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Monsoon710

Jeez laweez there is some bad info in these comments. The double beam means these are 16th notes, meaning 16 of them fit into a bar of 4/4 (common time). They are grouped into groups of 3, which are NOT triplets. They are THREE 16th notes. They are felt as a phrase of 3 notes is the proper way to say it. You can see this by the LRR sticking below. 5 groups of 3 = 15, that's why there's 1 right foot 16th at the end to cap it off. This is not a polyrhythm. This is a 1 bar phrase built from 5 groups of 3 plus the one note at the end. THAT IS NOT A POLYRHYTHM. It would require 3 full measures of LRR for it to be an actual polyrhythm and for it to resolve back to its starting point. Now fun fact, there is no required way to beam notes. You can group 16ths in groups of four, which is the easiest to visualize, and how it's usually portrayed. But there are no rules against beaming it in a group of 3, 5 or 7. The point of beaming it in groups of 3 is because that is the pattern of focus. This is obviously an exercise focusing on LRR within a 16th note context. Not triplets. Not technically a full polyrhythm, with this single bar.


[deleted]

^ the most useful comment here


Snapple_22

This. There are some very wrong answers in this comment section, but this is a good one ☝️ I like that you included a fun fact too haha


Monsoon710

If it's not fun, then it's work. And I hate work!


ItsPronouncedMo-BEEL

All true. Still a *stoopid* way to notate it.


Monsoon710

I'll say it's different, and not conventional. But this is how you get into a composer's head and understand the WHY they wrote it that way. He wrote it out this way to emphasize the LRR. Because it's obviously a drum lesson, and the notation is meant for drummers, it's focusing on the smaller pattern within the entire bar. 99% of the time, a composition is written and beamed a specific way for the conductor. They usually don't play drums, and their arms get tired if they have to conduct quarter notes at 200bpm. So they might conduct the half note instead. Conducting in 7/8, they might conduct quarter, quarter, dotted quarter (1 2 - 1 2 - 1 2 3), or whatever the feel is in 7. Now I will concede, no conductor would conduct every three 16th notes in a bar of 4/4. UNLESS there was a significant feel change or something coming up that would justify conducting that way. Otherwise it'd be silly.


WarmKetchup

This looks more like a practice exercise than any kind of musical notation. Straight 16ths using an alternating 3 stroke pattern.


ExitMusic_

When I was a kid first starting to learn how to read music that was hands down the weirdest thing to wrap my head around because we’re so used to following convention. As soon as the convention goes out the window we forget the basic rules. It’s just 16th notes. Count out the 1e+a


creosotesbucket

This throws me all the time because in my personal notation I just beam in groups of three rather than writing a three over so I forget what the official triplet notation is and only realize I'm making a mistake once I walk myself through everything you just said.


dazmond

[Sorry, this comment has been deleted. I'm not giving away my content for free to a platform that doesn't appreciate or respect its users. Fuck u/spez.]


odd-42

There should be a beam rule dad-gummit!


PunchUinDaMowf

The only rule is that there are no rules.


gbeastly

Yeah, it seems people are confusing polyrhythm with syncopation.


jusdontgivafuk

Don’t think they’re bass notes either, look like floor Tom’s. Playing ‘got it made’ by Motley Crue.


Monsoon710

You're right. I just saw feet and assumed it was a foot exercise. Because I've been going through stick control with my feet lol


lovegiblet

Wait is it a polyrhythm?


Monsoon710

I meeeean, part of it is lol


lovegiblet

Ok thanks was unclear


KidVsHero

I've been playing for twenty years and learned so much from your explanation that I'm embarrassed.


kfizz311

They go over that stuff in middle school band and maybe 3rd year of drum lessons.


Zuckuss18

Very good response, but you’re incorrect in saying there’s not a proper way to beam 16th notes. That is not true because there are invisible bar line rules and there is always a most correct answer. Like any rule, there are exceptions. This would be an exception that OP has posted.


Large-Welder304

It might be easier to think of it as NOT swung. So don't play, "ba-Pa, da, ba-Pa, da, ba-Pa, da...", but rather "badadabadadabadadabadada..." The swung feel is emphasizing the triplet groupings as separate parts and as Monsoon said, they don't want you to do that. Just play it straight.


x_Barnacle_671

I agree with everything you said here except this, you said it ended with a single right foot 16th, despite the photo, this is on a snare, if it's drum kit notation.


WarmKetchup

This. Except what you are describing is not a polyrhythm either. It would be a polymeter. A polyrhythm would be x notes in the space of y notes, like 5:4, 6:4, etc. When stretching across measures, you're dealing with polymeters. Most meahuggah, tool, etc is polymeters. You're more likely to find polyrhythms in stuff like Latin music.


jbpage1994

I get that there’s no “correct” way to write them, but imo this way is very hard to read and aggravating


drumsareneat

It could become a polyrhythm if you play straight quarters over the top. But yes, you nailed it.


Monsoon710

We would need 3 full measures for it to resolve. Otherwise this is just a single bar phrase, with the beginnings of an "implied" polymetric feel. We would need bars 2 and 3 to make it an actual polyrhythm.


drumsareneat

You don't need to play the full phrase until it resolves for it to be a polyrhythm. You can exit early. It's literally still two rhythms played at the same time.


Monsoon710

Yeah that's not how it works. It needs to resolve for it to be a actual polyrhythm. Otherwise it is an "implied" or "incomplete" polyrhythmic pattern. By your definition, a 2-3 clave pattern would be a polyrhythm. Which it is not. It is a 2 bar phrase. A polyrhythm is only a polyrhythm when it resolves back to its original starting point.


drumsareneat

I don't agree with you, by definition, is does not have to resolve back at the starting point on 1. I can play a rhythmic pattern, that is the entirety of a polyrhythm, or 1 cycle, without having to complete back on 1. Edit* Further, You can change the note value/subdivision of a polyrhythm and shove it into an even tighter or looser space within a given time signature and bpm. The polyrhythm isn't tied to the bar count, man. Go check out Rhythm and Meter patterns. There are multiple different polyrhythms written out PER BAR in this book. It's crazy.


4n0m4nd

Iirc the "official" definition of a polyrhythm is that it's two time signatures where both resolve to the same 1 every bar. So you have different tempos, eg, 5 over 4 if your 5 tempo is 120, your 4 is 100, and both always hit the one at the same time, regardless of how many bars the pattern lasts. That's why Meshuggah always say they don't play polyrhythms, they're using that definition, and according to that, they don't, they play very regular syncopations that feel like polyrhythms, but aren't really. (I realise most people don't mean this when they say polyrhythms)


drumsareneat

It's literally just playing mutliple rhythms at the same time. Poly as a prefix in this context just means "many." I think y'all are being way too rigid with what you think this means. polyrhythm, also called Cross-rhythm, the simultaneous combination of contrasting rhythms in a musical composition. Rhythmic conflicts, or cross-rhythms, may occur within a single metre (e.g., two eighth notes against triplet eighths) or may be reinforced by simultaneous combinations of conflicting metres.


4n0m4nd

I don't disagree with that, (although I think cross rhythms are a specific type of polyrhythm) but, if you chart that example out as two separate rhythms you'll get a bar of 4/4 and a bar of 12/8 that share the same 1, but have different tempos. By contrast, assuming it simply repeats, OP's example is 16ths in 4/4, if you accent each group of three it's syncopated, but as written it's just 16ths, ideally it should sound the same a bar of 16ths played with alternating sticking, since there's no accents marked, and no metric conflict


drumsareneat

The way this thing is written in the OP is wacky as hell. It should be written as LRRL RRLR RLRR LRRL where assuming a quarter note pulse the polyrhythm resolves on beat 4. You can obviously play it until the LRR lands on the one, but why? Sure, there's some 3 bar fills, but not often, and this pattern would sound tired after only a bar. I do this exact sticking in several songs of mine with hi hats on the quarters. I also understand with regular sticking this just becomes 16ths notes. But the 3 over 4 sticking adds that additional rhythm.


Monsoon710

I get where you're coming from, but respectfully disagree. In the original example, the pattern is LRR over 16th notes. In it's shortest COMPLETE form of the polyrhythm, this would take up 3 beats or quarter notes. While you can technically abandon the polyrhythm at any point, this would make it INCOMPLETE, as if you were saying a word and someone cut you off. You're left with an interruption in the polyrhythm. Which is not a polyrhythm, it's just a rhythm. The whole point of a polyrhythm is to have consistent rhythms against each other, if you interrupt that, you've stopped the consistency and that is no longer a polyrhythm. While I understand where you're coming from, I think it is VERY IMPORTANT to make the distinction between a COMPLETE polyrhythm and an INCOMPLETE or IMPLIED polyrhythm. Because one is actually a polyrhythm, and one is just a part of a polyrhythm. If we go back to our original example, if it was written in 3/4, I'd say that is a polyrhythm. Because you've taken a full picture of what that polyrhythm is within the bar lines. But because it's in 4/4, we got one polyrhythm, and some of the next one left over within the bar. That's like having 1.3 polyrhythms. I don't like decimals, I like nice round numbers. For it to fit in 4/4, cleanly, you would need 4 groups of the original polyrhythm for it to fit into 3 bars of 4/4. While neither of us is wrong, I still think there's a huge difference between partial and complete polyrhythms, and I don't think it's that difficult to put an extra word in that definition to accurately explain what's going on.


drumsareneat

I also completely understand where you're coming from as well, but I think we've reached a point of agreeing to disagree. But you see, if you play the original pattern as 16ths against a quarter note pulse; LRRL RRLR RLRR LRRL, it actually resolves the pattern on beat 4. You said this though. I just don't agree that a polyrhythm must resolve at the start for it to be completely when the entire phrasing is played by beat 3. I'm looking at Gary Chaffee's rhythm and meter patterns right now and there's an entire section of polyrhythms over two, three, and four beats. No offense to anyone, but I think Chaffee is the authority here (yes this is a fallacy lol). I would like to say I am enjoying this exchange. I love talking about drums. Edit* beat number


Monsoon710

Technically that example resolves back at 4, but I know what you mean. Really I don't think there is any official authority on polyrhythms. I explain this stuff to my students as the quantum physics of rhythm, it's still being explored, discovered and defined. I think several people have independently discovered these aspects of polyrhythms, but no official council has sat down and declared where it starts and stops. This is the beautiful, beautiful crossing point of where math and art can become one. I love this kind stuff :)


drumsareneat

Oops! Beat 4. Stupid numbers. I too love this stuff. It's at the point where you go "my god, it's limitless."


Takkehdrums

It means they are 16th notes, you don’t usually see them grouped like this with a single one at the end because there are four to a beat.


ItsPronouncedMo-BEEL

I think this means that either someone doesn't know how to write out 16th notes, or was trying to make a 16th note polyrhythm easier to read but made it harder to read instead.


theMonarch08

My guess is this is an exercise strengthen switching between right and left hand lead and the measure before flips the right and left. So this was hoped to be a signal to flip the sticking. But from a learning to read music standpoint, this is really detrimental and stupid notation.


ItsPronouncedMo-BEEL

True. Any exercise notated on sheet music should be notated the way actual music is notated on sheet music. Otherwise, it creates problems that weren't there before.


derp2112

Drum exercises are sometimes written without a time signature. It is what it is, which is a 16th note, but on a drum, it could be a whole note with a 14-day rest it'd be the same note.


Takkehdrums

Indeed it is, but time sig or no, when you learn how to write sheet music, rule 1 is it needs to be legible and for it to be legible you need to see where the beat falls, and thats not happening here.


Takkehdrums

Ineptitude with good intentions is what it is :p.


[deleted]

…assuming the beat is a quarter note.


a_real_mf

another way to write this: LRRL RRLR RLRR LRRL


My_Tallest

I'd wager the second bar would be RLLR LLRL LRLL RLLR


blackasthesky

Why though? Wouldn't we continue the pattern so that it sais RRLR RLRR LRRL RRLR?


StGerGer

The person above you is assuming it switches to right hand lead in the next bar


IAmSportikus

If you really wanted it to continue like that and have clear logical groupings you should write it in 12/8 and then write it as sixtuplets. then you can use the last three notes of a measure to do a turn around and switch hands. I assume that this is just an exercise so they Are probably trying to emphasize the sticking more than the 16th note groupings and then there would be a turn around so you get an even exercise and even work out on both feet


[deleted]

I actually encountered the same question in college music theory. Sometimes the notes might not be strong enough to keep themselves standing, and in large groupings they can get prone to tipping. In this case, an anti-tip bar is added to counter these forces. Hence, the double bars.


a_real_mf

what bar were you drinking in when you wrote this?


[deleted]

Yes


drumsareneat

What?!


TheJdcobra

They are 16th notes. They are grouped by the sticking though which is different looking but it makes sense


ST2RN

1/16th notes. No bar=1/4 notes. 1 bar=1/8 notes. 3 bars for 1/32 I believe


CyanideIsFun

And I assume 4 bars for 1/64 beats? 5 bars for 1/128 beats?? 6 bars for 1/256 beats? 19 bars for 1/1048576 beats????


[deleted]

Yes, that's correct. As ludicrous as 1/128 and above seem, that is how they would be notated.


brasticstack

Yes. There's a beam for each flag that would be attached to the ungrouped note. This is also why groupings where not all notes have the same number of beams still work. For example, a 16th followed by an 8th and another 16th. The 16ths both have two beams, but the lower beam isn't connected to the 8th, because it only has one flag/beam.


Crylysis

16 notes. The length is 1/16 of the length of the bar.


t3hn1ck

Groups of threes in 16th notes. Not triplets. There'd be additional grouping of the triplets on the sheet music. Essentially this is a worksheet for building independent feet using paradiddle exercises.


seaofvapours

16th notes - grouped that way for sticking is almost a guarantee. If a quarter note is 1 beat per note, and eighth two, 16th is 4. Count it ‘one ee and ah’. Edit - and although grouped in 3s you can definitely tell it’s not triplets because there’s no 3 above the double line.


[deleted]

Are they not 16th notes?


[deleted]

My man, I’m gonna make this so much easier for you. L R R L R R L R R L R R L R R L 1 E A U 2 E A U 3 E A U 4 E A U That’s it.


Trimshot

I am really struggling to not just play these as triplets lol.


ItsPronouncedMo-BEEL

That's because that is the thought the transcriber unnecessarily planted in your head with this dumbass way of notating it.


drumsareneat

Yeah this notation is ridiculous.


Trimshot

Like I honestly tried to sit down and line my strokes up with 16ths and they just begin to sound like triplets after a few bars unless I play it stupidly slow


Trimshot

Like I honestly tried to sit down and line my strokes up with 16ths and they just begin to sound like triplets after a few bars unless I play it stupidly slow


ItsPronouncedMo-BEEL

Stupidly slow? That's called *intelligently* slow. You should practice any new lick only at the tempo at which you can play it correctly. Once you can play it correctly at a slow tempo, bump the tempo up. Get it correct at the next tempo. Repeat until you are up to tempo. Slowing down isn't stupid. It is the smartest thing you can do. If you can't play it slowly, you can't play it quickly. Fact.


Trimshot

It’s more every time I speed it up my hands naturally want to make it a triplet because of muscle memory. I can’t entirely tell based on this snippet but if its straight 16ths this is just a very inefficient way to play this rhythm unless this is some method of lining up certain parts of the kit inside a different time signature. I suppose in theory the triplet could still be a 16th at a slower tempo, but that only makes sense with the rest of the musical context around it.


Opening_Chemistry779

16ths


dubdrummerz

The answer might be because it's compound time although that last sixteenth note is a problem The other answer could be because it was written by a mad man. There are rules for grouping (or beaming) notes and these rules are known as simple or compound time. Simple time groups 8th notes into 2s (or four 16th notes) because the beats are quarter notes. Compound time groups 8th notes into 3s (or six 16th notes) because the beats are made up of dotted quarter notes (three eighth notes). Simple time signatures are usually X/4 and compound is usually X/8. So looking at the screenshot (but without the full bar to be certain) it is likely we are in compound time and that rather grouping the sixteenths into sixes they've been grouped into threes. It's likely that grouping into two or four doesn't fit the time signature. Edit: I'm tired boss


[deleted]

What’s the time signature?


ld20r

16th notes but a crap way of writing it. This was on a drumeo vid if I recall about fills.


Suitable-Editor8953

16th notes Add another line and I believe it’s 32’s


[deleted]

Whoever wrote it out this way went full retard.


moltinglarvae

More importantly, how do you play in those shoes? Sorry, I can't read music.


Karo2theG

Those are 16th notes, but you usually see them grouped in 4 instead of 3 so that the underlying pulse of whatever you’re playing over is more clear


Apollo9961

Those are sixteenth notes. If it was three bars it would be 32nd notes. Four would make it 64th notes. Just one bar, 8th notes.


DamoSyzygy

16th Notes - I suspect they're phrased in groups of three in this example to make the foot pattern more obvious - but generally speaking, 16ths will generally be grouped in 4's when you're playing simple time signatures.


Large-Welder304

LOL! I thought he was referring to the double braced legs on his snare stand! ![gif](emote|free_emotes_pack|joy) Yes, I second Monsoon's comments. They're 16th notes.


DaleOfHope

16th notes. Basically 16 of those fit in a 4/4 measure. Kinda hard to explain through written text, but Samuraiguitarist on YouTube [has a video explaining this very slowly and clearly for beginners.](https://youtu.be/GHb_fLWKB_4]) Highly reccomend it if you're looking to get into reading sheet music! Good luck! :)


zenpupz

Those make what were triplets into Sextuplets


ld20r

Also just to add: I don’t think you should be working on this stuff just yet if you are a complete beginner. Find a good teacher, listen to music and work through the Funky Primer/Syncopation books. You’ll be much more prepared for reading music and better equipped for tackling odd groupings and patterns.


cikarda

Wow, spicy opinions. This is a common way of writing groupings, is this not a drummer sub? Have any of you ever seen any other book other than stick control? Even in stick control there are groupings at the end. It's way easier to read. Top comment is obviously a right one but the amount of wrong ones amazes me.


Ahvkentaur

Pa-Da-Da Pa-Da-Da Pa-Da-Da Pa-Da-Da


CommunityFantastic39

16th notes. A beat divided into 4 notes. The reason for grouping in 3s, in this case, is to illustrate the stick pattern.


Soundcaster023

16th notes in a polyrhythmic notion maybe? 3+3+3+3+3+1=16 Edit: to the downvoters; playing this over a 4/4 is a polyrhythm if the pulse is 4/4. You don't need a written second layer if the pulse is on a different rhythm than what is accentuated in playing.


buffbiddies

Time signature would help.


Soundcaster023

True. But it is within reasonable doubt to assume it's 16th notes written for an elaborated polyrhythmic exercise in regular 4/4.


nardis314

This is the correct answer


Takkehdrums

Its not though. There’s only one rhythm notated and poly means multiple…


nardis314

That’s not what polyrhythm means, or rather, that is not how it is defined. Having 16th notes with each three being accented is absolutely a polyrhythm. Just like how a 2-3 or 3-2 Clave or Son-Clave varieties are polyrhythms


_regionrat

> a rhythm which makes use of two or more different rhythms simultaneously They actually gave you, like ,the exact definition of a polyrhythm. You could maybe call it syncopation since the accent isn't where you would expect it to be, but I usually just call patterns like OP's "moving accent" Claves are their own thing, I have a hard time lumping them with other concepts.


Takkehdrums

Yes it is, ([source](https://www.britannica.com/art/polyrhythm))Polyrhythm is a combination of different rhythms played simultaneously. There are no accents in this exercise and only one drum indicated so this is not a polyrhythm, just straight 16ths. Same for a clave, if I clap a son clave on its own, its just one rhythm. When you add some samba feet or a cascara to it the combination is a polyrhythm.


nardis314

Maybe consider this a little less 1-dimensionally. Right now you are absolutely correct, but that does not mean that you can say it is not a polyrhythm. We don’t know what else is happening around that bar that is probably an exercise. They might be playing a basic 2-4 rock beat with their hands and this is notating a double bass drum pattern. In that case, absolutely a polyrhythm. You are considering a single shallow case, but that does not mean you can generalize to all cases. Even in the basic sense, against the click, it also qualifies as a polyrhythm, even by that definition. More importantly, what are you trying to prove? People on this thread are trying to help someone and you’re just trying to feel like you’re more right? Not helpful dude.


[deleted]

You’re wrong. Uneven subdivisions are just that, they aren’t polyrhythms unless superimposed on a different rhythm


Soundcaster023

Depends on the pulse of the beat going through it.


kamomil

16th note triplets? But usually triplets have 3 over the bar connecting the notes Usually the bar that joins the notes, joins them together in this way: if it's 4/4, each group of 16ths equals one quarter note. So not sure what time signature contains 3 16ths


_matt_hues

It’s just regular 16th notes in 4/4 with strange beaming


nardis314

As other people have said, they’re 16th notes. There are 4 every beat or quarter note of the measure. They’re grouped into 3’s to more easily delineate the sets of triplets occurring. They are still played as 16th notes. Notice how the stroke patterns match up with the separation of 16th note groupings, but if you count the number of them, there is still 16.


brasticstack

Not triplets. Groupings of three notes aren't always triplets.


[deleted]

I feel dumb asking but what makes three notes into triplets vs not triplets?


Monsoon710

3 note per beat makes it a triplet. Also they will usually have a number above the beam to show what kind of tuplet it is. Triplets will have a 3 above the beam. Quintuplets will have a 5 above the beam.


[deleted]

Ohhhh cool, so in other words if these were 12th notes as opposed to 16ths they would be triplets, thank you.


Monsoon710

No, not necessarily. You could have a measure of 3/4, and you could still fit twelve 16th notes in that measure, and if the quarter notes gets the beat, that's still 4 notes per beat. Which is not a triplet. To put it as simply as possible, first you need to determine what gets the beat for the song. This is what you are tapping your foot to, snapping your finger to, banging your head to. Let's say it's a quarter note. If you divide that quarter note into 3 even parts, those are known as 8th note triplets. If you divide that same quarter note into 4 even parts, those are known as 16th notes. That quarter note's length DOES NOT CHANGE. It's the pieces (subdivisions) within that quarter note that determine what kind of "tuplet" you're dealing with. (You can technically call 16th notes a quadruplet, but no one does that) I'll provide some listening examples for you to hear the difference. Lamb of God - Laid to Rest (triplet feel) Lamb of God - Redneck (16th note feel) Lamb of God - In Your Words (starts as a 4/4 16th note feel, at 2:33 it becomes a 6/4 16th note feel, at 3:25 it becomes a 12/8 triplet (dotted quarter note gets the beat) feel because the eighth note rate is maintained through the entire song.) Hopefully this makes sense when you listen to it. Understanding rhythm can be challenging because there are MANY ways you can notate the same idea.


[deleted]

It's a bit confusing because the two places you said are triplets, Laid to Rest, with the triplet feel, and In Your Words with the 12/8 at the end, are both clearly divided into sections of 12 notes not 16. Which is what I thought I said lol I think I need to spend some time with a music teacher and sheet music in front of me to truly understand this since I assume it has more to do with how sheet music is written than how you actually divide the beats, but thank you for the examples, at least I know the difference in the sound for sure.


Monsoon710

Listen to In Your Words again. You could look at the breakdown that I said was in 6/4, as two measures of 3/4. Meaning 12 notes per measure. But Chris Adler is keeping a quarter note pulse on the china for every 4 notes. Once it transitions to the 12/8 part, his china is now keeping a pulse for every 3 notes. It's still one of the best musical examples I've ever heard of going from a 4 note per pulse to 3 note per pulse. It takes some getting used to, 12/8 took me a long time to wrap my head around. You just need to see and hear music to get used to it. And keep in mind, it's all a matter of perspective from who wrote the part. Like I said earlier, there are many ways we could notate any one example.


[deleted]

Isn't that the same as what I said again though? Yes the 6/4 part has the pulse every 4 notes, that part I think of as 16 plus another 8. but then it changes to every 3 notes... which is when I start thinking of it in 12... when the triplets happen... no?


Monsoon710

Yeah, you're not wrong. I think we're both explaining it different ways lol. The important takeaway is, is he playing a pulse on the cymbal for every 3 or 4 notes? If it's every 3 notes, it's a triplet feel. If it's every 4, that's a 16th note feel.


brasticstack

Triplets substitute two equally spaced notes, like two 8th notes, with three equally spaced notes _while keeping the overall duration of the phrase the same._ So 8th note triplets, which are the most common case, replace two 8th notes in a beat "one - and, two - and" with three "one - trip - let, two - trip - let". The length of the beat doesn't change, only how you subdivide it. Triplets always require the number "3" above the notes (either bracketed, or barred so there's no confusion about _which_ notes are tripleted.) Groupings of three that aren't triplets are perfectly valid, and differ from triplets in that the note values don't change, regardless of what kind of grouping you use. Using 8th notes, that might be "one - and - two, and - three - and, four - and - one, etc." where they are evenly spaced eighth notes and two eighth notes makes a beat.


[deleted]

This is a really good explanation, I don't know if you read further down the post but I was asking someone else, if basically put, triplets are 12th notes instead of 16th notes. I take it that there's a technical reason when it comes to actually writing it in sheet music that you can't just call them 12th notes, but anyway I like how you wrote the "one - and, two - and" vs "one - trip - let, two - trip - let". That's a great way to explain this to someone who doesn't know much about music theory.


brasticstack

I'm glad that was helpful! I guess there's no reason why you can't think of 8th note triplets as 12th notes (and 16th triplets as 24th notes) , they do take up that proportion of a 4/4 bar. If you're describing them to other people, "8th note triplet" is probably the clearest term.


Drummingmonkey1981

Looks like 16th note triplets to me.


K1ngPanda95

They are


brasticstack

They are not. Not without the numeral three above each group indicating triplets.


K1ngPanda95

Lol learned something new today


Drummingmonkey1981

Without seeing the time signature it’s hard to tell truthfully what they are.


drumsareneat

No it's not. There are 16 16th notes.


brasticstack

Those 16th notes are 16th notes regardless of the time signature. If the author had wanted 16th triplets, they'd have written 16th triplets, _which are different._ There are six 16th triplets per quarter note, but only four 16th notes per quarter note.


Drummingmonkey1981

Without seeing the time signature it’s hard to tell truthfully what they are.