Yesterday after thinking about rhythm again I came to the clue the notes included in the other, different figures are as they are, the same one but in other tempi.
A triplet would take so much space as an sextuplet as sample.
The only reason for what it is applicable although is, the different figures can only be played each in a specific tempo. The triplet is slow, the sextuplet fast, the doubling of the sextuplet high. (Here were no complaint's, ok so let's go on.) If this is that way is for all free to discuss of course. It is a bit strange cause the tempo is here normally competitive to the choice of other notes.
The thing but is it matches so correctly one can't ignore that fact. An other important thing is the play of what notes express do as the fact you hear it, take place in a spatial environment which is not to express in a written structure as music or even melody does.
Therefore, than for each two dynamics are left which would mean, the triplet can being played in in mf and ff only. The sextuplet in p and f. The doubling of it in pp and mp. This than again will indicate the correctness of the change between stressed and unstressed moments, which shortened back to the begin says that the first note on the instrument you play is ever on a position that was stressed. This experience is in my eyes right and theory also proves it.
Rhythm does say the first hit on the instrument will be stressed cause it has not one been played to be compared with.
Probably this says even that you are able only to recognize the hits on the instrument as hits and nothing else.
Also it was a good idea to get the measures that way that always the first place in a measure, in a beat is one that is, following the run of the composition, a stressed one. This makes sense, as I think since the 'filling' of a measure to than first fulfill this measure makes none.
Steffen Schenk
Rhythm University
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