Writing triplets in 12/8
Hello,
I'm trying to create a score with an irregular division.
The basic rhythmic pattern is in 12/8 (Gbada 12:8.mscz):
If I write it in 3/4, we get this (Gbada 3:4.mscz):
Then I add some triplet notes (Gbada 3:4 avec triolets.mscz):
Finally, I would like to rewrite the same pattern, but in 12/8. Can someone help...?
The triplet notes would be between the notes indicated by the red arrows (Gbada 12:8 avec flèches.mscz) :
Thanks a lot !
Musescore version : 3.6.2
System : Mac OS 10.15.7
Comments
This rhythm doesn't have a suitable division for 12/8 meter.
![12-8.png]( "12-8.png")
If you want to write it it will have to look like this,
but there is a problem, the tuplet falls between beats.
![12-8-b.png]( "12-8-b.png")
It will be necessary to divide these rhythms according to beats.
![12-8-c.png]( "12-8-c.png")
But I don't think this rhythm segmentation is readable by a drummer.
In reply to This rhythm doesn't have a… by Ziya Mete Demircan
Thanks for your help. Yes, the division is 18 eights notes in a 12/8 measure...
![Gbada 12:8 avec triolets + débit-1.png]( "Gbada 12:8 avec triolets + débit-1.png")
Below is a new version, on line 1. Line 2 shows the 18 eights notes subdivision.
Only the first tuplet falls between beats.
Gbada 12:8 avec triolets + débit.mscz
In reply to Thanks for your help. Yes,… by 3singes
It also falls between beats on both the second and fourth beats. // See the red circle in the second measure in my previous message.
And when written that way, it's unclear how these notes are to be played.
In reply to It also falls between beats… by Ziya Mete Demircan
For me, the difficulty is only in the 1st measure, where the tuplet is over beat 2 :
In reply to For me, the difficulty is… by 3singes
Of course, you look at the appearance of the note and see it as simple.
However, these eighth tuplets are actually 16th triplets combined. So the eighth tuplets here have no real meaning. And the percussionist cannot be expected to count it properly.
Here is the problem.
In reply to Of course, you look at the… by Ziya Mete Demircan
Thanks a lot for all the help. I can't figure it out correctly for the moment (my English isn't good enough), I need some more time :)
Can you share the mscz file of your 3 last scores ?
In reply to Thanks a lot for all the… by 3singes
Not important.
I just tried to explain that in the 12/8 time signature, the 16th triplets should be based.
The 8th triplets formed by the combination of these will mislead you.
In reply to For me, the difficulty is… by 3singes
I guess there is a reason you want this in 12/8. But when I listen to just this part the way you have it written, it makes more sense to me in 4/4.
![triple2.png]()
(Yes, I've used piano instead of percussion)
In reply to I guess there is a reason… by bobjp
The rhythm is definitely in 12/8. It's a traditional rhythm from Guinea called Gbada. The dancers and musicians regularly divide the measure in 3 groups of 4 notes, which in this case make it a 3/4 measure.
In reply to I guess there is a reason… by bobjp
@bobjp
In African rhythms, 4 on 3 or 3 on 4 are very common. // I don't know which one is more dominant.
For example: Although heard in the 4/4 time-signature, there are patterns played over the 3/4 time-signature.
And you can't count 3/4 while listening.
I'm not exactly familiar with these patterns. I only know a little.
In reply to @bobjp In African rhythms, 4… by Ziya Mete Demircan
I get it. I learned African drumming from person from Central Africa. We only learned relatively simple rhythms. He said the more complicated ones could not be accurately notated. Many had tried. We used dun-nun, djembe and various shakers. The group of five of us would each play a different rhythm. Each by itself was a part of the melody that was only reveled when all parts were played together. We never saw music, but I don't recall any of what we played (or heard) as having a 3 over 4 or 4 over 3 feel. But it's a big country. There are lots of different kinds of music.
In reply to I get it. I learned African… by bobjp
I can give two simple pattern examples that I wrote.
I think that more complex patterns are also used when creating polyrhythms.
In reply to I can give two simple… by Ziya Mete Demircan
Sure.
Those have no resemblance to what I learned. What I learned was built on several different parts put together. And not based on 12/8.