Playing Duple Time Against TripleHow must I execute triplets played against two-eighths? In Clementi's Sonatina, Opus 37, No. 3, first page, you will find such bars.In a slow tempo it may serve you to think of the second eighth-note of the triplet as being subdivided into two sixteenths. After both hands have played the first note of their respective groups simultaneously, the place of the aforesaid second sixteenth is to be filled by the second note of the couplet. In faster motion it is far better to practise at first each hand alone and with somewhat exaggerated accents of each group until the two relative speeds are well established in the mind. Then try to play the two hands together in a sort of semi-automatic way. Frequent correctrepetition of the same figure will soon change your semi-automatic state into a conscious one, and thus train your ear to listen to and control two different rhythms or groupings at the same time.
Playing Duple Time Against Triple
How must I execute triplets played against two-eighths? In Clementi's Sonatina, Opus 37, No. 3, first page, you will find such bars.
In a slow tempo it may serve you to think of the second eighth-note of the triplet as being subdivided into two sixteenths. After both hands have played the first note of their respective groups simultaneously, the place of the aforesaid second sixteenth is to be filled by the second note of the couplet. In faster motion it is far better to practise at first each hand alone and with somewhat exaggerated accents of each group until the two relative speeds are well established in the mind. Then try to play the two hands together in a sort of semi-automatic way. Frequent correctrepetition of the same figure will soon change your semi-automatic state into a conscious one, and thus train your ear to listen to and control two different rhythms or groupings at the same time.