Amphias (II) and its salts

Compas and tempo of the bamboo

6 / 8 or 3 / 4? A debate of more than a century

Pedro Morales Pino began his 3 / 4 practice of writing the bamboo at the beginning of the twentieth century, while his "Four Questions" was put up. Since then, musicians and researchers have been defending one or another writing. Enrique Mazuera (1972) defended 3 / 4 because, according to him, 6 / 8 the bamboo lost his singing character, and Mario Gomezo-Vignes (1981) held that 6 / 8 best responded to his rhythm. Luis Uribe Bueno wrote bambucos at 3 / 4 and then rewrote them at 6 / 8 after his play with an anti-Semitic orchestra.

Recent studies describe 6 / 8 as the most widely used writing by convention, with an accompaniment that mixes the two sensations. To touch them, the important thing is to feel the sesquialtera: the vaivén between two groups of three clordes (6 / 8) and three groups of two (3 / 4). We explain this with examples in the guide [Colombian rhythms].](/blog/ritmos-colombianos-bambuco-pasillo-y-cumbia-explicados).

Fairy and slow bambucco

The sources distinguish a more agile and party bamboo associated with the Great and Santanderes Tolima and a slow and melancholic bamboo associated with Cauca. That's why the buttons are a starting point: Tap tempo about how much you're studying to find his.

Another feature that distinguishes them from the corridor is their anachruic impulse: many phrases start before the first time, and at accompaniment the low usually support times 2 and 3.

How to practice bambuco with the metronome

1. It starts with 6 / 8 with a branch in clocks and counts "1-2-3-4-5-6," with his foot marking 1 and 4.
2. Without noticing, it changes to 3 / 4: the clocks are still equal, but now the backlights fall into 1, 3 and 5.
3. Alterate both compas every four compas till you can feel both pulses at once.
4. Touch tiple or guitar accompaniment onto the click and get up to 4 BPM as you get clear three times in a row.

How to read the tempo of this page

The BPM count the pulse of the bar, which isn't always a black: at 6 / 8 each pulse's a black with a tipstick (3 clocks), at 2 / 2 it's a white (4 clocks) and at 3 / 4, a black (2 clocks). That's why we should think about clocks a minute as well:

• 6 / 8: 90 BPM black with tiptoeThat's what I'm talking about. 270 That's how you write them every minute.
• 3 / 4: 135 BPM negraThat's what I'm talking about. 270 That's how you write them every minute.

Since the clocks go at the same speed, as they change their bottom rhythm doesn't change: they only change how they group and where they fall.

How to adjust the metronomer

• Compas: At 6 / 8 compases, the metronome counts black with a tipple (two pulses per bar), and at 2 / 2 count with a white figure and at 3 / 4 with a black figure.
• Section: He adds soft clics between his pulse and his pulse. With his clocks, you listen to his rhythm and without his subdivision, his pulse alone.
• Actors: Touch every point so that that time sounds strong, soft or without an accent, and weapon the pattern that you are practising.
• A time of a recording: put up the song and play Tap tempo at the pulse rate, and the metronomer calculates the BPM.
• Retirement: From 2 to 5 BPM when the passage goes clear three times in a row. If it's broken down, put down 8 and get back up.

Common errors with methonomal

• Speed up at end of sentence: It's the most common mistake. Record some compas with your phone and listen if you get there before clicking.
• Play without listening to the click: When you go exactly to tempo, your blow and click merge and you nearly stop listening to it. If you listen to it before or after your note, it's okay.
• Retirement up too soon: A clear and slow rhythm sounds better than a fast and tipsy one, and you learn more quickly.
• To count the wrong compass: A quick tempo, a 6 / 8 sits in two pulses and a 2 / 2 in two white ones and count all the clocks out loud challenges you.

Frequently asked questions