Melody / Melo-Rhythm / Syncopations



Preface

Definition
A syncopation can best be defined as -
      the prolongation of a note
           attacked on anOff-beat
     to the nextBeat.

It is usually anticipated (attacked sooner) ,
      but we have left a section open at the end,
           for cases where it is retarded (attacked later).

Anticipated Syncopations

One may anticipate by different amounts (note-values)
      and we will catalogue these amounts by the correspondingrhythmic level-
           aQuarter noteanticipation atLevel -2,
           aEight noteanticipation atLevel -3, and
           aSixteenth noteanticipation atLevel -4.

Level -2

In a bar (composed of aWhole note) with the basic Melo-rhythmic patternHalf note Quarter note Quarter note
     the third beat (the firstQuarter note) can be anticipated by aQuarter note, producing the patternQuarter note Half note Quarter note

A kind of snap
If there is a breath after theHalf note, as is often the case,
      we have the same process as when a normalFeminine Rhymeis transformed into asnap.
           In other words, a snap is a form of syncopation, but not all syncopations are snaps.
 ThisQuarter note Half note Quarter notepattern is frequently used atLevel -3with shorter note-vales, asEight note Quarter note Eight note.

Level -3

In a bar with the basic Melo-rhythmic patternQuarter note Eight note Eight note Quarter note Quarter note
     the firstEight note(on the second beat ) can be anticipated by anEight note, producing the patternEight note Quarter note Eight note Quarter note Quarter note
          which we find inRudolph The Red-Nosed Reindeer
          as well as in the Habanera Melo-rhythm (frequently written as a triplet).
In a bar with the basic Melo-rhythmic patternQuarter note Quarter note Quarter note Eight note Eight note, a typical tango rhythm,
      the firstEight note(on the fourth beat ) can be anticipated by aEight note, producing the patternQuarter note Quarter note Eight note Quarter note Eight note
          less frequently used than the previous example.
However, in the same basicQuarter note Quarter note Quarter note Eight note Eight notepattern,
      the wholeQuarter note Eight note Eight note(of the third and fourth beats ) can be anticipated by anEight note,
           producing the patternQuarter note Eight note Quarter note Eight note Quarter note
               the typical Freilach rhythm, which has been used in popular music of all nations,
                     including the French, inY'a d'la joieby Charles Trenet.
Let's not forget the basicHalf note Quarter note Eight note Eight notepattern,
      where the wholeQuarter note Eight note Eight note(of the third and fourth beats ) can also be anticipated by anEight note,
           producing the patternQuarter note. Quarter note Eight note Quarter note
               the typical Charleston rhythm, so dear to Gershwin.
These patterns will re-appear with shorter note-values inLevel -4.

Level -4

In Caribbean folk-music, one often finds the basicEight note Eight note Quarter note. ' Eight note Eight note Sixteenth noteSixteenth notepattern
      syncopated intoSixteenth note Eight note Sixteenth note_Quarter note. ' Sixteenth note Eight note Sixteenth note Eight note
          by anticipating both the secondEight noteand theQuarter note.by aSixteenth note
          as well as the whole last beatEight note Sixteenth noteSixteenth note, also by aSixteenth note.

Retarded Syncopations

It took us a long time to elaborate the operation of retarded syncopations.
      They seem so much more insidious and uncertain than anticipated syncopations.
 Syncopations are a little like Non-chordal tones (which are a displacement in Pitch of a Chordal Tone)
      in that they are also displacements but, in this case, in Time.
 Since songs are composed in the syncopated state,
      we usually have no "unsyncopated" version with which to compare.
 We finally found one, originally written without syncopations,
           later transformed into a syncopated version.
      Comparing the 2 versions enabled us to establish the nature and position of retarded syncopations.
 The songs which follow are all quite well known and can be found in most Fake-Books.

La Cucaracha

Analysis of the Melo-Rhythm
The song is composed of -
      a Chorus which consists of 4 cells -
           a split cell with a pick-up and Feminine Rhyme, followed by
           a Kinetic Off-beat with a Masculine Rhyme on the Beat,
                these 2 cells are repeated for the second half,
                      2x(p3F=p3F= K3M),
      and a Verse which also consists of 4 cells -
           a Kinetic Off-beat with a Feminine Rhyme on the Beat,
                which appears 3 times, and
           the same Kinetic Off-beat with a Masculine Rhyme on the Beat, for the fourth cell.
                      3x(K3F=) K3M.
           NOTE that the Verse consists uniquely of the second (or fourth) cell of the Chorus,
                with fusion (Feminine Rhymes) applied to the first 3 cells.

Original Ternary Version in 3/4
In the original Mexican version in 3/4 atLevel -1without any syncopations
      the Melo-rhythm of the 8-bar Chorus is composed of2x( Eight noteEight noteEight note \ Quarter noteEight note' Eight noteEight noteEight note / Quarter noteHalf note \ Eight noteEight noteEight noteEight noteEight noteEight note / Quarter note. )
     and the Melo-rhythm of the 8-bar Verse is composed of3x( Eight noteEight noteEight noteEight noteEight noteEight note / Quarter noteHalf note ) Eight noteEight noteEight noteEight noteEight noteEight note / Half note..

Transformation to Binary Version in 4/4
When this is transformed into the Basic Binary 4/4 atLevel -1
     the Melo-rhythm of the Chorus is now2x( Eight noteEight noteEight note \ Half noteEight note' Eight noteEight noteEight note / Half noteHalf note \ Quarter noteQuarter note Eight noteEight noteEight noteEight note / Half note_Eight note )
     and the Melo-rhythm of the Verse is now3x( Quarter noteQuarter note Eight noteEight noteEight noteEight note / Half noteHalf note ) Quarter noteQuarter note Eight noteEight noteEight noteEight note / Whole note.

American Syncopated Version in 4/4
In the American Syncopated Version in 4/4 atLevel -1
     the Melo-rhythm of the 8-bar Chorus is now
            2x( Eight noteEight noteEight note \ Quarter note.Eight note_Eight note' Eight noteEight noteEight note / Quarter note.Eight note_Half note \ Eight restQuarter noteEight note Eight noteEight noteEight noteEight note / Half note_Eight note )
               whereEight restrepresents anEight noterest,
      and the Melo-rhythm of the 8-bar Verse is now
            3x( Eight restQuarter noteEight note Eight noteEight noteEight noteEight note / Quarter note.Eight note_Half note ) Eight restQuarter noteEight note Eight noteEight noteEight noteEight note / Whole note.

By comparing the syncopated version with the unsyncopated 4/4 version, we see that -
 (a) theEight restQuarter noteEight noteat the beginning of bars 3 and 7 of the Chorus and bars 1, 3, 5, and 7 of the Verse
 are Retarded Syncopations,
 (b) theQuarter note.Eight note_Eight notein bars 1, 2, 5, and 6 of the Chorus and theQuarter note.Eight note_Half notein bars 2, 4, and 6 of the Verse
 are Anticipated Syncopations.

The Rule

Syncopations are placed so as to enlarge the breath between phrases.
1. Retarded syncopations are placed after a breath (at the beginning of a phrase).
 2. Anticipated syncopations are placed before a breath (at the end of a phrase).
 3. Retarded syncopations seem to apply only to the very first note(s) of a phrase
      but not to the anacrusis, as we will later see (inJamaica Farewell).
 4. Anticipated syncopations apply to any of the other notes of a phrase, especially the last one(s).

Other Examples

Jamaica Farewell
This song is written in 4/4 atLevel -1and is composed of -
      A Verse which consists of 4 cells (8 bars), allK3F=
          where cells 2 and 4 have pick-ups,p2K3F=
               which prevent any possibility of Retarded Syncopations at the beginning of bars 3 and 5.
           However, cells 1 and 3 do not have pick-ups, which allows them the sameEight restQuarter noteEight note
               which we found inLa Cucaracha.
      A Chorus which also consists of 4 cells (8 bars, 9-16) also allK3F=
          where cells 3 and 4 have pick-ups,pandp3
               which prevent any possibility of Retarded Syncopations at the beginning of bars 13 and 15.
           However, cells 1 and 2 do not have pick-ups, which allows them the sameEight restQuarter noteEight note.
 NOTE that, in the whole song, we have 8F=s, not a singleM.
      The pick-up between the Verse and the Chorus, at the end of bar 8,
           should normally beEight noteEight notebut is anticipated toEight noteQuarter note
               to permit theEight restQuarter noteEight noteRetarded Syncopation at the beginning of bar 9
                     which would not, otherwise, have the required breath preceding it.
           This breath between the Verse and the Chorus is now staggered -
                the breath in the Melo-rhythm is at the very end of bar 8, and
                the breath in the lyrics is before the last 2 notes of bar 8, before the words "But I'm".
There are many variations (both notes and note-values) in the different versions of this song.
      In the 2 versions which we examined, we found (with a tie indicated underscored, as_)
           In bar 2,Quarter noteEight noteEight note_Eight noteQuarter noteEight noteandEight noteQuarter noteEight note_Quarter noteEight noteEight note
          In bar 3 (Verse 3),Quarter noteEight noteEight note Quarter noteQuarter noteandEight noteEight noteQuarter note Quarter noteQuarter note
          In bar 4,Quarter noteEight noteEight note_Half noteandEight noteQuarter noteEight note_Half note
          In bar 5,Eight restEight noteEight noteEight note Eight noteQuarter noteEight noteandEight restEight noteEight noteEight note Quarter noteEight noteEight note
          In bar 7,Quarter noteEight noteEight note_Eight noteQuarter noteEight noteandQuarter noteQuarter note Eight noteEight noteQuarter note
          In bar 10, scale degrees 224 and 234
           In bar 12, scale degrees 113 5 and 123 5
           In bar 16,Quarter noteEight noteEight note_Half noteandEight noteQuarter noteEight note_Half note
     The first version is blatantly inconsistent in its syncopation of the 8F=s
           3 anticipations of only 1 note,Quarter noteEight noteEight note_, in bars 2, 4, and 16,
           3 anticipations of 2 notesEight noteQuarter noteEight note_in bars 6, 8, and 10, as well as.
           3 anticipations of 3 notes (imposed by the words)Eight noteEight noteEight noteEight note_, in bars 12 and 14.
      The other version is more consistent in its syncopation of the 8F=s
           6 anticipations of 2 notesEight noteQuarter noteEight note_in bars 2, 4, 6, 8, 10, and 16, as well as
           the 2 inevitable anticipations of 3 notesEight noteEight noteEight noteEight note_, in bars 12 and 14.
                A good candidate for Analysis
Food for thought
      Might it be possible that -
           if 2 notes are retarded in the openingEight restQuarter noteEight note Quarter noteQuarter note,
                2 notes should be anticipated in the closingEight noteQuarter noteEight note_Half note, and
           if only 1 note is retarded in the openingEight restEight noteQuarter note Quarter noteQuarter note,
                only 1 note should be anticipated in the closingQuarter noteEight noteEight note_Half note?
      There is certainly more work to do.
The Basic Un-syncopated Version -
 Verse 1 consists of
       Quarter noteQuarter note Quarter noteEight noteEight note / Quarter noteQuarter note Quarter note' Eight noteEight note \ Quarter noteQuarter note Eight noteEight noteEight noteEight note / Quarter noteQuarter note Half note' \ Quarter noteEight noteEight note Quarter noteEight noteEight note / Quarter noteQuarter note Eight note' Eight noteEight noteEight note \ Quarter noteQuarter note Quarter noteEight noteEight note / Quarter noteQuarter note Half note' .
 The Chorus consists of
       Quarter noteQuarter note Quarter noteQuarter note / Quarter noteQuarter note Half note' \ Quarter noteQuarter note Quarter noteQuarter note / Quarter noteEight noteEight note Quarter note' Quarter note \ Quarter noteQuarter note Eight noteEight noteEight noteEight note / Quarter noteEight noteEight note Eight note' Eight noteEight noteEight note \ Eight noteEight noteEight noteEight note Quarter noteQuarter note / Quarter noteQuarter note Half note' .
 The Basic Melo-rhythm of Cell 1 of the Chorus
      is the same as that ofAura Lee, Mary Had A Little Lamb, Polly Put The Kettle On, London Bridge.
          One could easily syncopate these songs in a Calypso style.

From This Moment On
This song is written in 2/2 atLevel -2.
      For present purposes of examining Retarded Syncopations,
           we will only examine Cell 1, composed of bars 1-4,K3M, which is syncopated at both ends,
                2 Retarded notes at the beginning and 1 Anticipated note at the end ,Eight restQuarter noteEight note Quarter noteEight noteEight note_ / Whole note
                    written hereQuarter restHalf noteQuarter note \ Half noteQuarter noteQuarter note_ / Whole note_\ Whole note.
 This is, so far, the only song we found where aK3Mis syncopated at both ends -
      InLa Cucaracha, theK3Mis not syncopated at the end, and
      InJamaica Farewell, we have noMs, onlyF=s.
 TheAs, of a completeAABA
     are composed ofK3M K1F= K2F= K2M,
           with an added cell at the end of the lastA.
                a most unusual combination.
           Another good candidate for Analysis
The Basic Un-syncopated Version -
      Cell 1 consists ofQuarter noteQuarter note Quarter noteQuarter note / Whole note .
           the same as Cell 2 ofAura Lee.

Desafinado
This song is also written in 4/4 atLevel -2.
      For present purposes of examining Retarded Syncopations,
           we will examine mostly Cells 1 and 2, each composed of 4 bars (1-4 and 5-8),K4F-,
                which only have 2 Retarded notes at the beginning,Sixteenth restEight noteSixteenth noteEight noteEight note Eight note.Sixteenth noteEight noteEight note / Eight note.Sixteenth noteQuarter note_Half note
                    written hereEight restQuarter noteEight noteQuarter noteQuarter note \ Quarter note.Eight noteQuarter noteQuarter note / Quarter note.Eight noteHalf note_\ Whole note.
           These 2 cells are only the first half of the firstA(of a completeAABA)
                which consists of 16 bars,K4F- K4F- K4F= K4F-.
      Our "Food for thought" inJamaica Farewell(above),
           leads us to wonder if the last 2 notes of Cells 1 and 2 should not be Anticipated
                so as to correspond to the 2 Retarded notes at the beginning,Sixteenth restEight noteSixteenth noteEight noteEight note Eight note.Sixteenth noteEight noteEight note / Eight noteSixteenth noteSixteenth note_Half note.
                    all the more so that the dotted rhythm in bar 3 corresponds to that in bar 2
                          with which it has no real rhythmic alliance.
           Another good candidate for Analysis
The Basic Un-syncopated Version -
      Cells 1 and 2 each consist ofQuarter noteQuarter noteQuarter noteQuarter note \ Quarter noteQuarter noteQuarter noteQuarter note / Quarter noteQuarter noteHalf note_\ Whole note , atLevel -2,
           which we would prefer to writeEight noteEight noteEight noteEight note Eight noteEight noteEight noteEight note / Eight noteEight noteQuarter note_Half noteatLevel -1,
                a very simple and basic Melo-rhythmic pattern,
                     quite similar to that found inFrom This Moment On.

Bernie's Tune
Another song written in 4/4 atLevel -2.
      Here, we will examine only Cell 1,K4F=,
           eachAof the completeAABAbeing composed of 2 such cells,
                which have 2 Retarded notes at the beginning and 1 at the end,
                      Sixteenth restEight noteSixteenth noteEight note Sixteenth restEight noteSixteenth noteEight note Sixteenth noteSixteenth noteSixteenth noteSixteenth note / Quarter note._Sixteenth noteSixteenth note_Half note
          written hereEight restQuarter noteEight noteQuarter note Eight restEight note_\ Eight noteEight noteQuarter note Eight noteEight noteEight noteEight note / Quarter note._Eight noteEight note_\ Whole note.
      NOTICE -
           the ternary grouping of notes 1-4 and 5-8 inEight notes (orQuarter notes), and
           the repeat of the openingEight restQuarter noteEight noteQuarter note(the second indicatedEight restEight note_Eight noteEight noteQuarter note)
                at the very beginning of the cell, an interesting and unusual innovation.
The Basic Un-syncopated Version -
      Cell 1 consists ofQuarter noteQuarter noteQuarter note Quarter note \ Quarter noteQuarter note Eight noteEight noteEight noteEight note / Whole note \ Whole note , atLevel -2,
           which we would prefer to writeEight noteEight noteEight note Eight noteEight noteEight note Sixteenth noteSixteenth noteSixteenth noteSixteenth note / Half note Half noteatLevel -1,
                the basic Rumba Melo-rhythmic pattern.

Button Up Your Overcoat
Another song written in 4/4 atLevel -2.
      Here, we will examine mostly Cell 1,F+F=,
                Cell 2 beingK4F-, eachAof the completeAABAbeing composed these 2 cells.
           Cell 1 has -
                2 Retarded notes at the beginning and 1 Anticipated note at the end of the Off-beat,
                      Eight restSixteenth noteSixteenth noteEight noteEight note Eight noteSixteenth noteSixteenth note_Quarter note, written hereQuarter restEight noteEight noteQuarter noteQuarter note \ Quarter noteEight noteEight note_Half note, and
                2 Retarded notes at the beginning of the Beat,
                      Sixteenth restEight noteSixteenth noteEight note Sixteenth restEight noteSixteenth noteEight note Sixteenth noteSixteenth noteSixteenth noteSixteenth note / Quarter note._Sixteenth noteSixteenth note_Half note, written hereQuarter restEight noteEight noteQuarter noteQuarter note \ Whole note.
      NOTICE the auspicious use of Feminine Rhymes in the completeF+F= K4F-, with
            F+andF=on Split and Fused Cell 1, and
            K4andF-on Kinetic Cell 2.
The Basic Un-syncopated Version atLevel -2-
      Cell 1 consists ofQuarter noteQuarter noteQuarter noteQuarter note \ Quarter noteQuarter note Half note / Quarter noteQuarter noteQuarter noteQuarter note \ Whole note ,
           which we would prefer to writeEight noteEight noteEight noteEight note Eight noteEight noteQuarter note / Eight noteEight noteEight noteEight note Half noteatLevel -1, and
      Cell 2 consists ofHalf note Half note \ Quarter noteEight noteEight note Quarter noteEight noteEight note / Quarter noteQuarter noteHalf note_\ Whole note ,
           which we would prefer to writeQuarter noteQuarter note Eight noteSixteenth noteSixteenth noteEight noteSixteenth noteSixteenth note / Eight noteEight noteQuarter note_Half noteatLevel -1.
Suggestions for Cell 1 -
      The first note seems a little over-retarded, by aQuarter noterather than by anEight note.
           Reducing this Retarded Syncopation to anEight notewould give usEight restQuarter noteEight note Quarter noteQuarter notefor Bar 1.
      Anticipating the last 2 notes of Bar 2,Eight noteQuarter noteEight note_Half notewould balance the beginning.
           It might be interesting to check recordings to see how singers interpret these syncopations.

Spread (and Dot) Syncopations

Some forms of syncopation have left us baffled for a long time. The most refractory case was the principal theme of theChopin Waltz in B minor, Op. 69 No. 2 posthm. This waltz opened a door to a new Spread Syncopation concept, as was the case forLa Cucarachaconcerning Retarded Syncopations.

The Chopin Waltz in B minor

The piece opens with this Melo-rhythm -Quarter note_/_Eight noteEight note Eight noteEight note Eight noteEight note/Half note
     with the Pick-upQuarter notetied to the followingEight noteacross the first bar-line.
           This tied Pick-up reappears regularly duringthe first 16 bars of the waltz.
      Although this tied note complies with the usual definition of a syncopation as
                "the prolongation of a note attacked on an Off-beat to the next Beat",
           it does not comply with the exigencies of either Retarded or Anticipated Syncopations.
The first note being in reality aQuarter note.and the second note anEight note,
      it seemed natural to suspect that the un-syncopated state might beQuarter note/Quarter note
           even if the first Quarter note was on the Off-beat and the second Quarter note on the Beat.
     The Melo-rhythmQuarter note_/_Eight noteEight note Eight noteEight note Eight noteEight note/Half notewould thus have been
            Quarter note/Quarter note Eight noteEight note Eight noteEight note/Half notebefore applying the Spread performance practice.
In theoriginal Spread performance practice,
      the 2 originalQuarter notes were in the sameHalf note
          and the resultingQuarter note.Eight notedid not produce a Syncopation, as the snappedEight noteQuarter note.did.
 However, in thisChopin Waltz,
      the 2 originalQuarter notes were NOT in the sameHalf note
          and the resultingQuarter note.Eight noteDID produce a Syncopation.
 For future reference, we will note that this Spread Syncopation was over aLevel -1Bar-line.
This extension of the Spread process,
           (which includes a reversal of the rhythmic positions of the 2 original values involved),
      seemed sufficiently daring to deserve further examination and, especially, further application.

The Bach Fugue in Eb minor

InRhythm/Preface/The Unknown Container/1995,
      we examined the Rhythmic nature of thesubjectofBach's Eb Minor Fugue, First Book of the Clavier,
           to conclude that it was in 3/2 time and not in 4/4 time as written by the author.
      However, we did not mention its binary origins before the ablation into ternary form,
           nor did we mention the nature of its syncopation,
                even if we were convinced, at the time, that there was truly a normal syncopation involved.
      We now suspect that there might rather be a Spread Syncopation involved here,
           and we will now examine both possibilities, the Anticipated and the Spread Syncopations.
The Anticipated Syncopation
The Melo-rhythm of thesubjectof this fugue beingQuarter noteQuarter note. Eight noteEight noteEight note / Eight noteEight noteQuarter note Quarter noteQuarter note. Eight noteQuarter note / Half note,
      if theQuarter note.is an Anticipated Syncopation, it should have been the firstEight notein the nextHalf note,
           producingHalf note Eight noteEight noteEight noteEight note / Eight noteEight noteQuarter note Half note Quarter noteEight noteEight note / Half note,
                with the next 2 notes also "pushed back" at the end,
                     and aWhite Christmas-style Melo-rhythm at the beginning,
      a fairly complex fundamental (pre-syncopation) version.
The Spread Syncopation
With the same Melo-rhythmQuarter noteQuarter note. Eight noteEight noteEight note / Eight noteEight noteQuarter note Quarter noteQuarter note. Eight noteQuarter note / Half note,
      if the firstEight noteafter theQuarter note.should be given fullQuarter notevalue,
           the basic Melo-rhythm would have beenQuarter noteQuarter note Quarter noteEight noteEight note / Eight noteEight noteQuarter note Quarter noteQuarter note Quarter noteQuarter note / Half note,
      a much more fundamental version, with all its evenQuarter notes.
The Fundamental Binary and the Spread Syncopation
With the binary Melo-rhythm (in 4/4 bars)Quarter noteQuarter note. Eight noteEight noteEight note / Quarter noteQuarter note Half note \ Quarter noteQuarter note. Eight noteQuarter note / Whole note
          and application of the Spread Syncopation,
      the basic Melo-rhythm would have beenQuarter noteQuarter note Quarter noteEight noteEight note / Quarter noteQuarter note Half note \ Quarter noteQuarter note Quarter noteQuarter note / Whole note
          with even more evenQuarter notes.

The Beethoven Symphony No. 8, First Movement

The third theme of the First Movment of the Beethoven Symphony No. 8 in F major, Opus 93
      seems dangerously close to producing a Dot Syncopation across a bar-line
           which would correspond to the Spread Syncopation of theChopin Waltz in B minor.
 The Melo-rhythm of this theme consists of -
      in 3/4Eight noteEight note_\_Eight noteEight noteEight noteEight note'Eight noteEight note_/_Eight noteEight noteEight noteEight note'Eight noteEight note_\_Eight noteEight noteEight noteEight note Eight noteEight note / Quarter note Quarter note_
          with theEight noteat the end of each Pick-up (bar) tied over the Bar-line.
 The reason we said "dangerously close" is that, technically, to be a Dot Syncopation,
      thisEight noteshould be tied to aQuarter noteand not to anotherEight note,
           as is the case here, with, across the Bar-line,Eight noteQuarter noteEight note,Rudolph style.
 This is a most interesting borderline case which certainly deserves mention.

Other Examples

There will certainly be more to say on the application of Spread (and Dot) Syncopations.

The 3/4-6/8 Performance Shift

Performing in 6/8 a song originally conceived and generated in 3/4 (seeRed River Valley)
           often produces an interesting syncopation.
      Where and why does this happen ?
 1. If we examine the sixEight notes in 3/4 and in 6/8, we see that -
      the first and second (as well as the fifth and sixth)Eight notes are placed Beat, Off-beat in BOTH cases, but
      the third and fourthEight notes (in the middle) are placed Beat, Off-beat in 3/4 and Off-beat, Beat in 6/8.
 2. If the third and fourthEight notes are tied (by aQuarter noteor by aEight note.),
      there will be a syncopation in the 6/8 (not in the 3/4), as the hemioles inDark Eyes.
 3. If the second and third (or, more probably, the fourth and fifth)Eight notes are tied (by aQuarter noteor by aEight note.)
      there will be a syncopation in the 3/4 (not in the 6/8), as in theBach Fugue in Eb minor of Book 1.
 4. If the bar is disposedQuarter noteEight noteEight noteQuarter note
          (with any further subdivision whatever of these values, but no ties between them)
      there will no syncopations in either the 3/4 or the 6/8.
 The association between syncopations and the 3/4-6/8 Performance Shift seems a promising one.


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