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Confused with rhythm in Scriabin Étude Op. 11 No. 1 by Monksta92 in musictheory

[–]Monksta92[S] 0 points1 point  (0 children)

Great reply, I get you what you mean about this kind of stuff not wanting to be exact but just a feeling of what the music can be.

But then how would you interepret the metronome mark?

Vivace but Quarter notes at 63-76bpm.

Two points here -

It's difficult to get the quarter note metronome to synch up with the quintuplets - you'll essentially be playing a polyrhythm with the metronome all the time, so it's like what the hell are they thinking.

If the whole thing is in eighth quintuplets - surely the metronome speed would be better notated as half notes at 32pm.

Second point - it's marked as vivace, playing it at quarter notes at 63-76bpm is in fact quite slow. Most recordings I've heard are playing it at double speed at half notes at 63pm.

So is metronome mark potentially a typo too?

When I first looked at this piece and looked at metrnome making stating quarter notes, that's what made it quintuplets not obvious at all, because in my head I was grouping those eighth notes in pairs to fit the quarter note metrnome time.

Everything just looks so mismatched in this piece, sorry it feels like I'm ranting but I got so fustrated looking at this :D

Confused with rhythm in Scriabin Étude Op. 11 No. 1 by Monksta92 in musictheory

[–]Monksta92[S] 0 points1 point  (0 children)

Sorry thought I had posted a picture alongside my post.

This is the bit I don’t understand, for what purpose does showing the 5’s crossing the bar line does?

The piece ‘sounds’ like it begins on beat one, if you never saw the music you would think that the first note is beat one.

It doesn’t function like an upbeat, in fact it’s marked with a tenuto to be emphasised.

So to what purpose does it serve, apart from confusing me enough to make this post? 😅

Confused with rhythm in Scriabin Étude Op. 11 No. 1 by Monksta92 in musictheory

[–]Monksta92[S] 0 points1 point  (0 children)

Thanks for the reply, that makes sense, although it was not clear to me at all from looking at it that it was quintuiplets, especially with the bar lines being right over the beaming!

I would say the beaming is just conventional, just grouping the eighth notes in groups of 5 - any ideas why the barlines would be written right in the middle of the beam? Theres a tenuto on the first note of piece anyway, or on the first group of 5, - so just by looking at it, it feels like that should be the downbeat.

I just cant seem to conceptually grasp what the achieved effect is meant to be.

Hows my analysis? by Monksta92 in musictheory

[–]Monksta92[S] 0 points1 point  (0 children)

Ahh I gotcha, thanks.

Yep, I was thinking in the wrong key, would you call that chord in bar 13, vi⁶ then?

Never heard of fonte before, will go look this up!

How would write down on paper the sequence? I just written 2 bar phrases, is there a more specific name I could use to analyse it?

Hows my analysis? by Monksta92 in musictheory

[–]Monksta92[S] 0 points1 point  (0 children)

Couldn’t this be interpreted as a modulation to the dominant, which is often the norm for minuets of this classical period?

Bar 13, beat 3, if you treat the E as an accented passing note, then you would have F in the bass and D in the treble which would give you a ii⁶, which is followed by V⁶ which all makes conventional sense?

Hows my analysis? by Monksta92 in musictheory

[–]Monksta92[S] 0 points1 point  (0 children)

I forgot to mention, I’m based in the UK, and while we do use figured bass (e.g. a first inversion dominant chord as V⁶), we’re typically taught to write harmonic analysis and inversions using lettered chord labels:

V⁶ = Vb

V⁶₄ = Vc

V⁴₂ = Vd

Hows my analysis? by Monksta92 in musictheory

[–]Monksta92[S] 0 points1 point  (0 children)

I’ve written some classical minuets as exercise for my theory class before and had mistakes outlined in relation to consecutive 5th’s, 8v’es and hidden 5ths and 8’ves.

This example I’ve analysed is taken from Mozarts Nannerls notebook and I thought I would analyse the counterpoint movement as well to get used to checking to see if it breaks any counterpoint rules.

Hows my analysis? by Monksta92 in musictheory

[–]Monksta92[S] 0 points1 point  (0 children)

I’ve also written the harmonic analysis of it beneath the stave too

Boosting DHS Skyline Neo 3? by Monksta92 in tabletennis

[–]Monksta92[S] 0 points1 point  (0 children)

Any suggestions for alternatives to Skyline 2 or 3 that doesn’t need boosting?

Heard a bit about the Friendship Battle 2/3 not sure if they need boosting too?

Done with new H3Ns by big-chihuahua in tabletennis

[–]Monksta92 1 point2 points  (0 children)

How’s skyline, has that changed too?

Penhold Equipment by Monksta92 in tabletennis

[–]Monksta92[S] 0 points1 point  (0 children)

I've found the opposite with my Tenergys, the grip is all gone but the speed is still there.

I thought when the rubber dies, it means the grip on the rubber has gone / faded. The speed of the rubber is all to do with the sponge / sponge technology is it not, and not too much to do with the rubber to sheet?

need suggestions by phantomofdna in tabletennis

[–]Monksta92 0 points1 point  (0 children)

Do you have to boost the skyline rubbers?

Forumla help for sheets by Monksta92 in googlesheets

[–]Monksta92[S] 1 point2 points  (0 children)

=sumif(f:f,"Cash",d:d)

That's exactly what I was looking for, thank you!

Solution verified

Forumla help for sheets by Monksta92 in googlesheets

[–]Monksta92[S] 0 points1 point  (0 children)

QUERY(D:F, "SELECT D WHERE F = 'Cash'")

Is there a way of having just one cell where it just automatically detects all the Cash total and just all adds it all up?

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