First of all what a super Sam Sweeny track posted 28 Dec 22 - 06:14 AM.

The imposition of 6/8 over 4/4 works pefectly, theoretically and mathematically. I wonder if I can explain without sending everyone to sleep.

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/12 |............|
4/4 |1 2 3 4 |
6/8 |1 + a 2 + a |



|............| dividing Bar into twelve steps

|1 2 3 4 | each beat of the 4/4 keyboards divides into three. This is called compound time and should be notated as 12/8

|1 + a 2 + a | In 6/8 subdivisions of 1/8 notes dividee into two which happens here.

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If this succeeds in being displayed as I intended (not guarenteed) you should be able to see why this works.

In both 4/4 and 6/8 the first beats coincide. The third beat of 4/4 coincides with the second beat of 6/8. Both of these are exactly halfway through the bar.

It's beats two and four of the 4/4 bar that don't line up with the 6/8. These notes anticipate the "a" parts of the 6/8 and this gives the effect of syncopation in the accompaniment.

If this tune was started by the fiddle and the accompaniment came in later it would have caused little comment. Dancers would have no problem if the tempo was OK.

Rather cheekily it starts with the accompaniment. I like everything about it.