On 1/14/08, Carol Shepherd <[EMAIL PROTECTED]> wrote: >I would agree I haven't heard triplets in tango, vals, milonga. I'm >sure the musicians on the list will chime in if they exist.
Can you easily distinguish triplets in music you hear? Every kind of music has them... even rock. I don't see how this will lead anyone anywhere. syncopation is a much stronger tool to use as far as creating timming "fun". Syncopating a triplet may make it not become so much of a triplet anymore. The music sheet is a guide that performers will either try to follow precisely or not. >I think the confusion is being caused by the idea of "one-two-three" in >music based on four beats. This is the same as quick-quick-slow (where >the first three beats have a beat on each, and they are all the same - >with a 'hold' on 4). In contrast, a true triplet in four-beat time is >what is called "two against three" and is a break from the regular beats. A triplet is putting 3 notes in 2-note time-space. If you have one "time"/beat, and you put 3 half-notes/times on it, it's called a triplet. That means that in fact each note is getting 1/3 instead of 1/2 of the time/beat. >The reverse is true of dancing two beats to vals. Vals is triplets >(.33, .67, 1.0) for each beat and the two-beat step will sound off-beat >(.5, 1.0). I agree that I have seen lots of people dancing two steps to >vals; I was taught that was a no-no. vals is a 3/4 time. That's where the feeling comes from. Just like waltz. Some people will dance it in a more "strict" 3/4 feel, some will in a more 4/4. It's all good as long as you make a good interpretation of it. when I mean strict is the difference between having 6/8 rythm or a 6/4. They're different. Just pick musics in 6/4 and 6/8. For some will be subtle, for others it will be obvious. tango on b _______________________________________________ Tango-L mailing list [email protected] http://mailman.mit.edu/mailman/listinfo/tango-l
