Those are 8th notes he's soloing with his right hand(typical to bebop aesthetic) so the left hand is doing quarter note pulse every 0.17 second. you can do the math but you will get little over 350 beats per minute.
wtf? the movements looked like he was missing every single note, but the sound... the sound is just...perfect. Every single note reached with surgical precision.
So many comments about tempo. Although there are slower versions of this song, and ones that might be described more as a 'fox trot' (dance step), "Just One of Those Things" is very often played fast in this kind of tempo or at least feel (although rarely these days with that kind of left hand!). Back in the day, when this song first came out, or maybe 15 or 20 years earlier, this kind of feel was known as a "one step" (another dance step). This is basically a kind of march type music for dancing, usually syncopated but with the syncopation and melody in long form stretched over double the number of bars used for a fox trot (due to the fast two feel) which was popular from about 1913/1914 for at least the next ten years afterwards (till at least thr mid 1920s). Piano rolls marked "fox trot and one step" (such as certain QRS word rolls by the likes of Max Kortlander or Pete Wendling) generally start out in a medium bounce tempo with a definite four feel ("fox trot") before changing tempos to a faster tempo (not always exactly double the tempo; sometimes it's just faster but a different ratio to the original tempo) to finish out with a "one step" with a definite two feel. This pretty literally illustrates that the average fox trot was some kind of medium tempo with a four feel, and the average one step was some kind of fast tempo with a two feel. Back in the day, a fast or medium two such as fast marches, most ragtime etc was notated as 2/4, with the quarter notes getting the count "1, 2, 1, 2"; or "1 & 2 & 1 & 2 &" if you count the in-between alto chords in-between the bass notes while counting. Thus the "oom pah" bass was usually written in eighth notes (4 per bar). The faster (usually double the rate of the bass / accompaniment) melody line, was then generally notated in sixteenth notes (8 per bar). However as most popular music transitioned to a "four feel" in the jazz era (really started with fox trots in the late ragtime era before jazz became nationally popular), fast one-steps were felt and written just as much in 2/2 (aka "cut time"; still a "two feel" but notated like 4/4 with 8 eighth notes per bar rather than the 8 sixteenth notes per bar of 2/4) as they were in 2/4. I don't know if later players found reading the frequent sixteenth notes intimidating, or if the switch in notation was meant to imply a different way of feeling the music despite generally similarly fast tempos. One thing is for sure, these fast tempos can LOOK easier on sheet music when this type/rate of melody improvising / single note line is written with eighth notes rather than sixteenth notes, but whether one chooses to write in 2/2 with eighth notes, 4/4 with eighth notes, or 2/4 with sixteenth notes, the notes which are at the rate of the fast melodic improvisations still usually come out to eight per bar (when played in a steady stream; I'm not counting triplets, rests, slower quarter notes etc). Anyway, when I (rarely) play this kind of tempo (not nearly this well!!!) I always think and count in a "fast two" (generally like 2/2) since I simply can't tap my foot fast enough to tap along in time above a certain tempo! Surely if there was a bass player playing with Rossano on this tune at this tempo, they would be either playing in two (with each bass note hitting at the same time as his left hand bass notes) or else walking a bass in a very fast four. But in their head, the length of each bar / placement of each barline should agree with what Rossano is thinking, in order to get the number and placement of bars to agree. So anyway, regardless of what time signature / notation method is chosen to write this down, most serious jazz musicians will agree that the bar lengths / lines should still conform to the original structure of Cole Porter's original song which is the basis for this improvisation. So for example if the original song used is 32 bars (and the musician playing doesn't engage in any structural shenanigans like dropping bars/beats or adding bars/beats as part of their improvisation) then the transcription should also come out to 32 bars in order to be readable and also be easier to immediately compare with the original published sheet music to the tune (which is what almost all the best professionals use as the source material to learn most pre-rock-era popular songs). (I believe this particular song has an unusual chorus structure which is more or less than the usual 16- or 32-bar song forms used in most pop songs of the time; I need to go back and check). This is why some people in the comments here have an issue with notating this in 4/4 but with his right hand playing 16ths and left hand playing 8ths: Because: this type of notation halves the number of actual barlines used in comparison with the original sheet music, and makes comparison to the original sheet more confusing. Also, professional musicians tend to locate different sections of a piece by the barlines (maybe not some contemporary classical works without barlines, but let's leave those aside for here), and notating it in such a way as to change (halve or double, or something) the number of barlines, makes it more confusing for professionals and amatuers alike who are used to seeing this kind of music notated a particular way, and (if playing together in an ensemble) should all be "on the same page" (figuratively) or at least at the same bar, when playing a tune/arrangement together. Even "ear players" playing jazz and popular music, with standard 32-bar song forms, talk between themselves (right along with reading musicians) about "first eight" (bars); "second eight"; "bridge" (which if present is generally the third group of eight bars); and "last eight". These quick references are used to indicate both where the band might start or end a tune, or who takes a solo where, or for how long. This might be quickly discussed by the band before a tune is performed, or called out quickly on the fly while the performance is in progress.
My grandmother had a patient name is Boyd that lady was on her way out but if I ask her to play music she would get up and play just like this I would do it too😮😢😅 love you Miss Boyd wherever you may be I know you are getting down😮😢😅🎉❤🎉 rock on as you were
350 bpm is also 87.5 bpm, or 175 bpm which most metronomes can reach (which might make some of y’all musicians butthurt lol) it’s math all the way down. 🔫Always has been. Dudes just got wicked quick fingers.
the meter of the music is felt most naturally at a quarter note = 350 bpm. if this was notated on manuscript it would make the most sense to read this as the quarter being 350 in common time. by your logic i could also say this is actually really quarter note equals 95 and the left hand oompa feel is in 16th notes. the left hand pattern is would often be interpreted as the quarter note pulse in stride.
Well, the metronome depends on how you want to measure it. If you are counting each left hand note as a beat, he's actually playing around 340 bpm; however, at such tempos, one can readily understand each left hand "couplet" as a beat, thus the metronome is really about 170. Nonetheless, it's exceptionally impressive.
@@briandobbelaere3918 That would be if you were saying measures per minute instead of beats per minute, which I have never seen in my life. There's 4 beats in each of those measures, so the tempo is 350...
@@briandobbelaere3918 exactly correct my friend, making it 350 bpm Vid author made a vid on this topic czcams.com/users/shortsd3Uyu09FdFU?feature=share
I love how many people are commenting about the tempo marking, but none of them know the original tune he’s playing. (It’s “Just One Of Those Things,” and if you knew that you’d know OP is correct to call it 350 bpm.)
@notebook Suddenly your theory just relies on "happy accidents" because you lied. The chord changes most certainly show its at 175. Especially looking at the original sheet music for the composition. You're confusing notes with beats and that's okay to make rookie mistakes, but eventually it's better to learn what you're talking about if you're going to make bold claims
Anyone arguing it's 185 bpm doesn't know the tune. It's Just One of Those Things, which is commonly played at around 350bpm and if you knew tunes and knew the melody it would be obvious
@@seheyt beat changes to double time when you switch from walking bass to stride. Unless you have scores where your stride music is written in sixteenth notes instead of eighth notes and quarter notes.
He's probably playing it in 8th notes at that tempo. Although, it to my ears, it hears more like 16th notes at about 170-180 beats per minute, which is still fast as fuck.
In the description! ❤️ I have just added a pinned comment. Unfortunately if I didn’t edit it like this, you wouldn’t be seeing it in your feed.. necessary evil.
That’s not 350 BPM unless you double the original tempo. Change what would be quarter and eighth notes into 16th and 32nd notes and you get around 125 BPM. It’s fairly redundant, but would be a pointless way to “flex” by claiming such a high tempo when in reality, he’s just playing 16th, 32nd, and 64th notes in a fairly normal time signature. All of that said, this is still quite impressive.
Listen to the LH which is playing a stride feel, which is a quarter note four-to-the-bar style. RH is playing quavers. Also not really relevant to time signature.
You certainly don't understand anything about jazz rythmics. Those are 8th notes he's soloing with his right hand(typical to bebop aesthetic) so the left hand is doing quarter note pulse every 0.17 second. you can do the math but you will get little over 350 beats per minute.
Jason Wanner, Chris Dawson, Ehud Asherie. But really one might argue whether anyone else REALLY plays like THIS. All these mentioned artists are great and each one of a kind IMO.
IMHO of course Tatum and Peterson are and shall remain all time legends. And so far as living pianists go, I think Rossano is in a league of his own. It is very difficult to maintain elegance and control at this kind of tempo, but Rossano does, and I sense that he especially values elegance and beauty in his playing: it is important to him.
Isn’t that more like 175 bpm ? If you count the base of the left hand as a quarter note then it’s sixteenth notes on the right hand right ? Because i dont feel the right hand as 8th notes so 350 bpm might be exaggerated, it’s just more subdivided to me
bro imagine improvising and barry harris tells you to stride 💀 id probably have a heart attack
well if it isn't crow4277... UR SO RIGHT THO HFAHJFAHA
@@cgnotes no way … cg notes .. my favorite cgcore producer …… what an honor
i love spontaneously running into crow in the wild 1 month after you posted this comment
@@DemiDotRat OMG HIIIII
hi crow fan!@@DemiDotRat
fuck. i got obsesed with this videos a few months back, i couldn't belive it, stride with be bop lenguage. just beautiful. may barry rest in peace.
Why are you swearing ?
@@davidgloberman3098 its the internet who the fuck cares
@@davidgloberman3098because swearing is balling as fuck
just wait till he discovers who Art Tatum is
@@davidgloberman3098why are you afraid of swear words
Pop is 4 notes for 1 thousand people, Jazz is 1000 notes for 4 people
Listen to Mardis from the bill Evans trio
Nardis*
Probably an accurate ratio 😂 notes:popularity are apparently inversely correlated lol
@@tomatocroissant378 Just played a 7 hour 1 note drone to a crowd of 18 million
@@coreygossman6243 ahahaha 😂 are you a drone (orchestra) conductor? 😂
Everybody arguing about tempo. Whether you want to count it in 2 or 4, the dude is killing it
Left hand is doing 8th notes, the bass line (full quarter note) is the tempo which is around 140 bpm . much control !!
@@LeVezz because of the harmonic rhythm in jazz it is thought of at higher tempo actually but yes you can definitely think about it as half the speed!
@@LeVezz but that wouldn't make random CZcams people go ooo ahhh ooo ahhh ooo ahhh
So... No... made up stuff wins.
Those are 8th notes he's soloing with his right hand(typical to bebop aesthetic) so the left hand is doing quarter note pulse every 0.17 second. you can do the math but you will get little over 350 beats per minute.
@@LeVezzlol go get actual lessons and play in a jazz band for a while. The LH is quarter notes not eighth notes 😅
We all need someone like Barry to tell us to "Stride" because beautiful things happen when we do
Ol boy gassin up his homie with that stride
wtf? the movements looked like he was missing every single note, but the sound... the sound is just...perfect. Every single note reached with surgical precision.
Don't worry. Monk would approve.
Just watching this has given me a Carple tunnel injury 😅
Straordinariamenre SUPERLATIVO Rossano Sportiello!!!
"STRIDE! Hey hey!" Yesss sa'.😍 Metronome died.😂😂
So clean too!
And he's doing all of this while improvising... I can't believe it!! 😱
If you can play it slowly, you can play it quickly
I will never be able to comprehend how people play piano like this.
So many comments about tempo.
Although there are slower versions of this song, and ones that might be described more as a 'fox trot' (dance step), "Just One of Those Things" is very often played fast in this kind of tempo or at least feel (although rarely these days with that kind of left hand!).
Back in the day, when this song first came out, or maybe 15 or 20 years earlier, this kind of feel was known as a "one step" (another dance step). This is basically a kind of march type music for dancing, usually syncopated but with the syncopation and melody in long form stretched over double the number of bars used for a fox trot (due to the fast two feel) which was popular from about 1913/1914 for at least the next ten years afterwards (till at least thr mid 1920s).
Piano rolls marked "fox trot and one step" (such as certain QRS word rolls by the likes of Max Kortlander or Pete Wendling) generally start out in a medium bounce tempo with a definite four feel ("fox trot") before changing tempos to a faster tempo (not always exactly double the tempo; sometimes it's just faster but a different ratio to the original tempo) to finish out with a "one step" with a definite two feel. This pretty literally illustrates that the average fox trot was some kind of medium tempo with a four feel, and the average one step was some kind of fast tempo with a two feel.
Back in the day, a fast or medium two such as fast marches, most ragtime etc was notated as 2/4, with the quarter notes getting the count "1, 2, 1, 2"; or "1 & 2 & 1 & 2 &" if you count the in-between alto chords in-between the bass notes while counting. Thus the "oom pah" bass was usually written in eighth notes (4 per bar). The faster (usually double the rate of the bass / accompaniment) melody line, was then generally notated in sixteenth notes (8 per bar).
However as most popular music transitioned to a "four feel" in the jazz era (really started with fox trots in the late ragtime era before jazz became nationally popular), fast one-steps were felt and written just as much in 2/2 (aka "cut time"; still a "two feel" but notated like 4/4 with 8 eighth notes per bar rather than the 8 sixteenth notes per bar of 2/4) as they were in 2/4.
I don't know if later players found reading the frequent sixteenth notes intimidating, or if the switch in notation was meant to imply a different way of feeling the music despite generally similarly fast tempos.
One thing is for sure, these fast tempos can LOOK easier on sheet music when this type/rate of melody improvising / single note line is written with eighth notes rather than sixteenth notes, but whether one chooses to write in 2/2 with eighth notes, 4/4 with eighth notes, or 2/4 with sixteenth notes, the notes which are at the rate of the fast melodic improvisations still usually come out to eight per bar (when played in a steady stream; I'm not counting triplets, rests, slower quarter notes etc).
Anyway, when I (rarely) play this kind of tempo (not nearly this well!!!) I always think and count in a "fast two" (generally like 2/2) since I simply can't tap my foot fast enough to tap along in time above a certain tempo! Surely if there was a bass player playing with Rossano on this tune at this tempo, they would be either playing in two (with each bass note hitting at the same time as his left hand bass notes) or else walking a bass in a very fast four. But in their head, the length of each bar / placement of each barline should agree with what Rossano is thinking, in order to get the number and placement of bars to agree.
So anyway, regardless of what time signature / notation method is chosen to write this down, most serious jazz musicians will agree that the bar lengths / lines should still conform to the original structure of Cole Porter's original song which is the basis for this improvisation.
So for example if the original song used is 32 bars (and the musician playing doesn't engage in any structural shenanigans like dropping bars/beats or adding bars/beats as part of their improvisation) then the transcription should also come out to 32 bars in order to be readable and also be easier to immediately compare with the original published sheet music to the tune (which is what almost all the best professionals use as the source material to learn most pre-rock-era popular songs).
(I believe this particular song has an unusual chorus structure which is more or less than the usual 16- or 32-bar song forms used in most pop songs of the time; I need to go back and check).
This is why some people in the comments here have an issue with notating this in 4/4 but with his right hand playing 16ths and left hand playing 8ths:
Because: this type of notation halves the number of actual barlines used in comparison with the original sheet music, and makes comparison to the original sheet more confusing.
Also, professional musicians tend to locate different sections of a piece by the barlines (maybe not some contemporary classical works without barlines, but let's leave those aside for here), and notating it in such a way as to change (halve or double, or something) the number of barlines, makes it more confusing for professionals and amatuers alike who are used to seeing this kind of music notated a particular way, and (if playing together in an ensemble) should all be "on the same page" (figuratively) or at least at the same bar, when playing a tune/arrangement together.
Even "ear players" playing jazz and popular music, with standard 32-bar song forms, talk between themselves (right along with reading musicians) about "first eight" (bars); "second eight"; "bridge" (which if present is generally the third group of eight bars); and "last eight".
These quick references are used to indicate both where the band might start or end a tune, or who takes a solo where, or for how long.
This might be quickly discussed by the band before a tune is performed, or called out quickly on the fly while the performance is in progress.
Pfffftt this is easy. I could do this in my sleep.
Just let me get to sleep real quick so I can dream of doing this.
Absolutely amazing! Every note play is intentional/incredible /insane
That is some magic
Amazing and magic...😮👍👍👍
Fabulous ❤
Gives me goose bumps
So much control
KEEP MAKING THESE!
The shorts? Planning on it!
@@notebooktranscriptions Barry Harris videos
Not a single note out of place... Wow
When Barry says "stride" YOU STRIDE
This is real nice, wow. There's alot of education in those fingers, just to play off the cuff like that.
Respect ❤
This is content I'd love to see on my timeline
Our jazz club just hosted Jeff Barnhart, stride pianist; the fastest he plays is the ‘Handful of Keys’.
@izziebon I just discovered Barnhart this year when I bought a used CD of his at a book fair. He's awesome!
How many beats per minute do you want?
ALL OF THEM!!!!!
That is the only way I'll tell someone to take a solo from now on lol
My grandmother had a patient name is Boyd that lady was on her way out but if I ask her to play music she would get up and play just like this I would do it too😮😢😅 love you Miss Boyd wherever you may be I know you are getting down😮😢😅🎉❤🎉 rock on as you were
Rossano Sportiello killing it
I wonder where the 350 bpm thing came from. It's about 150.
Metalheads: he's in 😂
_such skill_
_much wow_
If you dont know who barry harris is, vheck out his teaching videos, his tokyo tour, and this! RIP to a true legend in the making!
Haha! Screw old man! YOU stride! RIP one of the GOATS
Wow ❤❤
Rossano Sportiello is the man
Unbelievable
Rip Barry
350 bpm is also 87.5 bpm, or 175 bpm which most metronomes can reach (which might make some of y’all musicians butthurt lol) it’s math all the way down. 🔫Always has been.
Dudes just got wicked quick fingers.
i appreciate his bif effort to make it fit on 15 secs social media actual standars hahaha, he is a machine tho
Crazy🙆♂️🔥🔥🔥
🔥🔥🔥
this man has suffered
WOW!!!
Jeeeeezas!!! 🔥🤘
Wow
Wow!!! 😮
Take that youngsters
Thank you all !
Idk why anyone would say this is over 350bpm and faster than metronomes can go. Its about 190bpm with him playing 16 notes
the meter of the music is felt most naturally at a quarter note = 350 bpm. if this was notated on manuscript it would make the most sense to read this as the quarter being 350 in common time. by your logic i could also say this is actually really quarter note equals 95 and the left hand oompa feel is in 16th notes. the left hand pattern is would often be interpreted as the quarter note pulse in stride.
@@smartinez4910but a quarter note here equals around 190-200 bpm... not 350
Well that makes me burn my piano
Everyone talking about what a genius Barry Harris is. Yeah, well I could've told this guy to stride too😒
Hahaha
Just one of those thangs
Well, the metronome depends on how you want to measure it. If you are counting each left hand note as a beat, he's actually playing around 340 bpm; however, at such tempos, one can readily understand each left hand "couplet" as a beat, thus the metronome is really about 170. Nonetheless, it's exceptionally impressive.
I based the metronome marking on the harmonic rhythm of the tune, which is moving at 350bpm.
@@notebooktranscriptions If you go by harmonic rhythm (one chord per measure), then the tempo would actually be one fourth of 350.
@@briandobbelaere3918 That would be if you were saying measures per minute instead of beats per minute, which I have never seen in my life. There's 4 beats in each of those measures, so the tempo is 350...
@@L3ver Harmonic rhythm is different than tempo or time signature. This is one harmonic change per four beats.
@@briandobbelaere3918 exactly correct my friend, making it 350 bpm
Vid author made a vid on this topic czcams.com/users/shortsd3Uyu09FdFU?feature=share
Wowzers 😮😅
I wish my brother George was here.😅😅😅😅❤
All the extra edits are ruining it. Just watching his left hand go back n forth so fast and his right hand be an absolute blur is enough
The editing is what got it in front of your eyes unfortunately
Holy…. shit….
Rossano Sportiello!
he plays at 175 bpm obviously tho, otherwise you can also say that he plays 700bpm
thats Oscar Peterson levels of damn!
Nobody will even get close to the level of Art Tatum or Oscar Peterson when we are talking about this genre. 🤫
Awesome! Very well done. Still, you guys should get to known Tom Brier 😊😊
I love how many people are commenting about the tempo marking, but none of them know the original tune he’s playing. (It’s “Just One Of Those Things,” and if you knew that you’d know OP is correct to call it 350 bpm.)
Thanks! It’s actually kind of a good thing though because the discussion promotes the video 😆
@@notebooktranscriptions which is why you included it as fake bait.
@@archologyzero It's just a happy accident, because 350 is correct. :)
@notebook Suddenly your theory just relies on "happy accidents" because you lied. The chord changes most certainly show its at 175. Especially looking at the original sheet music for the composition. You're confusing notes with beats and that's okay to make rookie mistakes, but eventually it's better to learn what you're talking about if you're going to make bold claims
@@notebooktranscriptions I actually just set MY metronome to TWICE the speed you did, so now he's playing it at 700bpm!
Comments: _Not quite my tempo_
Me: Yes.. interesting... piano.. thing.
Anyone arguing it's 185 bpm doesn't know the tune. It's Just One of Those Things, which is commonly played at around 350bpm and if you knew tunes and knew the melody it would be obvious
Hit it 😮
Or just 175bpm 16th notes
Stride is generally in eight notes.
@@pjbpiano the stride is in eighth notes already, but the beat isn't
@@seheyt beat changes to double time when you switch from walking bass to stride. Unless you have scores where your stride music is written in sixteenth notes instead of eighth notes and quarter notes.
its actually 16 notes at 175bpm
Love the shred can't stand the filming with that shaky
"stride."
I think he is Rossano Sportiello...😮
Nice video, it would’ve been even better if I could have seen him playing the piano.
the music makes it sound so comical mainly because he makes it look so simple.😂
Man I miss the old Bar times where you got the Piano. xD
😅😊
実に面白い👀
This is 175, it’s a double time swing.
PLAY‼️
The metronome just had a heart attack!
He's probably playing it in 8th notes at that tempo. Although, it to my ears, it hears more like 16th notes at about 170-180 beats per minute, which is still fast as fuck.
Truth about today’s world a 50+ man will always shred a 20+ selfie stick ❤🎉
Chops omg
In the background is Issac Raz
The graphics and editing are brutally distracting here. I wanna find the original clip so I can actually see this person play.
In the description! ❤️ I have just added a pinned comment. Unfortunately if I didn’t edit it like this, you wouldn’t be seeing it in your feed.. necessary evil.
@@notebooktranscriptions Appreciate you sharing!
That’s not 350 BPM unless you double the original tempo. Change what would be quarter and eighth notes into 16th and 32nd notes and you get around 125 BPM. It’s fairly redundant, but would be a pointless way to “flex” by claiming such a high tempo when in reality, he’s just playing 16th, 32nd, and 64th notes in a fairly normal time signature. All of that said, this is still quite impressive.
Good point, the strong beats give away the subdivision.
Listen to the LH which is playing a stride feel, which is a quarter note four-to-the-bar style. RH is playing quavers. Also not really relevant to time signature.
Half-note = 175
@@notebooktranscriptions it's clickbait is what it is
@@notebooktranscriptions He's LITERALLY playing the melody of the song in 175. You're absolutely clueless mate.
Oh mio Dio
Damn . At least 175bpm
350!
You certainly don't understand anything about jazz rythmics. Those are 8th notes he's soloing with his right hand(typical to bebop aesthetic) so the left hand is doing quarter note pulse every 0.17 second. you can do the math but you will get little over 350 beats per minute.
@@notebooktranscriptions hes playing 16th notes in his right hand, its 175
Not if its jazz. Those are quarters in the L.H
@@benh6398
@@karvakeisari9359 you're over complicating it so much lol
His right hand is lagging. dude is clearly LEFT-HANDED!
Gesuis!!
Anybody know bebop pianists that play like this?
Art Tatum, oscar Peterson..
Jason Wanner, Chris Dawson, Ehud Asherie. But really one might argue whether anyone else REALLY plays like THIS. All these mentioned artists are great and each one of a kind IMO.
IMHO of course Tatum and Peterson are and shall remain all time legends. And so far as living pianists go, I think Rossano is in a league of his own. It is very difficult to maintain elegance and control at this kind of tempo, but Rossano does, and I sense that he especially values elegance and beauty in his playing: it is important to him.
Isn’t that more like 175 bpm ? If you count the base of the left hand as a quarter note then it’s sixteenth notes on the right hand right ? Because i dont feel the right hand as 8th notes so 350 bpm might be exaggerated, it’s just more subdivided to me
That dude tapping with his pen lol
If you can like one video today, like this one.
Can we all just agree that, that isnt 350 bpm. Great job obviously though.
That's just 175bpm with extra steps
I wouldn’t call that 350 bpm lol
It's like 170-175 bpm
Yeah, it's 170 bpm, people just don't understand tempo
@@gon9684 I would include you in that " people don't understand tempo" thing. Be humble with things you don't really understand
@@gon9684stride is quarter notes
Because it isn't