S I am an intermediate piano player and I skipped two grades, not having much actual basic music theory knowledge so these videos are very useful to me !
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A brilliant introduction. Now let's do the hemiola, like in Bernstein's 'America', where he switches between thee twos and two threes.
We have a video explaining hemiola.
Great lesson. I’m a beginner harmonica player. Tabs are nice but I want to really learn theory. I find it so interesting! Thanks again!
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Thankyou for this clear explanation of the nuance differences between these two time signatures. I have played the bass for years and this has helped my understanding enormously. Thanks!
That’s great
As a beat producer, I've written music pieces in 6/8, that had a very interesting feel to them. The songs felt like they where slower than their actual tempo. I'd write a song in 6/8 at 120bpm, but it sounded like it could pass as a 4/4 song at 90bpm with a bit of swing thrown in the beat. Watching this video on 3/4 vs 6/8 really helped me understand the feel of the time signatures better. Thank you very much! 😁
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A very nice explanation of the difference between 3/4 and 6/8. I always thought of 6/8 as a version of 2/4 (for marches) with triplets built in.
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Yes, I see 12/8 as 4 'swung' triplets.
It’s certainly a way of accessing 12/8.
Correct, 6/8 traditionally is a Marching Rhythm and has a triplet feel like an old English Sea Shanty.
I first met this in my early days of learnning piano, playing Einaudi's African Melody 3. The right hand groups the bar as two dotted crotchets, in a manner typical of 6/8, , and the left hand as three crotchets, in a manner typical of 3/4.
Good example
Well done ..solid correct info presented at a steady pace for beginners and more advanced people to learn. from....helping them to build a solid music base from which to become much better musicians.......well done you 🙏🙏🙏🙏
Thanks for your kind comments. Much appreciated.
Finally I’ve begun to understand this! Thank you so much
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So pleased you corrected that spelling..
Great job.
😀
Thanks for confirming my understanding. Your explanation is very clear, great teaching!
You’re most kind.
Most thorough explanation ive ever seen! Thank you! i subscribed.
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what a clear explanation sir. Thank you very much I am just a beginner and was so confused about 6/8 ..thanks indeed 😍
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friend of mine pointed this out to me years ago, it helped quite a bit. "6/8 is really 2 beats with triplets". I think what this does is gives you a difference of accents on those two beats, whereas if you have 3/4 you'd have equal emphasis on the beat.
😀
Correct, 6/8 traditionally is a Marching Rhythm and has a triplet feel like an old English Sea Shanty.
Wonderfully explained, same with your 2/4, 4/4 video. Thanks for the enlightenment.
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Well explained! Thank you! I always wondered how the difference was constructed.
A pleasure
This is extremely informative. Thank you very much
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
You explained this very well, I understand the difference.
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I have been a musician for 50 years and have not seen it explained this way. I always assumed it was only about the accents. Bravo!
Glad it’s helpful.
Also, you may notice that, at least with popular music, the main chords tend to change on the bar. So, if the chords change primarily every three beats it is likely in 3/4; if the chords change every six beats it is likely to be in 6/8.
Often true re 3/4. In 6/8 the chords often change twice a bar.
Thank-you Mr. Mottolo that has simplyfied even further for my addled brain.
😀
Merci beaucoup pour votre travail de qualité ! Vous êtes un excellent enseignant, merci beaucoup !
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Superb presentation - I don't always recognise the difference between 3/4 and 6/8. I spotted "diffence" before you did as well! :)
😀
Thanks! Really clear and useful explanations!
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You sir are an amazing teacher. You do a lot of good for the community, thank you :)
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I think you're an amazingly good teacher. Even from you though, I have such a hard time with the crotchet/quaver thing; it's so distracting. I'm learning other languages, so I'm trying to move out of my Americanism where I need to have things said my way or it's wrong. But, wow. This pushes buttons for some reason. It definitely stops me from looking into what Music Matters has to offer. Please don't take this as a rant. I realize that there is cultural history and musical tradition there. I just needed to say this out loud. Maybe this post will help me break through whatever the huge annoyance is. Thanks for what you share.
A pleasure. Sorry to hear about the language barrier. Hope you can overcome it and that you can then access global material.
@@MusicMattersGB Thank you. I really do enjoy your teaching. 🙂
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I think the better question is what's the difference between a bar in 6/8 and two bars at double the tempo in 3/4, since there are many waltzes written in both ways.
The answer of course is about the emphasis of metre ie 1 strong beat in 3/4 or 1 strong beat followed by 1 weaker beat in 6/8.
@@MusicMattersGB Thanks!
I loved this explanation. Thank you
That’s great
Thank you! Most helpful: 10:58-11:28 So the difference is which notes get the "emphasis"?
Certainly which beats have emphasis.
Gareth, love this explanation. But can I make a suggestion? Perhaps open the video by playing the two signatures, then giving the explanation?
😀
A superb explanation.. Thank you
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Simple explained and important topic, thank you. Great British accent too 😀
Glad it’s helpful. Thanks.
I finally found someone who explains in a way that i understand!
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Thank you so much, for your excelent lesson!
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I have fun in my mind with Mozart, Eine Kleine Nachtmusik, 3rd Movement (minuet and trio). It can be interpreted in the mind both ways, and switch back and forth between 6/8 and 3/4 like an auditory illusion!
😀
Thank you. Greatings from Poland.
Greetings to you. Thanks for supporting the channel
Thank you for clearing my mind of the fog that arrived.
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Really easy to understand. Thanks
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So beautifully explained !
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Great video but I think the explanation ignores the main reason why 3/4 and 6/8 are confused when listening eg the 4th quaver beat in the first bar of a 6/8 piece (especially when stressed) can be heard as the 1st beat of the second bar of 3/4. In this way, a slow six eight can be heard by the uninitiated as a fast 3/4 with two-bar phrasing.
Absolutely
Thanks for reminding me of what I forgot . I played clarinet jr and high school, and I loved it. I also understand why I also had so many headaches then as well.😁
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Extremely useful, and I am pleased that you corrected your spelling error.
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Very much useful info, thanks 👍
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Thank you so far, our teacher says, that most build in metronoms in keyboards count 6/8 to fast.... Maybe you can explain that... Greetings from Germany
Greetings. It’s often best to begin the metronome counting quavers but then switch it to dotted crotchet beats then all will be well
@@MusicMattersGB thank you very much, i,'m a drummer, approaching the keys since only 1year now but with age of 49😉 never came so far only by yt vids, i appreciate the work of every teacher in music👍
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This is the first time I've ever heard this explained simply
Glad it’s useful
i went from “ok, this makes sense” to “wait…WHAT!?” to “Ohhhhh, it DOES make sense!” Very well done. Thanking you.
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Thank you! I knew the difference between the two different time signatures that almost sounds similar to each other.
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Excellent and clear presentation, thank you. Subscribed!!
Thanks for your support
Thank you so much! This was so helpful. I took my abrsm exam last month, and without your help, I probably wouldn't have passed in theory! Thanks so much Mr. Green! Every video you make, I get better at theory :D
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I was just having a similar discussion with a composition student. Even though he plays the drums, he really didn’t understand meter as a function of rhythm. It has been my experience that many performing musicians don’t fully understand this concept, and as a result, don’t always play with an accurate feel. Composers need to understand this so their pieces accurately reflect the rhythmic expression they wish to convey. Thank you for a concise explanation of this important musical concept.
Absolutely
Thank you for finally explaining the difference to me.
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thank you so much this was so useful
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Excellent! It finally makes sense. Thank you!
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Great explanation. Thankyou!
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Really well explained, thank you!
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Chopin's Fantasy Impromptu Op 66 showed just how revolutionary the composer was. Written in cut time (2/2) but the top and bottom are uneven, so you play it making it fit. That piece really defied conventions. So to play this piece you are dealing with polyrhythm (two different rhythms in each hand - 16th notes in the right hand with left hand triplets). Cool! He wrote this in 1834, but it also mimicked Beethoven's Moonlight sonata's polyrhythm and that was published like 1802. Chopin's Op 66 was published in 1855 against Chopin's wishes that any of his posthumous works would be released.
Great music
@@MusicMattersGB You have to admit Chopin's Op 66 is odd to play. But it sounds so beautiful. You have to depend on your ear to make the top and bottom staves fit right.
Wonderful piece
wow thank you so much for new understanding for free.subscribed already.Godbless
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This is great and it is a perfect explanation but it is only the western classical method. In African/ African Diasporic/Middle Eastern music 6/8 is felt in the duple meter or "3/4" grouping you mentioned in the end. Where the over all beat would be "dotted quarter notes" but each bar sounds like 3 sets of two 8th notes.
And this also why I think time signatures are either incomplete or obsolete. Because all really matters is the top number. An 8th note in one tempo is a quarter at half speed. It seems the only real difference between 3/8, 3/4, 6/8, 6/4, is the phrasing of the melody or the progression/ harmonic rhythm; whether the whole phrase takes 6 beats or 3.
But then this even gets murky cuz let's say you have 5/8. First of all vs. 5/4 the only difference is tempo (hence what I said before) all you really need to count is how many of whatever the pulse is.
You make a good point about the music of other cultures.
Beautifully explained
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Super useful! Thank you! 🎹🎹🎹👍🏻
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thanksfor this video. is 4/4 triolet the same as 12/8?
Basically yes
Thank you for your explanation and presentation Sir.
A pleasure.
Very well explained! ❤
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Best explanation ever...thank you :D
Glad it’s useful.
whew, so glad of the spelling fix later on 😁
I wonder if feeling the difference between 3/4 and 6/8 is better done with a dance step. Also in some ear training patterns it sure seems like sometimes 6/8 feeling can be confused with 4/4 feeling (but the same pattern is definitely not 3/4). From the exam rhythm practice, it is possible to say "that is definitely not 3/4 but ambiguous between 4/4 and 6/8, not sure".
I jotted down in my rhythm training (conducting) book that 6/8 is rarely yet sometimes done as 2+2+2 but don't have specific score examples written down. Recently I have seen percussion scores (South American rhythms) which are notated with both (!) "3/4 6/8" at the start, I think it is because it indicates the kick drum voice to be 6/8 and the sidestick-snare voice to be in 3/4, but notated together on the same staff. It is strange and have not seen this in any textbook.
😀
It gets even more confusing when you get into flamenco, where the individual bars have different accents and phrases begin not necessarily on the first beat of the bar.
Indeed
In the pieces that I've performed in my choir, the occurrences of 6/8 as 2+2+2 usually only lasted a measure or two to provide a little rhythmic tension to the rest of the piece. But I honestly can't remember if that was more indicitive of a specific composer or time period (baroque, romantic, classical, etc).
It could happen in any period that there are touches of 2,2,2 in 6/8. It’s known as hemiola.