Ternary Levels

Quaternary first

Let's first look at quaternaryRebound and Pick-up groupings
          from which, as we know, ternary groupings evolve by the transformation of ablation,
               as we saw inTernary Footsies.
     We'll see what their graphics look like.

Rebound Grouping

We have here the Rebound Grouping of a 4-beat bar,
     in the shape of a constantly ascending "staircase".
          This is typical of Rebound Grouping, and,
                    regardless of the number of notes in a bar,
               we will end up with a "staircase" graphic.
In this specific case, we have beats 1-2-3-4 of a bar.
     Each beat is placed on the "corresponding" step -
          beats 1-2-3-4 are, respectively, on steps 1-2-3-4.

Pick-up Grouping

We have here a 4-beat Pick-up Grouping,
     in the shape of a two small cells,
          the first with a shorter "drop" in its center, and
               the second with a longer "drop" in its center.
In this case, we have beats 2-3-4-1 of 2 adjacent bars,
     with beats 3-4-1 on the "corresponding" steps, but
          with beat 2 up on step 4.
This is what we would normally find atLevel +1

What is special about beat 2 ?
The specific grouping involved affects it considerably -
     In Rebound Grouping,
          beat 2 is associated with beat 1 and placed on the step just above it.
     In Pick-up Grouping,
          beat 2 is associated with beat 3 and placed on the step just above it.
Is it just pure coincidence that beat 2 is the one removed in the ablation ?
     or is there something special about it ?

Small Ternary Levels

In the sectionTernary Subdivision Of Level 0,
     the footsies showed us how to feel the small ternary levels of a melody.
We shall now examine the graphics of these small ternary levels, both separately and together,
          composed of mostly of Rebound Groupings
               but with the occasional Pick-up Grouping.
     Let's see what these small ternary levels look like.

Rebound Grouping

We have here the Rebound Grouping of a 3-beat bar,
     in the typical shape of a constantly ascending "staircase".
In this specific case, we have beats 1-2-3 of the bar (originally 1-3-4 of the 4/4 bar).
     Each beat is placed on the "corresponding" step -
          beats 1-2-3 being, respectively, on steps 1-2-3 (and not on steps 1-3-4).

Pick-up Grouping

We have here a 3-beat Pick-up Grouping,
     in the shape of one large cell whose Off-beat is subdivided, producing groups of 1 and 2,
          and not 2 and 1, because the last 2 are grouped together.
In this case, we have beats 2-3-1 of 2 adjacent bars (originally 3-4-1 of the 4/4 bars),
     with beats 2-3-1 on steps 3-4-1 (as they were in the original 4/4 bars).
This shape of Ternary Cell will be used almost exclusively at the larger levels.

For a recap of the principles for the graphics of separate and integrated levels,
seeRhythm / Graphics:
in which the graphics of the separate levels, and the graphics of integrated levels,
were presented on different pages.
In this section, since we show a smaller number of levels (stopping atLevel 0),
it is possible to show these two forms of graphics on the same page,
the separate levels above, and the integrated levels below.

Those on a guided Tour should click onin the Navigation Bar below.

Those browsing might like to review the four songs of the previous section.
We already know what they feel like. Let's see what they look like.
Rock-A-Bye, Baby -GRAPHICS
Oh Where, Oh Where? -GRAPHICS
Happy Birthday -GRAPHICS
Down In The Valley -GRAPHICS

Quinternary Levels

Rebound Grouping

We have here the Rebound Grouping of a 5-beat bar,
     in the typical shape of a constantly ascending "staircase".
In this specific case, we have beats 1-2-3-4-5 of the bar (originally 1-4-5-7-8 of the original 8/8, 4/4, bar).
     Each beat is placed on the "corresponding" step -
          beats 1-2-3-4-5 being, respectively, on steps 1-2-3-4-5 (and not on steps 1-4-5-7-8).
As we know from the5/8 footsies-
     beats 2 and 3 were removed in the ablation from 4/4 to 3/4, and
     beats 2 and 6 were removed in the ablation from 8/8 (4/4) to 6/8,
          leaving beats 1-4 in the first group and beats 5-7-8 in the second group.
     This subdivision into 2+3 is not at all evident in the graphics of Rebound Grouping,
          not at all like thefootsies, where this subdivision was very evident (on eachRight foot).

Pick-up Grouping

We have here a 5-beat Pick-up Grouping,
     in the shape of two cells, the first binary (with a small "drop") and the second ternary (with a larger "drop").
In this case, we have beats 2-3-4-5-1 of 2 adjacent 5/8 bars (originally 4-5-7-8-1 of the 8/8 bars), with
     beats 2 and 4 on step 5,
     beat 3 on step 4,
     beat 5 on step 6, and.as to be expected,
     beat 1 on step 1.
This shape of Quinternary Cell will be used almost exclusively at the larger levels.
     as is the case forLevel 0+1+2in the verse of theBonnie Circleclip.
          You might enjoy seeing theMelo-rhythmic Boxof the clip.
However, it is occasionally found in smaller levels (in 5/8 bars),
     as is the case forLevel -3-2-1in theRed River Limp 2clip.
          You might enjoy seeing theMelo-rhythmic Boxof the clip.
          You might also enjoy seeingChanging Meters,
               where you will findRed River ValleyandWhere, oh Where, Is My Little Dog Gonein 5/8 time.

Octernary Levels

Rebound Grouping

We have here the Rebound Grouping of an 8-beat bar,
     in the typical shape of a constantly ascending "staircase".
In this specific case, we have beats 1-2-3-4-5-6-7-8 of the bar
          (originally 1-7-8-9-12-13-15-16 of the original 16/16, 4/4, bar).
     Each beat is placed on the "corresponding" step -
          beats 1-2-3-4-5-6-7-8 being, respectively, on steps 1-2-3-4-5-6-7-8
               (and not on steps 1-7-8-9-12-13-15-16).
As we know from the8/16 footsies-
     beats 2-3-4-5 were removed in the ablation from 4/4 to 3/4,
     beats 10-11 were removed in the ablation from 8/8 (4/4) to 6/8, and
     beats 6 and 14 was removed in the ablation from 16/16 (4/4) to 12/16
          leaving beats 1-7-8 in the first group, 9 and 12 in the second group, 13-15-16 in the third group.
     This subdivision into 3+2+3 is not at all evident in the graphics of Rebound Grouping,
          not at all like thefootsies, where this subdivision was very evident (on eachRight foot).

Pick-up Grouping

We have here an 8-beat Pick-up Grouping,
     in the shape of three cells -
          the first ternary (with a small "drop"),
          the second binary (with a small "drop"), and
          the third ternary (with a larger "drop").
In this case, we have beats 2-3-4-5-6-7-8-1 of 2 adjacent 8/16 bars
          (originally 7-8-9-12-13-15-16-1 of the 16/16 bars), with
     beats 3, 5, and 7 on step 9,
     beats 2 and 6 on step 8,
     beat 4 on step 6,
     beat 8 on step 10, and, as to be expected,
     beat 1 on step 1.
This shape of Octernary Cell will be used almost exclusively at the larger levels,
     as is the case forLevel 0+1+2+3in the chorus of theBonnie Circleclip.
          You might want to refer to theMelo-rhythmic Boxof the clip.

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