FizzWiki - User contributions [en]

Harmonics & Temperament

2026-07-01T21:28:29Z

Xenprism: Blanked the page

Harmonics & Temperament

2026-07-01T21:27:59Z

Xenprism: Replaced content with "source: (image source: https://general-theory-of-rhythm.org)"

[[File:Metric Harmonics.jpg|center|502x502px|source: ]]
(image source: https://general-theory-of-rhythm.org)

Harmonics & Temperament

2026-07-01T21:25:45Z

Xenprism:

Harmonics are just as present in rhythm as in harmony: speed up any series of beats, and a tone will eventually be audible. Conversely, a tone can be slowed down to the point where it sounds like a series of beats.

The harmonic series is an infinite series of [https://en.wikipedia.org/wiki/Sine_wave sine wave] tones (partials) that are multiples of a fundamental frequency. The harmonic series can be replicated percussively by using equally spaced pulses. Different pulse frequencies (tempos) will create different harmonics. ''Tempering'' these harmonics involves phrasing them to be ''unequal'' in spacing.

The harmonic series follows a specific pattern, where each harmonic vibrates at integer multiples of the fundamental frequency (partials). A 120 bpm straight pulse's second harmonic (2/1) would be double the tempo, its third harmonic (3/1) triple the tempo, etc... At the tenth harmonic (10/1), the pulse is now at 1200 bpm (20 [https://en.wikipedia.org/wiki/Hertz Hz]). By this point, it often ceases to sound like percussion and instead as an audible tone. However, the listener's perception and the sound's timbre can alter this threshold slightly.

Meters are often tempered purely out of preference or for a specific genre. Swing, MOS rhythm, and microrhythmic phrasing are all examples of tempering harmonic (straight) meters. However, as explained by musician and theorist Malcolm Braff, meters can also be tempered to increase synchronization (proximity) between beats:

[[File:Metric Harmonics.jpg|center|502x502px|source: ]]
(image source: https://general-theory-of-rhythm.org)

Harmonics & Temperament

2026-07-01T21:22:29Z

Xenprism:

Harmonics are just as present in rhythm as in harmony: speed up any series of beats, and a tone will eventually be audible. Conversely, a tone can be slowed down to the point where it sounds like a series of beats.

In harmony, the harmonic series is an infinite series of [https://en.wikipedia.org/wiki/Sine_wave sine wave] tones (partials) that are multiples of a fundamental frequency. The harmonic series can be replicated percussively by using equally spaced pulses. Different pulse frequencies (tempos) will create different harmonics. ''Tempering'' these harmonics involves phrasing them to be ''unequal'' in spacing.

The harmonic series follows a specific pattern, where each harmonic vibrates at integer multiples of the fundamental frequency (partials). A 120 bpm straight pulse's second harmonic (2/1) would be double the tempo, its third harmonic (3/1) triple the tempo, etc... At the tenth harmonic (10/1), the pulse is now at 1200 bpm (20 [https://en.wikipedia.org/wiki/Hertz Hz]). By this point, it often ceases to sound like percussion and instead as an audible tone. However, the listener's perception and the sound's timbre can alter this threshold slightly.

Meters are often tempered purely out of preference or for a specific genre. Swing, MOS rhythm, and microrhythmic phrasing are all examples of tempering harmonic (straight) meters. However, as explained by musician and theorist Malcolm Braff, meters can also be tempered to increase synchronization (proximity) between beats:

[[File:Metric Harmonics.jpg|center|502x502px|source: ]]
(image source: https://general-theory-of-rhythm.org)

Harmonics & Temperament

2026-07-01T21:21:11Z

Xenprism:

Harmonics are just as present in rhythm as in harmony: speed up any series of beats, and a tone will eventually be audible. Conversely, a tone can be slowed down to the point where it sounds like a series of beats.

In harmony, the harmonic series is an infinite series of [https://en.wikipedia.org/wiki/Sine_wave sine wave] tones (partials) that are multiples of a fundamental frequency. The harmonic series can be replicated percussively by using equally spaced pulses. Different pulse frequencies (tempos) will create different harmonics. ''Tempering'' these harmonics involves phrasing them to be ''unequal'' in spacing.

The harmonic series follows a specific pattern, where each harmonic vibrates at integer multiples of the fundamental frequency (partials). A 120 bpm straight pulse's second harmonic (2/1) would be double the tempo, its third harmonic (3/1) triple the tempo, etc... At the tenth harmonic (10/1), the pulse is now at 1200 bpm (20 [https://en.wikipedia.org/wiki/Hertz Hz]). By this point, it often ceases to sound like percussion and instead as an audible tone. However, the listener's perception and the sound's timbre can alter this threshold slightly.

Meters are often tempered purely out of preference or for a specific genre. Swing, MOS rhythm, and microrhythmic phrasing are all examples of tempering harmonic (straight) meters. However, as explained by musician and theorist Malcolm Braff, meters can also be tempered to increase synchronization (proximity) between beats:

[[File:Metric Harmonics.jpg|center|502x502px|source: ]]
(source: https://general-theory-of-rhythm.org)

Harmonics & Temperament

2026-07-01T21:20:25Z

Xenprism:

Harmonics are just as present in rhythm as in harmony: speed up any series of beats, and a tone will eventually be audible. Conversely, a tone can be slowed down to the point where it sounds like a series of beats.

In harmony, the harmonic series is an infinite series of [https://en.wikipedia.org/wiki/Sine_wave sine wave] tones (partials) that are multiples of a fundamental frequency. The harmonic series can be replicated percussively by using equally spaced pulses. Different pulse frequencies (tempos) will create different harmonics. ''Tempering'' these harmonics involves phrasing them to be ''unequal'' in spacing.

The harmonic series follows a specific pattern, where each harmonic vibrates at integer multiples of the fundamental frequency (partials). A 120 bpm straight pulse's second harmonic (2/1) would be double the tempo, its third harmonic (3/1) triple the tempo, etc... At the tenth harmonic (10/1), the pulse is now at 1200 bpm (20 [https://en.wikipedia.org/wiki/Hertz Hz]). By this point, it often ceases to sound like percussion and instead as an audible tone. However, the listener's perception and the sound's timbre can alter this threshold slightly.

Meters are often tempered purely out of preference or for a specific genre. Swing, MOS rhythm, and microrhythmic phrasing are all examples of tempering harmonic (straight) meters. However, as explained by musician and theorist Malcolm Braff, meters can also be tempered to increase synchronization (proximity) between beats:

[[File:Metric Harmonics.jpg|center|502x502px|source: ]]
(source: https://general-theory-of-rhythm.org)

Harmonics & Temperament

2026-07-01T21:13:38Z

Xenprism: Created page with "Harmonics are just as present in rhythm as in harmony: speed up any series of beats, and a tone will eventually be audible. Conversely, a tone can be slowed down to the point where it sounds like a series of beats. In harmony, the harmonic series is an infinite series of [https://en.wikipedia.org/wiki/Sine_wave sine wave] tones (partials) that are multiples of a fundamental frequency. The harmonic series can be replicated percussively by using equally spaced pulses. Dif..."

Harmonics are just as present in rhythm as in harmony: speed up any series of beats, and a tone will eventually be audible. Conversely, a tone can be slowed down to the point where it sounds like a series of beats.

In harmony, the harmonic series is an infinite series of [https://en.wikipedia.org/wiki/Sine_wave sine wave] tones (partials) that are multiples of a fundamental frequency. The harmonic series can be replicated percussively by using equally spaced pulses. Different pulse frequencies (tempos) will create different harmonics. ''Tempering'' these harmonics involves phrasing them to be ''unequal'' in spacing.

The harmonic series follows a specific pattern, where each harmonic vibrates at integer multiples of the fundamental frequency (partials). A 120 bpm straight pulse's second harmonic (2/1) would be double the tempo, its third harmonic (3/1) triple the tempo, etc... At the tenth harmonic (10/1), the pulse is now at 1200 bpm (20 [https://en.wikipedia.org/wiki/Hertz Hz]). By this point, it often ceases to sound like percussion and instead as an audible tone. However, the listener's perception and the sound's timbre can alter this threshold slightly.

Meters are often tempered purely out of preference or for a specific genre. Swing, MOS rhythm, and microrhythmic phrasing are all examples of tempering harmonic (straight) meters. However, as explained by musician and theorist Malcolm Braff, meters can also be tempered to increase synchronization (proximity) between beats:

[[File:Metric Harmonics.jpg|center|502x502px|source: ]]

File:Metric Harmonics.jpg

2026-07-01T21:12:37Z

Xenprism:

Source: general-theory-of-rhythm.org

Tuplets

2026-07-01T20:45:57Z

Xenprism:

A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic notation only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a power of two, and so a "1/12th note" cannot be expressed using the standard notes with dots or ties. Instead it is notated and named as an "eighth-note triplet". The most common usage of tuplets is as non-standard divisions of beats. For example, in 4/4, 4 and 2 are inherently felt subdivisions, but groupings of 3 and 5 would be considered tuplets. Similarly in 6/8, dotted-quarter-note beats are subdivided in 3 by default, so a grouping of 2 notes per beat could be written as a tuplet. In this case such a grouping could also be written with dotted notes. Tuplets whose numbers are powers of two (duplets, quadruplets, etc) can always be written as dotted notes, but the tuplet form is sometimes preferred in sheet music for readability.

Tuplets generally follow the naming scheme of [https://simple.wikipedia.org/wiki/Tuple_names tuples] at large: a tuplet of 5 is often called a ''quintuplet'' or a ''5let'', while a grouping of seven is called a ''septuplet'' or ''7let''. Additionally, some tuplets have their own unique names (which coincide with their [[Polyrhythms|polyrhythmic]] counterparts), such as the hemiola (3:2). There are numerous ways to label tuplets; a more comprehensive list of names can be found on the Wikipedia tuplet page.

A triplet in 4/4 means that 3 beats are subdivided equally in the space of 4 (or 2). A duplet in 3/4 means that 2 beats are subdivided equally in the space of 3. Sometimes, however, the tuplet doesn't fit the inherent subdivision. When this happens, ''ratio tuplets'' are used, where the subdivision is presented as a ratio between two numbers. A ratio tuplet of 5:3 in 4/4 would mean 5 beats are played in the space of 3 beats ''in'' 4/4. This could also be considered "half" of a 5:3 polyrhythm, where only the 5 is present. Musicians often use polyrhythms to learn how to play complex tuplets effectively because they are fundamentally the same thing.

It should be noted that a tuplet can exist without every beat in the tuplet being played. For example, a drummer could play a quintuplet in 4/4 but only play the 1 and 4. Alternatively, the drummer could play all the beats in the quintuplet but [[Accent|accent]] the 1 and 4.

== Counting Tuplets ==
Tuplets can be counted at lower tempos by finding the LCM (least common multiple) of the original note grouping and the tuplet subdivision, then dividing. So, for example, a 5:4 tuplet has an LCM of 20. This means subdividing the tuplet into 20 beats will ensure that each note in the tuplet lands on ''exactly one beat''. 20 ÷ 5 = 4, and 20 ÷ 4 = 5, so the quintuplet notes will fall on every 4th beat, while the quarter notes fall of every 5th.

If we mark the quintuplet notes as bold numbers and the quarter notes as in italics, we can map out this tuplet as such (notice that the beats coincide):

'''''1''''' 2 3 4 '''5''' ''6'' 7 8 '''9''' 10 ''11'' 12 '''13''' 14 15 ''16'' '''17''' 18 19 20

Although the LCM method helps find the ideal subdivisions of a tuplet, the math isn't necessary to count simpler tuplets since it's pretty intuitive: just reverse the numbers (5:4 = quintuplets on every 4th beat, quarter notes on every 5th beat). However, the LCM method is still useful for more complex tuplets and nested tuplets.

== Notating Tuplets ==
Tuplets are usually notated by bracketing the group of notes and signifying the tuplet type with a number above or below. Sometimes, in beamed notes, only the number is present and the notes aren't bracketed.
[[File:Tuplet Examples.jpg|center|thumb|520x520px]]

This applies to ratio tuplets as well. However, there are some differences: often, the note value is displayed next to the ratio above the grouping for clarity:
[[File:Ratio Tuplets Example.jpg|center|thumb|320x320px]]

On the right, three triplets are played with varying note lengths: eighth notes, quarter notes, and sixteenth notes. We can also see that the beamed notes aren't bracketed in this case.

== Nested Tuplets ==
When a tuplet is present inside of another tuplet, it is called a ''nested tuplet''.
[[File:Nested Tuplets Example.jpg|center|thumb|420x420px]]

Here, two eighth-note triplets and a 64th-note quintuplet make up a larger triplet. This can be counted by finding the LCM of the three nested tuplets (the LCM of 3, 3, and 5 is 15), and dividing that by each of the nested tuplets (so 15 ÷ 3 = 5, meaning both of the triplets will fall on every 5th beat, and 15 ÷ 5 = 3, meaning the notes of the quintuplet will fall on every 3rd beat, starting at the one). Let's have the eighth-note triplets be bold, the 64th-note quintuplets be in italics, and the larger triplet notes be in parentheses. When mapped out across 15 subdivisions, that looks like this:

('''1''') 2 '''3''' 4 '''5 ''' (''6'') ''7 8 9 10'' ('''11''') 12 '''13''' 14 '''15'''

== Other Types of Tuplets ==

=== Tremolo Tuplets ===
[[File:Tuplet Tremolo.jpg|center|thumb|420x420px]]

Sometimes, a tremolo is written as a tuplet to indicate the number of oscillations. Since bracketing is not needed, only the tuplet number is placed above or below.

Tuplets

2026-07-01T20:40:03Z

Xenprism: /* Tremolo Tuplets */

A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic notation only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a power of two, and so a "1/12th note" cannot be expressed using the standard notes with dots or ties. Instead it is notated and named as an "eighth-note triplet". The most common usage of tuplets is as non-standard divisions of beats. For example, in 4/4, 4 and 2 are inherently felt subdivisions, but groupings of 3 and 5 would be considered tuplets. Similarly in 6/8, dotted-quarter-note beats are subdivided in 3 by default, so a grouping of 2 notes per beat could be written as a tuplet. In this case such a grouping could also be written with dotted notes. Tuplets whose numbers are powers of two (duplets, quadruplets, etc) can always be written as dotted notes, but the tuplet form is sometimes preferred in sheet music for readability.

Tuplets generally follow the naming scheme of [https://simple.wikipedia.org/wiki/Tuple_names tuples] at large: a tuplet of 5 is often called a ''quintuplet'' or a ''5let'', while a grouping of seven is called a ''septuplet'' or ''7let''. Additionally, some tuplets have their own unique names (which coincide with their [[Polyrhythms|polyrhythmic]] counterparts), such as the hemiola (3:2). There are numerous ways to label tuplets; a more comprehensive list of names can be found on the Wikipedia tuplet page.

A triplet in 4/4 means that 3 beats are subdivided equally in the space of 4 (or 2). A duplet in 3/4 means that 2 beats are subdivided equally in the space of 3. Sometimes, however, the tuplet doesn't fit the inherent subdivision. When this happens, ''ratio tuplets'' are used, where the subdivision is presented as a ratio between two numbers. A ratio tuplet of 5:3 in 4/4 would mean 5 beats are played in the space of 3 beats ''in'' 4/4. This could also be considered "half" of a 5:3 polyrhythm, where only the 5 is present. Musicians often use polyrhythms to learn how to play complex tuplets effectively because they are fundamentally the same thing.

It should be noted that a tuplet can exist without every beat in the tuplet being played. For example, a drummer could play a quintuplet in 4/4 but only play the 1 and 4. Alternatively, the drummer could play all the beats in the quintuplet but [[Accent|accent]] the 1 and 4.

== Counting Tuplets ==
Tuplets can be counted at lower tempos by finding the LCM (least common multiple) of the original note grouping and the tuplet subdivision, then dividing. So, for example, a 5:4 tuplet has an LCM of 20. This means subdividing the tuplet into 20 beats will ensure that each note in the tuplet lands on ''exactly one beat''. 20 ÷ 5 = 4, and 20 ÷ 4 = 5, so the quintuplet notes will fall on every 4th beat, while the quarter notes fall of every 5th.

If we mark the quintuplet notes as bold numbers and the quarter notes as in italics, we can map out this tuplet as such (notice that the beats coincide):

'''''1''''' 2 3 4 '''5''' ''6'' 7 8 '''9''' 10 ''11'' 12 '''13''' 14 15 ''16'' '''17''' 18 19 20

Although the LCM method helps find the ideal subdivisions of a tuplet, the math isn't necessary to count simpler tuplets since it's pretty intuitive: just reverse the numbers (5:4 = quintuplets on every 4th beat, quarter notes on every 5th beat). However, the LCM method is still useful for more complex tuplets and nested tuplets.

== Notating Tuplets ==
Tuplets are usually notated by bracketing the group of notes and signifying the tuplet type with a number above or below. Sometimes, in beamed notes, only the number is present and the notes aren't bracketed.
[[File:Tuplet Examples.jpg|center|thumb|520x520px]]

This applies to ratio tuplets as well. However, there are some differences: often, the note value is displayed next to the ratio above the grouping for clarity:
[[File:Ratio Tuplets Example.jpg|center|thumb|520x520px]]

On the right, three triplets are played with varying note lengths: eighth notes, quarter notes, and sixteenth notes. We can also see that the beamed notes aren't bracketed in this case.

== Nested Tuplets ==
When a tuplet is present inside of another tuplet, it is called a ''nested tuplet''.
[[File:Nested Tuplets Example.jpg|center|thumb|420x420px]]

Here, two eighth-note triplets and a 64th-note quintuplet make up a larger triplet. This can be counted by finding the LCM of the three nested tuplets (the LCM of 3, 3, and 5 is 15), and dividing that by each of the nested tuplets (so 15 ÷ 3 = 5, meaning both of the triplets will fall on every 5th beat, and 15 ÷ 5 = 3, meaning the notes of the quintuplet will fall on every 3rd beat, starting at the one). Let's have the eighth-note triplets be bold, the 64th-note quintuplets be in italics, and the larger triplet notes be in parentheses. When mapped out across 15 subdivisions, that looks like this:

('''1''') 2 '''3''' 4 '''5 ''' (''6'') ''7 8 9 10'' ('''11''') 12 '''13''' 14 '''15'''

== Other Types of Tuplets ==

=== Tremolo Tuplets ===
[[File:Tuplet Tremolo.jpg|center|thumb|420x420px]]

Sometimes, a tremolo is written as a tuplet to indicate the number of oscillations. Since bracketing is not needed, only the tuplet number is placed above or below.

Tuplets

2026-07-01T20:39:32Z

Xenprism:

A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic notation only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a power of two, and so a "1/12th note" cannot be expressed using the standard notes with dots or ties. Instead it is notated and named as an "eighth-note triplet". The most common usage of tuplets is as non-standard divisions of beats. For example, in 4/4, 4 and 2 are inherently felt subdivisions, but groupings of 3 and 5 would be considered tuplets. Similarly in 6/8, dotted-quarter-note beats are subdivided in 3 by default, so a grouping of 2 notes per beat could be written as a tuplet. In this case such a grouping could also be written with dotted notes. Tuplets whose numbers are powers of two (duplets, quadruplets, etc) can always be written as dotted notes, but the tuplet form is sometimes preferred in sheet music for readability.

Tuplets generally follow the naming scheme of [https://simple.wikipedia.org/wiki/Tuple_names tuples] at large: a tuplet of 5 is often called a ''quintuplet'' or a ''5let'', while a grouping of seven is called a ''septuplet'' or ''7let''. Additionally, some tuplets have their own unique names (which coincide with their [[Polyrhythms|polyrhythmic]] counterparts), such as the hemiola (3:2). There are numerous ways to label tuplets; a more comprehensive list of names can be found on the Wikipedia tuplet page.

A triplet in 4/4 means that 3 beats are subdivided equally in the space of 4 (or 2). A duplet in 3/4 means that 2 beats are subdivided equally in the space of 3. Sometimes, however, the tuplet doesn't fit the inherent subdivision. When this happens, ''ratio tuplets'' are used, where the subdivision is presented as a ratio between two numbers. A ratio tuplet of 5:3 in 4/4 would mean 5 beats are played in the space of 3 beats ''in'' 4/4. This could also be considered "half" of a 5:3 polyrhythm, where only the 5 is present. Musicians often use polyrhythms to learn how to play complex tuplets effectively because they are fundamentally the same thing.

It should be noted that a tuplet can exist without every beat in the tuplet being played. For example, a drummer could play a quintuplet in 4/4 but only play the 1 and 4. Alternatively, the drummer could play all the beats in the quintuplet but [[Accent|accent]] the 1 and 4.

== Counting Tuplets ==
Tuplets can be counted at lower tempos by finding the LCM (least common multiple) of the original note grouping and the tuplet subdivision, then dividing. So, for example, a 5:4 tuplet has an LCM of 20. This means subdividing the tuplet into 20 beats will ensure that each note in the tuplet lands on ''exactly one beat''. 20 ÷ 5 = 4, and 20 ÷ 4 = 5, so the quintuplet notes will fall on every 4th beat, while the quarter notes fall of every 5th.

If we mark the quintuplet notes as bold numbers and the quarter notes as in italics, we can map out this tuplet as such (notice that the beats coincide):

'''''1''''' 2 3 4 '''5''' ''6'' 7 8 '''9''' 10 ''11'' 12 '''13''' 14 15 ''16'' '''17''' 18 19 20

Although the LCM method helps find the ideal subdivisions of a tuplet, the math isn't necessary to count simpler tuplets since it's pretty intuitive: just reverse the numbers (5:4 = quintuplets on every 4th beat, quarter notes on every 5th beat). However, the LCM method is still useful for more complex tuplets and nested tuplets.

== Notating Tuplets ==
Tuplets are usually notated by bracketing the group of notes and signifying the tuplet type with a number above or below. Sometimes, in beamed notes, only the number is present and the notes aren't bracketed.
[[File:Tuplet Examples.jpg|center|thumb|520x520px]]

This applies to ratio tuplets as well. However, there are some differences: often, the note value is displayed next to the ratio above the grouping for clarity:
[[File:Ratio Tuplets Example.jpg|center|thumb|520x520px]]

On the right, three triplets are played with varying note lengths: eighth notes, quarter notes, and sixteenth notes. We can also see that the beamed notes aren't bracketed in this case.

== Nested Tuplets ==
When a tuplet is present inside of another tuplet, it is called a ''nested tuplet''.
[[File:Nested Tuplets Example.jpg|center|thumb|420x420px]]

Here, two eighth-note triplets and a 64th-note quintuplet make up a larger triplet. This can be counted by finding the LCM of the three nested tuplets (the LCM of 3, 3, and 5 is 15), and dividing that by each of the nested tuplets (so 15 ÷ 3 = 5, meaning both of the triplets will fall on every 5th beat, and 15 ÷ 5 = 3, meaning the notes of the quintuplet will fall on every 3rd beat, starting at the one). Let's have the eighth-note triplets be bold, the 64th-note quintuplets be in italics, and the larger triplet notes be in parentheses. When mapped out across 15 subdivisions, that looks like this:

('''1''') 2 '''3''' 4 '''5 ''' (''6'') ''7 8 9 10'' ('''11''') 12 '''13''' 14 '''15'''

== Other Types of Tuplets ==

=== [https://en.wikipedia.org/wiki/Tremolo Tremolo] Tuplets ===
[[File:Tuplet Tremolo.jpg|center|thumb|420x420px]]

Sometimes, a tremolo is written as a tuplet to indicate the number of oscillations. Since bracketing is not needed, only the tuplet number is placed above or below.

Tuplets

2026-07-01T20:38:41Z

Xenprism:

A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic notation only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a power of two, and so a "1/12th note" cannot be expressed using the standard notes with dots or ties. Instead it is notated and named as an "eighth-note triplet". The most common usage of tuplets is as non-standard divisions of beats. For example, in 4/4, 4 and 2 are inherently felt subdivisions, but groupings of 3 and 5 would be considered tuplets. Similarly in 6/8, dotted-quarter-note beats are subdivided in 3 by default, so a grouping of 2 notes per beat could be written as a tuplet. In this case such a grouping could also be written with dotted notes. Tuplets whose numbers are powers of two (duplets, quadruplets, etc) can always be written as dotted notes, but the tuplet form is sometimes preferred in sheet music for readability.

Tuplets generally follow the naming scheme of [https://simple.wikipedia.org/wiki/Tuple_names tuples] at large: a tuplet of 5 is often called a ''quintuplet'' or a ''5let'', while a grouping of seven is called a ''septuplet'' or ''7let''. Additionally, some tuplets have their own unique names (which coincide with their [[Polyrhythms|polyrhythmic]] counterparts), such as the hemiola (3:2). There are numerous ways to label tuplets; a more comprehensive list of names can be found on the Wikipedia tuplet page.

A triplet in 4/4 means that 3 beats are subdivided equally in the space of 4 (or 2). A duplet in 3/4 means that 2 beats are subdivided equally in the space of 3. Sometimes, however, the tuplet doesn't fit the inherent subdivision. When this happens, ''ratio tuplets'' are used, where the subdivision is presented as a ratio between two numbers. A ratio tuplet of 5:3 in 4/4 would mean 5 beats are played in the space of 3 beats ''in'' 4/4. This could also be considered "half" of a 5:3 polyrhythm, where only the 5 is present. Musicians often use polyrhythms to learn how to play complex tuplets effectively because they are fundamentally the same thing.

It should be noted that a tuplet can exist without every beat in the tuplet being played. For example, a drummer could play a quintuplet in 4/4 but only play the 1 and 4. Alternatively, the drummer could play all the beats in the quintuplet but [[Accent|accent]] the 1 and 4.

== Counting Tuplets ==
Tuplets can be counted at lower tempos by finding the LCM (least common multiple) of the original note grouping and the tuplet subdivision, then dividing. So, for example, a 5:4 tuplet has an LCM of 20. This means subdividing the tuplet into 20 beats will ensure that each note in the tuplet lands on ''exactly one beat''. 20 ÷ 5 = 4, and 20 ÷ 4 = 5, so the quintuplet notes will fall on every 4th beat, while the quarter notes fall of every 5th.

If we mark the quintuplet notes as bold numbers and the quarter notes as in italics, we can map out this tuplet as such (notice that the beats coincide):

'''''1''''' 2 3 4 '''5''' ''6'' 7 8 '''9''' 10 ''11'' 12 '''13''' 14 15 ''16'' '''17''' 18 19 20

Although the LCM method helps find the ideal subdivisions of a tuplet, the math isn't necessary to count simpler tuplets since it's pretty intuitive: just reverse the numbers (5:4 = quintuplets on every 4th beat, quarter notes on every 5th beat). However, the LCM method is still useful for more complex tuplets and nested tuplets.

== Notating Tuplets ==
Tuplets are usually notated by bracketing the group of notes and signifying the tuplet type with a number above or below. Sometimes, in beamed notes, only the number is present and the notes aren't bracketed.
[[File:Tuplet Example.jpg|center|thumb|520x520px]]

This applies to ratio tuplets as well. However, there are some differences: often, the note value is displayed next to the ratio above the grouping for clarity:
[[File:Ratio Tuplets Examples.jpg|center|thumb|520x520px]]

On the right, three triplets are played with varying note lengths: eighth notes, quarter notes, and sixteenth notes. We can also see that the beamed notes aren't bracketed in this case.

== Nested Tuplets ==
When a tuplet is present inside of another tuplet, it is called a ''nested tuplet''.
[[File:Nested Tuplets Example.jpg|center|thumb|420x420px]]

Here, two eighth-note triplets and a 64th-note quintuplet make up a larger triplet. This can be counted by finding the LCM of the three nested tuplets (the LCM of 3, 3, and 5 is 15), and dividing that by each of the nested tuplets (so 15 ÷ 3 = 5, meaning both of the triplets will fall on every 5th beat, and 15 ÷ 5 = 3, meaning the notes of the quintuplet will fall on every 3rd beat, starting at the one). Let's have the eighth-note triplets be bold, the 64th-note quintuplets be in italics, and the larger triplet notes be in parentheses. When mapped out across 15 subdivisions, that looks like this:

('''1''') 2 '''3''' 4 '''5 ''' (''6'') ''7 8 9 10'' ('''11''') 12 '''13''' 14 '''15'''

== Other Types of Tuplets ==

=== [https://en.wikipedia.org/wiki/Tremolo Tremolo] Tuplets ===
[[File:Tuplet Tremolo.jpg|center|thumb|420x420px]]

Sometimes, a tremolo is written as a tuplet to indicate the number of oscillations. Since bracketing is not needed, only the tuplet number is placed above or below.

Tuplets

2026-07-01T20:38:10Z

Xenprism:

A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic notation only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a power of two, and so a "1/12th note" cannot be expressed using the standard notes with dots or ties. Instead it is notated and named as an "eighth-note triplet". The most common usage of tuplets is as non-standard divisions of beats. For example, in 4/4, 4 and 2 are inherently felt subdivisions, but groupings of 3 and 5 would be considered tuplets. Similarly in 6/8, dotted-quarter-note beats are subdivided in 3 by default, so a grouping of 2 notes per beat could be written as a tuplet. In this case such a grouping could also be written with dotted notes. Tuplets whose numbers are powers of two (duplets, quadruplets, etc) can always be written as dotted notes, but the tuplet form is sometimes preferred in sheet music for readability.

Tuplets generally follow the naming scheme of [https://simple.wikipedia.org/wiki/Tuple_names tuples] at large: a tuplet of 5 is often called a ''quintuplet'' or a ''5let'', while a grouping of seven is called a ''septuplet'' or ''7let''. Additionally, some tuplets have their own unique names (which coincide with their [[Polyrhythms|polyrhythmic]] counterparts), such as the hemiola (3:2). There are numerous ways to label tuplets; a more comprehensive list of names can be found on the Wikipedia tuplet page.

A triplet in 4/4 means that 3 beats are subdivided equally in the space of 4 (or 2). A duplet in 3/4 means that 2 beats are subdivided equally in the space of 3. Sometimes, however, the tuplet doesn't fit the inherent subdivision. When this happens, ''ratio tuplets'' are used, where the subdivision is presented as a ratio between two numbers. A ratio tuplet of 5:3 in 4/4 would mean 5 beats are played in the space of 3 beats ''in'' 4/4. This could also be considered "half" of a 5:3 polyrhythm, where only the 5 is present. Musicians often use polyrhythms to learn how to play complex tuplets effectively because they are fundamentally the same thing.

It should be noted that a tuplet can exist without every beat in the tuplet being played. For example, a drummer could play a quintuplet in 4/4 but only play the 1 and 4. Alternatively, the drummer could play all the beats in the quintuplet but [[Accent|accent]] the 1 and 4.

== Counting Tuplets ==
Tuplets can be counted at lower tempos by finding the LCM (least common multiple) of the original note grouping and the tuplet subdivision, then dividing. So, for example, a 5:4 tuplet has an LCM of 20. This means subdividing the tuplet into 20 beats will ensure that each note in the tuplet lands on ''exactly one beat''. 20 ÷ 5 = 4, and 20 ÷ 4 = 5, so the quintuplet notes will fall on every 4th beat, while the quarter notes fall of every 5th.

If we mark the quintuplet notes as bold numbers and the quarter notes as in italics, we can map out this tuplet as such (notice that the beats coincide):

'''''1''''' 2 3 4 '''5''' ''6'' 7 8 '''9''' 10 ''11'' 12 '''13''' 14 15 ''16'' '''17''' 18 19 20

Although the LCM method helps find the ideal subdivisions of a tuplet, the math isn't necessary to count simpler tuplets since it's pretty intuitive: just reverse the numbers (5:4 = quintuplets on every 4th beat, quarter notes on every 5th beat). However, the LCM method is still useful for more complex tuplets and nested tuplets.

== Notating Tuplets ==
Tuplets are usually notated by bracketing the group of notes and signifying the tuplet type with a number above or below. Sometimes, in beamed notes, only the number is present and the notes aren't bracketed.
[[File:Tuplet Examples.jpg|right|thumb|520x520px]]

This applies to ratio tuplets as well. However, there are some differences: often, the note value is displayed next to the ratio above the grouping for clarity:
[[File:Ratio Tuplets Examples.jpg|center|thumb|520x520px]]

On the right, three triplets are played with varying note lengths: eighth notes, quarter notes, and sixteenth notes. We can also see that the beamed notes aren't bracketed in this case.

== Nested Tuplets ==
When a tuplet is present inside of another tuplet, it is called a ''nested tuplet''.
[[File:Nested Tuplets Example.jpg|center|thumb|420x420px]]

Here, two eighth-note triplets and a 64th-note quintuplet make up a larger triplet. This can be counted by finding the LCM of the three nested tuplets (the LCM of 3, 3, and 5 is 15), and dividing that by each of the nested tuplets (so 15 ÷ 3 = 5, meaning both of the triplets will fall on every 5th beat, and 15 ÷ 5 = 3, meaning the notes of the quintuplet will fall on every 3rd beat, starting at the one). Let's have the eighth-note triplets be bold, the 64th-note quintuplets be in italics, and the larger triplet notes be in parentheses. When mapped out across 15 subdivisions, that looks like this:

('''1''') 2 '''3''' 4 '''5 ''' (''6'') ''7 8 9 10'' ('''11''') 12 '''13''' 14 '''15'''

== Other Types of Tuplets ==

=== [https://en.wikipedia.org/wiki/Tremolo Tremolo] Tuplets ===
[[File:Tuplet Tremolo.jpg|center|thumb|420x420px]]

Sometimes, a tremolo is written as a tuplet to indicate the number of oscillations. Since bracketing is not needed, only the tuplet number is placed above or below.

Tuplets

2026-07-01T20:34:19Z

Xenprism:

A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic notation only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a power of two, and so a "1/12th note" cannot be expressed using the standard notes with dots or ties. Instead it is notated and named as an "eighth-note triplet". The most common usage of tuplets is as non-standard divisions of beats. For example, in 4/4, 4 and 2 are inherently felt subdivisions, but groupings of 3 and 5 would be considered tuplets. Similarly in 6/8, dotted-quarter-note beats are subdivided in 3 by default, so a grouping of 2 notes per beat could be written as a tuplet. In this case such a grouping could also be written with dotted notes. Tuplets whose numbers are powers of two (duplets, quadruplets, etc) can always be written as dotted notes, but the tuplet form is sometimes preferred in sheet music for readability.

Tuplets generally follow the naming scheme of [https://simple.wikipedia.org/wiki/Tuple_names tuples] at large: a tuplet of 5 is often called a ''quintuplet'' or a ''5let'', while a grouping of seven is called a ''septuplet'' or ''7let''. Additionally, some tuplets have their own unique names (which coincide with their [[Polyrhythms|polyrhythmic]] counterparts), such as the hemiola (3:2). There are numerous ways to label tuplets; a more comprehensive list of names can be found on the Wikipedia tuplet page.

A triplet in 4/4 means that 3 beats are subdivided equally in the space of 4 (or 2). A duplet in 3/4 means that 2 beats are subdivided equally in the space of 3. Sometimes, however, the tuplet doesn't fit the inherent subdivision. When this happens, ''ratio tuplets'' are used, where the subdivision is presented as a ratio between two numbers. A ratio tuplet of 5:3 in 4/4 would mean 5 beats are played in the space of 3 beats ''in'' 4/4. This could also be considered "half" of a 5:3 polyrhythm, where only the 5 is present. Musicians often use polyrhythms to learn how to play complex tuplets effectively because they are fundamentally the same thing.

It should be noted that a tuplet can exist without every beat in the tuplet being played. For example, a drummer could play a quintuplet in 4/4 but only play the 1 and 4. Alternatively, the drummer could play all the beats in the quintuplet but [[Accent|accent]] the 1 and 4.

== Counting Tuplets ==
Tuplets can be counted at lower tempos by finding the LCM (least common multiple) of the original note grouping and the tuplet subdivision, then dividing. So, for example, a 5:4 tuplet has an LCM of 20. This means subdividing the tuplet into 20 beats will ensure that each note in the tuplet lands on ''exactly one beat''. 20 ÷ 5 = 4, and 20 ÷ 4 = 5, so the quintuplet notes will fall on every 4th beat, while the quarter notes fall of every 5th.

If we mark the quintuplet notes as bold numbers and the quarter notes as in italics, we can map out this tuplet as such (notice that the beats coincide):

'''''1''''' 2 3 4 '''5''' ''6'' 7 8 '''9''' 10 ''11'' 12 '''13''' 14 15 ''16'' '''17''' 18 19 20

Although the LCM method helps find the ideal subdivisions of a tuplet, the math isn't necessary to count simpler tuplets since it's pretty intuitive: just reverse the numbers (5:4 = quintuplets on every 4th beat, quarter notes on every 5th beat). However, the LCM method is still useful for more complex tuplets and nested tuplets.

== Notating Tuplets ==
Tuplets are usually notated by bracketing the group of notes and signifying the tuplet type with a number above or below. Sometimes, in beamed notes, only the number is present and the notes aren't bracketed.
[[File:Tuplet example.jpg|right|thumb|520x520px]]

This applies to ratio tuplets as well. However, there are some differences: often, the note value is displayed next to the ratio above the grouping for clarity:
[[File:Ratio Tuplet Examples.jpg|center|thumb|420x420px]]

On the right, three triplets are played with varying note lengths: eighth notes, quarter notes, and sixteenth notes. We can also see that the beamed notes aren't bracketed in this case.

== Nested Tuplets ==
When a tuplet is present inside of another tuplet, it is called a ''nested tuplet''.
[[File:Nested Tuplets Example.jpg|center|thumb|420x420px]]

Here, two eighth-note triplets and a 64th-note quintuplet make up a larger triplet. This can be counted by finding the LCM of the three nested tuplets (the LCM of 3, 3, and 5 is 15), and dividing that by each of the nested tuplets (so 15 ÷ 3 = 5, meaning both of the triplets will fall on every 5th beat, and 15 ÷ 5 = 3, meaning the notes of the quintuplet will fall on every 3rd beat, starting at the one). Let's have the eighth-note triplets be bold, the 64th-note quintuplets be in italics, and the larger triplet notes be in parentheses. When mapped out across 15 subdivisions, that looks like this:

('''1''') 2 '''3''' 4 '''5 ''' (''6'') ''7 8 9 10'' ('''11''') 12 '''13''' 14 '''15'''

== Other Types of Tuplets ==

=== [https://en.wikipedia.org/wiki/Tremolo Tremolo] Tuplets ===
[[File:Tuplet Tremolo.jpg|center|thumb|420x420px]]

Sometimes, a tremolo is written as a tuplet to indicate the number of oscillations. Since bracketing is not needed, only the tuplet number is placed above or below.

File:Tuplet Examples.jpg

2026-07-01T20:34:02Z

Xenprism:

Source: Global Guitar Network

Tuplets

2026-07-01T20:26:36Z

Xenprism:

A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic notation only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a power of two, and so a "1/12th note" cannot be expressed using the standard notes with dots or ties. Instead it is notated and named as an "eighth-note triplet". The most common usage of tuplets is as non-standard divisions of beats. For example, in 4/4, 4 and 2 are inherently felt subdivisions, but groupings of 3 and 5 would be considered tuplets. Similarly in 6/8, dotted-quarter-note beats are subdivided in 3 by default, so a grouping of 2 notes per beat could be written as a tuplet. In this case such a grouping could also be written with dotted notes. Tuplets whose numbers are powers of two (duplets, quadruplets, etc) can always be written as dotted notes, but the tuplet form is sometimes preferred in sheet music for readability.

Tuplets generally follow the naming scheme of [https://simple.wikipedia.org/wiki/Tuple_names tuples] at large: a tuplet of 5 is often called a ''quintuplet'' or a ''5let'', while a grouping of seven is called a ''septuplet'' or ''7let''. Additionally, some tuplets have their own unique names (which coincide with their [[Polyrhythms|polyrhythmic]] counterparts), such as the hemiola (3:2). There are numerous ways to label tuplets; a more comprehensive list of names can be found on the Wikipedia tuplet page.

A triplet in 4/4 means that 3 beats are subdivided equally in the space of 4 (or 2). A duplet in 3/4 means that 2 beats are subdivided equally in the space of 3. Sometimes, however, the tuplet doesn't fit the inherent subdivision. When this happens, ''ratio tuplets'' are used, where the subdivision is presented as a ratio between two numbers. A ratio tuplet of 5:3 in 4/4 would mean 5 beats are played in the space of 3 beats ''in'' 4/4. This could also be considered "half" of a 5:3 polyrhythm, where only the 5 is present. Musicians often use polyrhythms to learn how to play complex tuplets effectively because they are fundamentally the same thing.

It should be noted that a tuplet can exist without every beat in the tuplet being played. For example, a drummer could play a quintuplet in 4/4 but only play the 1 and 4. Alternatively, the drummer could play all the beats in the quintuplet but [[Accent|accent]] the 1 and 4.

== Counting Tuplets ==
Tuplets can be counted at lower tempos by finding the LCM (least common multiple) of the original note grouping and the tuplet subdivision, then dividing. So, for example, a 5:4 tuplet has an LCM of 20. This means subdividing the tuplet into 20 beats will ensure that each note in the tuplet lands on ''exactly one beat''. 20 ÷ 5 = 4, and 20 ÷ 4 = 5, so the quintuplet notes will fall on every 4th beat, while the quarter notes fall of every 5th.

If we mark the quintuplet notes as bold numbers and the quarter notes as in italics, we can map out this tuplet as such (notice that the beats coincide):

'''''1''''' 2 3 4 '''5''' ''6'' 7 8 '''9''' 10 ''11'' 12 '''13''' 14 15 ''16'' '''17''' 18 19 20

Although the LCM method helps find the ideal subdivisions of a tuplet, the math isn't necessary to count simpler tuplets since it's pretty intuitive: just reverse the numbers (5:4 = quintuplets on every 4th beat, quarter notes on every 5th beat). However, the LCM method is still useful for more complex tuplets and nested tuplets.

== Notating Tuplets ==
Tuplets are usually notated by bracketing the group of notes and signifying the tuplet type with a number above or below. Sometimes, in beamed notes, only the number is present and the notes aren't bracketed.
[[File:Tuplet example.jpg|right|thumb|520x520px]]

This applies to ratio tuplets as well. However, there are some differences: often, the note value is displayed next to the ratio above the grouping for clarity:
[[File:Ratio Tuplets Example.jpg|center|thumb|420x420px]]

On the right, three triplets are played with varying note lengths: eighth notes, quarter notes, and sixteenth notes. We can also see that the beamed notes aren't bracketed in this case.

== Nested Tuplets ==
When a tuplet is present inside of another tuplet, it is called a ''nested tuplet''.
[[File:Nested Tuplets Example.jpg|center|thumb|420x420px]]

Here, two eighth-note triplets and a 64th-note quintuplet make up a larger triplet. This can be counted by finding the LCM of the three nested tuplets (the LCM of 3, 3, and 5 is 15), and dividing that by each of the nested tuplets (so 15 ÷ 3 = 5, meaning both of the triplets will fall on every 5th beat, and 15 ÷ 5 = 3, meaning the notes of the quintuplet will fall on every 3rd beat, starting at the one). Let's have the eighth-note triplets be bold, the 64th-note quintuplets be in italics, and the larger triplet notes be in parentheses. When mapped out across 15 subdivisions, that looks like this:

('''1''') 2 '''3''' 4 '''5 ''' (''6'') ''7 8 9 10'' ('''11''') 12 '''13''' 14 '''15'''

== Other Types of Tuplets ==

=== [https://en.wikipedia.org/wiki/Tremolo Tremolo] Tuplets ===
[[File:Tuplet Tremolo.jpg|center|thumb|420x420px]]

Sometimes, a tremolo is written as a tuplet to indicate the number of oscillations. Since bracketing is not needed, only the tuplet number is placed above or below.

Tuplets

2026-07-01T20:26:14Z

Xenprism:

A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic notation only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a power of two, and so a "1/12th note" cannot be expressed using the standard notes with dots or ties. Instead it is notated and named as an "eighth-note triplet". The most common usage of tuplets is as non-standard divisions of beats. For example, in 4/4, 4 and 2 are inherently felt subdivisions, but groupings of 3 and 5 would be considered tuplets. Similarly in 6/8, dotted-quarter-note beats are subdivided in 3 by default, so a grouping of 2 notes per beat could be written as a tuplet. In this case such a grouping could also be written with dotted notes. Tuplets whose numbers are powers of two (duplets, quadruplets, etc) can always be written as dotted notes, but the tuplet form is sometimes preferred in sheet music for readability.

Tuplets generally follow the naming scheme of [https://simple.wikipedia.org/wiki/Tuple_names tuples] at large: a tuplet of 5 is often called a ''quintuplet'' or a ''5let'', while a grouping of seven is called a ''septuplet'' or ''7let''. Additionally, some tuplets have their own unique names (which coincide with their [[Polyrhythms|polyrhythmic]] counterparts), such as the hemiola (3:2). There are numerous ways to label tuplets; a more comprehensive list of names can be found on the Wikipedia tuplet page.

A triplet in 4/4 means that 3 beats are subdivided equally in the space of 4 (or 2). A duplet in 3/4 means that 2 beats are subdivided equally in the space of 3. Sometimes, however, the tuplet doesn't fit the inherent subdivision. When this happens, ''ratio tuplets'' are used, where the subdivision is presented as a ratio between two numbers. A ratio tuplet of 5:3 in 4/4 would mean 5 beats are played in the space of 3 beats ''in'' 4/4. This could also be considered "half" of a 5:3 polyrhythm, where only the 5 is present. Musicians often use polyrhythms to learn how to play complex tuplets effectively because they are fundamentally the same thing.

It should be noted that a tuplet can exist without every beat in the tuplet being played. For example, a drummer could play a quintuplet in 4/4 but only play the 1 and 4. Alternatively, the drummer could play all the beats in the quintuplet but [[Accent|accent]] the 1 and 4.

== Counting Tuplets ==
Tuplets can be counted at lower tempos by finding the LCM (least common multiple) of the original note grouping and the tuplet subdivision, then dividing. So, for example, a 5:4 tuplet has an LCM of 20. This means subdividing the tuplet into 20 beats will ensure that each note in the tuplet lands on ''exactly one beat''. 20 ÷ 5 = 4, and 20 ÷ 4 = 5, so the quintuplet notes will fall on every 4th beat, while the quarter notes fall of every 5th.

If we mark the quintuplet notes as bold numbers and the quarter notes as in italics, we can map out this tuplet as such (notice that the beats coincide):

'''''1''''' 2 3 4 '''5''' ''6'' 7 8 '''9''' 10 ''11'' 12 '''13''' 14 15 ''16'' '''17''' 18 19 20

Although the LCM method helps find the ideal subdivisions of a tuplet, the math isn't necessary to count simpler tuplets since it's pretty intuitive: just reverse the numbers (5:4 = quintuplets on every 4th beat, quarter notes on every 5th beat). However, the LCM method is still useful for more complex tuplets and nested tuplets.

== Notating Tuplets ==
Tuplets are usually notated by bracketing the group of notes and signifying the tuplet type with a number above or below. Sometimes, in beamed notes, only the number is present and the notes aren't bracketed.
[[File:Tuplet Example.jpg|right|thumb|520x520px]]

This applies to ratio tuplets as well. However, there are some differences: often, the note value is displayed next to the ratio above the grouping for clarity:
[[File:Ratio Tuplets Example.jpg|center|thumb|420x420px]]

On the right, three triplets are played with varying note lengths: eighth notes, quarter notes, and sixteenth notes. We can also see that the beamed notes aren't bracketed in this case.

== Nested Tuplets ==
When a tuplet is present inside of another tuplet, it is called a ''nested tuplet''.
[[File:Nested Tuplets example.jpg|center|thumb|420x420px]]

Here, two eighth-note triplets and a 64th-note quintuplet make up a larger triplet. This can be counted by finding the LCM of the three nested tuplets (the LCM of 3, 3, and 5 is 15), and dividing that by each of the nested tuplets (so 15 ÷ 3 = 5, meaning both of the triplets will fall on every 5th beat, and 15 ÷ 5 = 3, meaning the notes of the quintuplet will fall on every 3rd beat, starting at the one). Let's have the eighth-note triplets be bold, the 64th-note quintuplets be in italics, and the larger triplet notes be in parentheses. When mapped out across 15 subdivisions, that looks like this:

('''1''') 2 '''3''' 4 '''5 ''' (''6'') ''7 8 9 10'' ('''11''') 12 '''13''' 14 '''15'''

== Other Types of Tuplets ==

=== [https://en.wikipedia.org/wiki/Tremolo Tremolo] Tuplets ===
[[File:Tuplet Tremolo.jpg|center|thumb|420x420px]]

Sometimes, a tremolo is written as a tuplet to indicate the number of oscillations. Since bracketing is not needed, only the tuplet number is placed above or below.

Tuplets

2026-07-01T20:25:57Z

Xenprism:

A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic notation only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a power of two, and so a "1/12th note" cannot be expressed using the standard notes with dots or ties. Instead it is notated and named as an "eighth-note triplet". The most common usage of tuplets is as non-standard divisions of beats. For example, in 4/4, 4 and 2 are inherently felt subdivisions, but groupings of 3 and 5 would be considered tuplets. Similarly in 6/8, dotted-quarter-note beats are subdivided in 3 by default, so a grouping of 2 notes per beat could be written as a tuplet. In this case such a grouping could also be written with dotted notes. Tuplets whose numbers are powers of two (duplets, quadruplets, etc) can always be written as dotted notes, but the tuplet form is sometimes preferred in sheet music for readability.

Tuplets generally follow the naming scheme of [https://simple.wikipedia.org/wiki/Tuple_names tuples] at large: a tuplet of 5 is often called a ''quintuplet'' or a ''5let'', while a grouping of seven is called a ''septuplet'' or ''7let''. Additionally, some tuplets have their own unique names (which coincide with their [[Polyrhythms|polyrhythmic]] counterparts), such as the hemiola (3:2). There are numerous ways to label tuplets; a more comprehensive list of names can be found on the Wikipedia tuplet page.

A triplet in 4/4 means that 3 beats are subdivided equally in the space of 4 (or 2). A duplet in 3/4 means that 2 beats are subdivided equally in the space of 3. Sometimes, however, the tuplet doesn't fit the inherent subdivision. When this happens, ''ratio tuplets'' are used, where the subdivision is presented as a ratio between two numbers. A ratio tuplet of 5:3 in 4/4 would mean 5 beats are played in the space of 3 beats ''in'' 4/4. This could also be considered "half" of a 5:3 polyrhythm, where only the 5 is present. Musicians often use polyrhythms to learn how to play complex tuplets effectively because they are fundamentally the same thing.

It should be noted that a tuplet can exist without every beat in the tuplet being played. For example, a drummer could play a quintuplet in 4/4 but only play the 1 and 4. Alternatively, the drummer could play all the beats in the quintuplet but [[Accent|accent]] the 1 and 4.

== Counting Tuplets ==
Tuplets can be counted at lower tempos by finding the LCM (least common multiple) of the original note grouping and the tuplet subdivision, then dividing. So, for example, a 5:4 tuplet has an LCM of 20. This means subdividing the tuplet into 20 beats will ensure that each note in the tuplet lands on ''exactly one beat''. 20 ÷ 5 = 4, and 20 ÷ 4 = 5, so the quintuplet notes will fall on every 4th beat, while the quarter notes fall of every 5th.

If we mark the quintuplet notes as bold numbers and the quarter notes as in italics, we can map out this tuplet as such (notice that the beats coincide):

'''''1''''' 2 3 4 '''5''' ''6'' 7 8 '''9''' 10 ''11'' 12 '''13''' 14 15 ''16'' '''17''' 18 19 20

Although the LCM method helps find the ideal subdivisions of a tuplet, the math isn't necessary to count simpler tuplets since it's pretty intuitive: just reverse the numbers (5:4 = quintuplets on every 4th beat, quarter notes on every 5th beat). However, the LCM method is still useful for more complex tuplets and nested tuplets.

== Notating Tuplets ==
Tuplets are usually notated by bracketing the group of notes and signifying the tuplet type with a number above or below. Sometimes, in beamed notes, only the number is present and the notes aren't bracketed.
[[File:Tuplet Example.jpg|right|thumb|520x520px]]

This applies to ratio tuplets as well. However, there are some differences: often, the note value is displayed next to the ratio above the grouping for clarity:
[[File:Ratio Tuplets Example.jpg|center|thumb|420x420px]]

On the right, three triplets are played with varying note lengths: eighth notes, quarter notes, and sixteenth notes. We can also see that the beamed notes aren't bracketed in this case.

== Nested Tuplets ==
When a tuplet is present inside of another tuplet, it is called a ''nested tuplet''.
[[File:Nested Tuplets Example.jpg|center|thumb|420x420px]]

Here, two eighth-note triplets and a 64th-note quintuplet make up a larger triplet. This can be counted by finding the LCM of the three nested tuplets (the LCM of 3, 3, and 5 is 15), and dividing that by each of the nested tuplets (so 15 ÷ 3 = 5, meaning both of the triplets will fall on every 5th beat, and 15 ÷ 5 = 3, meaning the notes of the quintuplet will fall on every 3rd beat, starting at the one). Let's have the eighth-note triplets be bold, the 64th-note quintuplets be in italics, and the larger triplet notes be in parentheses. When mapped out across 15 subdivisions, that looks like this:

('''1''') 2 '''3''' 4 '''5 ''' (''6'') ''7 8 9 10'' ('''11''') 12 '''13''' 14 '''15'''

== Other Types of Tuplets ==

=== [https://en.wikipedia.org/wiki/Tremolo Tremolo] Tuplets ===
[[File:Tuplet Tremolo.jpg|center|thumb|420x420px]]

Sometimes, a tremolo is written as a tuplet to indicate the number of oscillations. Since bracketing is not needed, only the tuplet number is placed above or below.

Tuplets

2026-07-01T20:21:27Z

Xenprism:

A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic notation only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a power of two, and so a "1/12th note" cannot be expressed using the standard notes with dots or ties. Instead it is notated and named as an "eighth-note triplet". The most common usage of tuplets is as non-standard divisions of beats. For example, in 4/4, 4 and 2 are inherently felt subdivisions, but groupings of 3 and 5 would be considered tuplets. Similarly in 6/8, dotted-quarter-note beats are subdivided in 3 by default, so a grouping of 2 notes per beat could be written as a tuplet. In this case such a grouping could also be written with dotted notes. Tuplets whose numbers are powers of two (duplets, quadruplets, etc) can always be written as dotted notes, but the tuplet form is sometimes preferred in sheet music for readability.

Tuplets generally follow the naming scheme of [https://simple.wikipedia.org/wiki/Tuple_names tuples] at large: a tuplet of 5 is often called a ''quintuplet'' or a ''5let'', while a grouping of seven is called a ''septuplet'' or ''7let''. Additionally, some tuplets have their own unique names (which coincide with their [[Polyrhythms|polyrhythmic]] counterparts), such as the hemiola (3:2). There are numerous ways to label tuplets; a more comprehensive list of names can be found on the Wikipedia tuplet page.

A triplet in 4/4 means that 3 beats are subdivided equally in the space of 4 (or 2). A duplet in 3/4 means that 2 beats are subdivided equally in the space of 3. Sometimes, however, the tuplet doesn't fit the inherent subdivision. When this happens, ''ratio tuplets'' are used, where the subdivision is presented as a ratio between two numbers. A ratio tuplet of 5:3 in 4/4 would mean 5 beats are played in the space of 3 beats ''in'' 4/4. This could also be considered "half" of a 5:3 polyrhythm, where only the 5 is present. Musicians often use polyrhythms to learn how to play complex tuplets effectively because they are fundamentally the same thing.

It should be noted that a tuplet can exist without every beat in the tuplet being played. For example, a drummer could play a quintuplet in 4/4 but only play the 1 and 4. Alternatively, the drummer could play all the beats in the quintuplet but [[Accent|accent]] the 1 and 4.

== Counting Tuplets ==
Tuplets can be counted at lower tempos by finding the LCM (least common multiple) of the original note grouping and the tuplet subdivision, then dividing. So, for example, a 5:4 tuplet has an LCM of 20. This means subdividing the tuplet into 20 beats will ensure that each note in the tuplet lands on ''exactly one beat''. 20 ÷ 5 = 4, and 20 ÷ 4 = 5, so the quintuplet notes will fall on every 4th beat, while the quarter notes fall of every 5th.

If we mark the quintuplet notes as bold numbers and the quarter notes as in italics, we can map out this tuplet as such (notice that the beats coincide):

'''''1''''' 2 3 4 '''5''' ''6'' 7 8 '''9''' 10 ''11'' 12 '''13''' 14 15 ''16'' '''17''' 18 19 20

Although the LCM method helps find the ideal subdivisions of a tuplet, the math isn't necessary to count simpler tuplets since it's pretty intuitive: just reverse the numbers (5:4 = quintuplets on every 4th beat, quarter notes on every 5th beat). However, the LCM method is still useful for more complex tuplets and nested tuplets.

== Notating Tuplets ==
Tuplets are usually notated by bracketing the group of notes and signifying the tuplet type with a number above or below. Sometimes, in beamed notes, only the number is present and the notes aren't bracketed.
[[File:Tuplet Examples.jpg|right|thumb|520x520px]]

This applies to ratio tuplets as well. However, there are some differences: often, the note value is displayed next to the ratio above the grouping for clarity:
[[File:Ratio Tuplets Example.jpg|right|thumb|520x520px]]

On the right, three triplets are played with varying note lengths: eighth notes, quarter notes, and sixteenth notes. We can also see that the beamed notes aren't bracketed in this case.

== Nested Tuplets ==
When a tuplet is present inside of another tuplet, it is called a ''nested tuplet''.
[[File:Nested Tuplets Example.jpg|center|thumb|420x420px]]

Here, two eighth-note triplets and a 64th-note quintuplet make up a larger triplet. This can be counted by finding the LCM of the three nested tuplets (the LCM of 3, 3, and 5 is 15), and dividing that by each of the nested tuplets (so 15 ÷ 3 = 5, meaning both of the triplets will fall on every 5th beat, and 15 ÷ 5 = 3, meaning the notes of the quintuplet will fall on every 3rd beat, starting at the one). Let's have the eighth-note triplets be bold, the 64th-note quintuplets be in italics, and the larger triplet notes be in parentheses. When mapped out across 15 subdivisions, that looks like this:

('''1''') 2 '''3''' 4 '''5 ''' (''6'') ''7 8 9 10'' ('''11''') 12 '''13''' 14 '''15'''

== Other Types of Tuplets ==

=== [https://en.wikipedia.org/wiki/Tremolo Tremolo] Tuplets ===
[[File:Tuplet Tremolo.jpg|center|thumb|420x420px]]

Sometimes, a tremolo is written as a tuplet to indicate the number of oscillations. Since bracketing is not needed, only the tuplet number is placed above or below.

Tuplets

2026-07-01T20:20:10Z

Xenprism:

A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic notation only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a power of two, and so a "1/12th note" cannot be expressed using the standard notes with dots or ties. Instead it is notated and named as an "eighth-note triplet". The most common usage of tuplets is as non-standard divisions of beats. For example, in 4/4, 4 and 2 are inherently felt subdivisions, but groupings of 3 and 5 would be considered tuplets. Similarly in 6/8, dotted-quarter-note beats are subdivided in 3 by default, so a grouping of 2 notes per beat could be written as a tuplet. In this case such a grouping could also be written with dotted notes. Tuplets whose numbers are powers of two (duplets, quadruplets, etc) can always be written as dotted notes, but the tuplet form is sometimes preferred in sheet music for readability.

Tuplets generally follow the naming scheme of [https://simple.wikipedia.org/wiki/Tuple_names tuples] at large: a tuplet of 5 is often called a ''quintuplet'' or a ''5let'', while a grouping of seven is called a ''septuplet'' or ''7let''. Additionally, some tuplets have their own unique names (which coincide with their [[Polyrhythms|polyrhythmic]] counterparts), such as the hemiola (3:2). There are numerous ways to label tuplets; a more comprehensive list of names can be found on the Wikipedia tuplet page.

A triplet in 4/4 means that 3 beats are subdivided equally in the space of 4 (or 2). A duplet in 3/4 means that 2 beats are subdivided equally in the space of 3. Sometimes, however, the tuplet doesn't fit the inherent subdivision. When this happens, ''ratio tuplets'' are used, where the subdivision is presented as a ratio between two numbers. A ratio tuplet of 5:3 in 4/4 would mean 5 beats are played in the space of 3 beats ''in'' 4/4. This could also be considered "half" of a 5:3 polyrhythm, where only the 5 is present. Musicians often use polyrhythms to learn how to play complex tuplets effectively because they are fundamentally the same thing.

It should be noted that a tuplet can exist without every beat in the tuplet being played. For example, a drummer could play a quintuplet in 4/4 but only play the 1 and 4. Alternatively, the drummer could play all the beats in the quintuplet but [[accent]] the 1 and 4.

== Counting Tuplets ==
Tuplets can be counted at lower tempos by finding the LCM (least common multiple) of the original note grouping and the tuplet subdivision, then dividing. So, for example, a 5:4 tuplet has an LCM of 20. This means subdividing the tuplet into 20 beats will ensure that each note in the tuplet lands on ''exactly one beat''. 20 ÷ 5 = 4, and 20 ÷ 4 = 5, so the quintuplet notes will fall on every 4th beat, while the quarter notes fall of every 5th.

If we mark the quintuplet notes as bold numbers and the quarter notes as in italics, we can map out this tuplet as such (notice that the beats coincide):

'''''1''''' 2 3 4 '''5''' ''6'' 7 8 '''9''' 10 ''11'' 12 '''13''' 14 15 ''16'' '''17''' 18 19 20

Although the LCM method helps find the ideal subdivisions of a tuplet, the math isn't necessary to count simpler tuplets since it's pretty intuitive: just reverse the numbers (5:4 = quintuplets on every 4th beat, quarter notes on every 5th beat). However, the LCM method is still useful for more complex tuplets and nested tuplets (see the "Nested Tuplets" section).

== Notating Tuplets ==
Tuplets are usually notated by bracketing the group of notes and signifying the tuplet type with a number above or below. Sometimes, in beamed notes, only the number is present and the notes aren't bracketed.
[[File:Tuplet Examples.jpg|right|thumb|520x520px]]

This applies to ratio tuplets as well. However, there are some differences: often, the note value is displayed next to the ratio above the grouping for clarity:
[[File:Ratio Tuplets Example.jpg|right|thumb|520x520px]]

On the right, three triplets are played with varying note lengths: eighth notes, quarter notes, and sixteenth notes. We can also see that the beamed notes aren't bracketed in this case.

== Nested Tuplets ==
When a tuplet is present inside of another tuplet, it is called a ''nested tuplet''.
[[File:Nested Tuplets Example.jpg|right|thumb|520x520px]]

Here, two eighth-note triplets and a 64th-note quintuplet make up a larger triplet. This can be counted by finding the LCM of the three nested tuplets (the LCM of 3, 3, and 5 is 15), and dividing that by each of the nested tuplets (so 15 ÷ 3 = 5, meaning both of the triplets will fall on every 5th beat, and 15 ÷ 5 = 3, meaning the notes of the quintuplet will fall on every 3rd beat, starting at the one). Let's have the eighth-note triplets be bold, the 64th-note quintuplets be in italics, and the larger triplet notes be in parentheses. When mapped out across 15 subdivisions, that looks like this:

('''1''') 2 '''3''' 4 '''5 ''' (''6'') ''7 8 9 10'' ('''11''') 12 '''13''' 14 '''15'''

== Other Types of Tuplets ==

=== [https://en.wikipedia.org/wiki/Tremolo Tremolo] Tuplets ===
[[File:Tuplet Tremolo.jpg|right|thumb|520x520px]]

Sometimes, a tremolo is written as a tuplet to indicate the number of oscillations. Since bracketing is not needed, only the tuplet number is placed above or below.

Tuplets

2026-07-01T20:19:06Z

Xenprism: Created page with "A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic notation only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a..."

A '''tuplet''' is a rhythm whose basis is a value that is not a multiple of a power of 2, or a rhythm that subdivides a beat in a non-standard way with respect to the time signature. Because western rhythmic [[Intro to Rhythm|notation]] only has dedicated symbols for powers of 2 (whole notes, half notes, quarter notes, eighth notes, etc) tuplets are necessary to express values that are not multiples of powers of 2. For example: 1/12 of a whole note is not a multiple of a power of two, and so a "1/12th note" cannot be expressed using the standard notes with dots or ties. Instead it is notated and named as an "eighth-note triplet". The most common usage of tuplets is as non-standard divisions of beats. For example, in 4/4, 4 and 2 are inherently felt subdivisions, but groupings of 3 and 5 would be considered tuplets. Similarly in 6/8, dotted-quarter-note beats are subdivided in 3 by default, so a grouping of 2 notes per beat could be written as a tuplet. In this case such a grouping could also be written with dotted notes. Tuplets whose numbers are powers of two (duplets, quadruplets, etc) can always be written as dotted notes, but the tuplet form is sometimes preferred in sheet music for readability.

Tuplets generally follow the naming scheme of [https://simple.wikipedia.org/wiki/Tuple_names tuples] at large: a tuplet of 5 is often called a ''quintuplet'' or a ''5let'', while a grouping of seven is called a ''septuplet'' or ''7let''. Additionally, some tuplets have their own unique names (which coincide with their [[Polyrhythms|polyrhythmic]] counterparts), such as the hemiola (3:2). There are numerous ways to label tuplets; a more comprehensive list of names can be found on the Wikipedia tuplet page.

A triplet in 4/4 means that 3 beats are subdivided equally in the space of 4 (or 2). A duplet in 3/4 means that 2 beats are subdivided equally in the space of 3. Sometimes, however, the tuplet doesn't fit the inherent subdivision. When this happens, ''ratio tuplets'' are used, where the subdivision is presented as a ratio between two numbers. A ratio tuplet of 5:3 in 4/4 would mean 5 beats are played in the space of 3 beats ''in'' 4/4. This could also be considered "half" of a 5:3 polyrhythm, where only the 5 is present. Musicians often use polyrhythms to learn how to play complex tuplets effectively because they are fundamentally the same thing.

It should be noted that a tuplet can exist without every beat in the tuplet being played. For example, a drummer could play a quintuplet in 4/4 but only play the 1 and 4. Alternatively, the drummer could play all the beats in the quintuplet but [[accent]] the 1 and 4.

== Counting Tuplets ==
Tuplets can be counted at lower tempos by finding the LCM (least common multiple) of the original note grouping and the tuplet subdivision, then dividing. So, for example, a 5:4 tuplet has an LCM of 20. This means subdividing the tuplet into 20 beats will ensure that each note in the tuplet lands on ''exactly one beat''. 20 ÷ 5 = 4, and 20 ÷ 4 = 5, so the quintuplet notes will fall on every 4th beat, while the quarter notes fall of every 5th.

If we mark the quintuplet notes as bold numbers and the quarter notes as in italics, we can map out this tuplet as such (notice that the beats coincide):

'''''1''''' 2 3 4 '''5''' ''6'' 7 8 '''9''' 10 ''11'' 12 '''13''' 14 15 ''16'' '''17''' 18 19 20

Although the LCM method helps find the ideal subdivisions of a tuplet, the math isn't necessary to count simpler tuplets since it's pretty intuitive: just reverse the numbers (5:4 = quintuplets on every 4th beat, quarter notes on every 5th beat). However, the LCM method is still useful for more complex tuplets and nested tuplets (see the "Nested Tuplets" section).

== Notating Tuplets ==
Tuplets are usually notated by bracketing the group of notes and signifying the tuplet type with a number above or below. Sometimes, in beamed notes, only the number is present and the notes aren't bracketed.
[[File:Tuplet Examples.jpg|right|thumb|520x520px]]

This applies to ratio tuplets as well. However, there are some differences: often, the note value is displayed next to the ratio above the grouping for clarity:
[[File:Ratio Tuplets Example.jpg|right|thumb|520x520px]]

On the right, three triplets are played with varying note lengths: eighth notes, quarter notes, and sixteenth notes. We can also see that the beamed notes aren't bracketed in this case.

== Nested Tuplets ==
When a tuplet is present inside of another tuplet, it is called a ''nested tuplet''.
[[File:Nested Tuplets Example.jpg|right|thumb|520x520px]]

Here, two eighth-note triplets and a 64th-note quintuplet make up a larger triplet. This can be counted by finding the LCM of the three nested tuplets (the LCM of 3, 3, and 5 is 15), and dividing that by each of the nested tuplets (so 15 ÷ 3 = 5, meaning both of the triplets will fall on every 5th beat, and 15 ÷ 5 = 3, meaning the notes of the quintuplet will fall on every 3rd beat, starting at the one). Let's have the eighth-note triplets be bold, the 64th-note quintuplets be in italics, and the larger triplet notes be in parentheses. When mapped out across 15 subdivisions, that looks like this:

('''1''') 2 '''3''' 4 '''5 ''' (''6'') ''7 8 9 10'' ('''11''') 12 '''13''' 14 '''15'''

== Other Types of Tuplets ==

=== [https://en.wikipedia.org/wiki/Tremolo Tremolo] Tuplets ===
[[File:Tuplet Tremolo.png|right|thumb|520x520px]]

Sometimes, a tremolo is written as a tuplet to indicate the number of oscillations. Since bracketing is not needed, only the tuplet number is placed above or below.

File:Tuplet Tremolo.jpg

2026-07-01T20:18:59Z

Xenprism:

Source: forums.steinberg.net

File:Nested Tuplets Example.jpg

2026-07-01T20:17:50Z

Xenprism:

Source: forums.steinberg.net

File:Ratio Tuplets Example.jpg

2026-07-01T20:15:08Z

Xenprism:

Source: forums.steinberg.net

File:Tuplets example.jpg

2026-07-01T20:14:10Z

Xenprism:

source: Global Guitar Network

Accent

2026-07-01T19:50:30Z

Xenprism: Created page with "When a beat is accented, it carries a particular emphasis. There are three different types of rhythmic accent, all of which interact with each other. == Accent Types == === Metric Accent === Metric accent is the emphasis intuitively felt in certain time signatures. For example, a measure of 4/4 often has emphases on the 1 and 3, so these would be called the "strong beats" or "on-beats". The metric accent is placed on them. The strongest beat of a measure (almost always..."

When a beat is accented, it carries a particular emphasis. There are three different types of rhythmic accent, all of which interact with each other.

== Accent Types ==

=== Metric Accent ===
Metric accent is the emphasis intuitively felt in certain time signatures. For example, a measure of 4/4 often has emphases on the 1 and 3, so these would be called the "strong beats" or "on-beats". The metric accent is placed on them. The strongest beat of a measure (almost always the 1) is called the "crusis" or "downbeat", however the term "downbeat" has been used increasingly often to describe any strong beat.

Meanwhile, beats 2 and 4 are often considered "weak" beats. A weak beat is also called the "off-beat", and the weakest part of the beat is called the "anacrusis" or "upbeat" (however, "upbeat" is also used often to describe any weak beat). Many grooves start on the one-beat anacrusis and lead into the crusis. In this case, the anacrusis is referred to as a "pickup". For more information on why certain beats feel naturally accented, see [https://online.ucpress.edu/mp/article-abstract/33/2/244/62754/Subjective-RhythmizationA-Replication-and-an?redirectedFrom=fulltext this article on subjective rhythmization].

=== Dynamic Accent ===
Dynamic accent is the emphasis created by playing certain beats at louder volumes. Often, weak beats are dynamically accented (for example, the 2 and 4 in 4/4). When this occurs, the beat is called a backbeat. Dynamic accent is sometimes also referred to as "stress accent". Conversely, beats that are not dynamically accented are sometimes referred to as "unstressed".

=== Agogic Accent ===
Agogic accent is emphasis created by holding out a note for a longer period of time. Thus, it is not a purely ''rhythmic'' type of accent. It is also created by temporarily slowing down the tempo on a note, or pausing and playing the note late. For a more detailed description of the different types of agogic accent, visit [https://en.wikipedia.org/wiki/Accent_(music)#Agogic this Wikipedia article].

=== Tonic Accent ===
Tonic accent is emphasis created by higher pitch. This type of accent is far more related to melody than rhythm, however there are still situations in grooves where it applies: For example, a triangle hit would have a tonic accent due to it's high pitch.

== Notation ==
Since metric accent is intuitive, it is not notated. Tonic accent is just pitch, so it doesn't require any extra notation. Agogic accent is often represented by the length of a note, but it can also be mixed with dynamic accent (or used on its own) in the symbols below:
[[File:Accent Types in Music Notation.jpg|right|thumb|520x520px]]

Each of the above symbols carries a different meaning. From left to right:

* Staccato dot / staccato mark: This utilizes a mix of agogic and dynamic accent and signifies that the note should be played abruptly and short. Multiple staccato beats/notes should feel "disconnected". In jazz articulation, staccato is called "dit".
* Staccatissimo mark: This is an extreme version of staccato, meaning the beat/note should be played very abruptly and short.
* Marcato accent: A marcato beat/note is played short like staccato, but loudly like an accent mark. In jazz articulation, it is often called "daht".
* Accent mark: This utilizes dynamic accent and means that the note/beat should be played loudly, then taper off (as per the symbol shape). It does not alter the length of the note. In jazz articulation, it is called "dah".
* Tenuto mark: this uses agogic accent and means that the note should be smoothly held for its full length, or slightly longer, possibly even slowing the tempo (rubato). This is more related to notes than beats.

File:Accent Types in Music Notation.jpg

2026-07-01T19:40:39Z

Xenprism:

For the "Accent" Page

Prosodia Rationalis

2026-07-01T19:29:54Z

Xenprism: /* Notation */

''Prosodia Rationalis: An Essay Towards Establishing the Melody and Measure of Speech, to be Expressed and Perpetuated by Peculiar Symbols'' is a book on notating accents and intonation in language and music. It was originally written in 1775 by Joshua Steele. The full book can be read [https://www.loc.gov/resource/muspre1800.100306/?st=slideshow#slide-24 here].

Steele suggested that the "melody and measure" of speech could be systematically analyzed and transcribed using five distinct types of features, which he called the "five orders of accidents." The five orders are as follows:

* '''Accent''': This refers to the pitch or melodic contour of a syllable (related to [[Accent|tonic accent]]). He identifies three pitch movements: ''acute'' (rising), ''grave'' (falling), and ''circumflex'' (a rise and fall or vice versa, creating a peak or dip within the syllable).
* '''Quantity''': This denotes the length or duration of a syllable (similar to [[Accent|agogic accent]]) Steele equates quantity with musical note values: whole note, half note, quarter note, and eighth note, as well as dotted versions.
* '''Pause''': Pauses are measured with the same note values as quantity. They represent silences (rests).
* '''Emphasis''': This refers to the ''ictus metricus'': the innate emphasis and spacing present in meter and rhythm (similar to [[Accent|metric accent]]). It covers both the properties and placement of stress, such as musical cadence or bar structure. He defines three levels: ''heavy'', ''light'', and ''lightest''. He calls ''heavy'' by it's Greek synonym ''thesis,'' akin to a "strong beat", and ''light'' with ''arsis,'' a "weak beat".
* '''Force''': This concerns the loudness or intensity of the syllable (similar to [[Accent|dynamic accent]]). Force is categorized as ''loud'', ''louder'', ''soft'', or ''softer''. Steele also occasionally includes dynamic markings like crescendos and decrescendos across multiple syllables.

== Notation ==

In music, Joshua Steele only uses the symbols for emphasis and force to notate accent. They are placed below or above the notes they pertain to.

[[File:Excerpt from Prosodia Rationalis.jpg|right|thumb|520x520px]]

Solid triangles represent the ''arsis'' and dotted triangles represent the ''thesis''. Single begin-quotation marks represent loud notes and single end-quotation marks represent soft notes. Double quotation marks represent the same accents as their single counterparts, except to a greater degree (louder/softer). Braces are also used to group emphases together (as with the half note above). As you can see in the above example, emphasis and force often coincide, but they can also differ. This interaction is what Joshua Steele aimed to highlight by using multiple symbols. Although not present in the above example, double dots ( '''. .''' ) represent the lightest beat. They are used less often. Zig-zag crescendo and decrescendo symbols are also used.

When notating vocal intonation, new symbols are used in addition to force and emphasis:

[[File:Vocal Example from Prosodia Rationalis.jpg|right|thumb|520x520px]]

''Acute'' pitch movement is represented by lines slanting upwards, while ''grave'' pitch movement uses lines slanting downwards. These symbols can also be combined for more complex intonation. The lines represent ''quantity''. Straight lines are shortest, crescent noteheads are short, circular noteheads are long, and the longest noteheads appear similar to a [https://en.wikipedia.org/wiki/Maxima_(music) maxima]. flag symbols represent pauses, with the above flags being quarter notes (facing left) and eighth notes (facing right). Half notes are represented with horizonral dashes ( '''<big>-</big>''' ), and whole notes with vertical dashes ( '''|''' ). We can also see a dotted note right where the zig-zag crescendo starts. For a more visual description of each symbol, visit [https://www.loc.gov/resource/muspre1800.100306/?st=slideshow#slide-24 this page] in the book.

With all of these descriptions in mind, try reading out the words according to the notation-- you'll be surprised how accurate it sounds (Just keep in mind that the symbols that look like the letter f are actually the letter s, and that weird symbol in "juncture" is just an older-looking c)

Prosodia Rationalis

2026-07-01T19:29:13Z

Xenprism: Created page with "''Prosodia Rationalis: An Essay Towards Establishing the Melody and Measure of Speech, to be Expressed and Perpetuated by Peculiar Symbols'' is a book on notating accents and intonation in language and music. It was originally written in 1775 by Joshua Steele. The full book can be read [https://www.loc.gov/resource/muspre1800.100306/?st=slideshow#slide-24 here]. Steele suggested that the "melody and measure" of speech could be systematically analyzed and transcribed usi..."

''Prosodia Rationalis: An Essay Towards Establishing the Melody and Measure of Speech, to be Expressed and Perpetuated by Peculiar Symbols'' is a book on notating accents and intonation in language and music. It was originally written in 1775 by Joshua Steele. The full book can be read [https://www.loc.gov/resource/muspre1800.100306/?st=slideshow#slide-24 here].

Steele suggested that the "melody and measure" of speech could be systematically analyzed and transcribed using five distinct types of features, which he called the "five orders of accidents." The five orders are as follows:

* '''Accent''': This refers to the pitch or melodic contour of a syllable (related to [[Accent|tonic accent]]). He identifies three pitch movements: ''acute'' (rising), ''grave'' (falling), and ''circumflex'' (a rise and fall or vice versa, creating a peak or dip within the syllable).
* '''Quantity''': This denotes the length or duration of a syllable (similar to [[Accent|agogic accent]]) Steele equates quantity with musical note values: whole note, half note, quarter note, and eighth note, as well as dotted versions.
* '''Pause''': Pauses are measured with the same note values as quantity. They represent silences (rests).
* '''Emphasis''': This refers to the ''ictus metricus'': the innate emphasis and spacing present in meter and rhythm (similar to [[Accent|metric accent]]). It covers both the properties and placement of stress, such as musical cadence or bar structure. He defines three levels: ''heavy'', ''light'', and ''lightest''. He calls ''heavy'' by it's Greek synonym ''thesis,'' akin to a "strong beat", and ''light'' with ''arsis,'' a "weak beat".
* '''Force''': This concerns the loudness or intensity of the syllable (similar to [[Accent|dynamic accent]]). Force is categorized as ''loud'', ''louder'', ''soft'', or ''softer''. Steele also occasionally includes dynamic markings like crescendos and decrescendos across multiple syllables.

== Notation ==

In music, Joshua Steele only uses the symbols for emphasis and force to notate accent. They are placed below or above the notes they pertain to.

[[File:Excerpt from Prosodia Rationalis.jpg|right|thumb]520x520px]]

Solid triangles represent the ''arsis'' and dotted triangles represent the ''thesis''. Single begin-quotation marks represent loud notes and single end-quotation marks represent soft notes. Double quotation marks represent the same accents as their single counterparts, except to a greater degree (louder/softer). Braces are also used to group emphases together (as with the half note above). As you can see in the above example, emphasis and force often coincide, but they can also differ. This interaction is what Joshua Steele aimed to highlight by using multiple symbols. Although not present in the above example, double dots ( '''. .''' ) represent the lightest beat. They are used less often. Zig-zag crescendo and decrescendo symbols are also used.

When notating vocal intonation, new symbols are used in addition to force and emphasis:

[[File:Vocal Example from Prosodia Rationalis.jpg|right|thumb|520x520px]]

''Acute'' pitch movement is represented by lines slanting upwards, while ''grave'' pitch movement uses lines slanting downwards. These symbols can also be combined for more complex intonation. The lines represent ''quantity''. Straight lines are shortest, crescent noteheads are short, circular noteheads are long, and the longest noteheads appear similar to a [https://en.wikipedia.org/wiki/Maxima_(music) maxima]. flag symbols represent pauses, with the above flags being quarter notes (facing left) and eighth notes (facing right). Half notes are represented with horizonral dashes ( '''<big>-</big>''' ), and whole notes with vertical dashes ( '''|''' ). We can also see a dotted note right where the zig-zag crescendo starts. For a more visual description of each symbol, visit [https://www.loc.gov/resource/muspre1800.100306/?st=slideshow#slide-24 this page] in the book.

With all of these descriptions in mind, try reading out the words according to the notation-- you'll be surprised how accurate it sounds (Just keep in mind that the symbols that look like the letter f are actually the letter s, and that weird symbol in "juncture" is just an older-looking c)

File:Excerpt from Prosodia Rationalis.jpg

2026-07-01T18:56:47Z

Xenprism:

A screenshot from a Levi McClain video

File:Vocal Example from Prosodia Rationalis.jpg

2026-07-01T18:52:43Z

Xenprism:

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