Did you contact support about this Jesse? We're paying for a service. It should work properly.

https://www.tonegym.co/support/index

@Adam Deering I thought they would see it here, but this is a great point. I will reach out. Thank you!

@Jesse Lyons - yes, please do. That's how we got Solfegiator fixed. It was causing a lot of problems for a lot of people because it wasn't working properly. I reported it several times and encouraged others to do so also. Eventually they fixed it.

There are definitely times when Rhythmania presents strangely- or inconsistently-notated rhythms, or rhythms that seem more artificial than realistic, and it also notates tempo incorrectly sometimes, but I'm not sure if I understand the specific problem you are describing here. It is definitely possible to have triplet 8ths and 16ths when the 8th note has the beat, just as it is possible to have triplet quarters when the quarter not has the beat -- i.e. tuplets can span multiple beats. Could you post a screen shot?

But yeah, if you do see a problem, report it to support! Developers are always fixing bugs.

@Victor Wilburn I should have been more specific... In compound time signatures (and 3/8 included in that as well), the basic beat is based on a dotted quarter, versus in simple time signatures, where the beat is felt differently. In simple time signatures, the basic beat's 8th notes are grouped in 2's instead of 3's (like in compound time signatures)... The notation presented below would be correct if the time signature was 3/4 and not 6/8.

It is difficult to try and play this because the metronome is playing 6 beats for each measure and, you are trying to add triplet pulses on top of a beat already based on triplet pulses...

I'm not great with words or explaining, but I hope this explanation makes sense. There are a lot of notations like the one below, and they would always trip me up. I went to a friend who is a professor at a music university who told me this was incorrect and then taught me why.

i’ve disabled this exercise after reaching the maximum level. those rhythms are so non-musical, and i decided that that time is better spent in transcribing jazz solos daily with their own intricate rhythms that actively enrich your musical vocabulary

I'm actually stuck on one exercise I can't get past. I swear I'm doing it correctly, but cannot get it. I have such trouble transcribing - I just don't have the patience for the detailed work required, but I keep trying!

Good catch, Jesse. That screenshot shows a clear problem. And that rhythm would make perfect sense in 3/4, as you say. Hope Tonegym can fix these errors - I’ve also seen weird time signatures in this game a few too many times. It’s a pretty serious error for a music education website.

@Terri Winters you are getting there though and like you said, it's hard to know when you are just learning and we are given inaccurate info. We are here to learn, how would we know if what we are being taught is accurate or not ! If you ever need any help you can always send me a message. I would have never figured out that these were errors without the help of a friend. 😊

Who's AWESOME @Jesse Lyons???

@Terri Winters is!!!

@Jesse Lyons is just showing off! Level 80? Well, okay Jesse is Awesome. You know I'm just kidding you, Jesse.

@Colin Aiken I know 😂 I'm far from a show off... I'm sitting on a bench in beautiful downtown Charlotte NC, repeatedly writing the minor key signatures because I didn't start learning them until this week 🙃 😅 I've got a long ways to go 😝

Here's my cheat sheet for major/minor key signatures @Jesse Lyons Funny how I never learned minors - doing it now as well.

@Terri Winters Thank you for this cheat sheet friend... this is perfect to check my work with🙏

@Jesse Lyons: Yes, I see what you mean now. That is the very sort of thing I meant by strangely-notated rhythms. I would say this is something analogous to being syntactically correct but not grammatically correct or not conventionally correct. I.e. the number of eighth notes in each bar does add up to 6 (each triplet and each quarter-note spanning two eighth-notes), but you are right that that rhythm would be felt more as being in 3 than in 2, and by convention would usually be notated in 3/4 rather than 6/8.

However, you might see something like this in the midst of a piece that is mostly felt in 2, as 6/8, but switches to a three feel for a couple of measures. In such a case, is it better to temporarily change the time signature, or just let the notation weirdness emphasize the temporary shift in feel?

@Jesse Lyons: Following up on my previous comment, by coincidence I happened to come across an example of what I'm talking about when we had our first choir rehearsal of the season last night. One of the pieces we are doing is Laura Hawley's arrangement of In dulci jubilo. It is notated in 6/8, and for the most part it does have a 2 feel as one would expect. However, it does switch to a 3 feel for a measure or two from time to time, without bothering to change the time signature. Here is one place it does that, and taking it further, it actually has some voices in 2 and some in 3 in the same measure, then changes in the next measure (one reason it wouldn't make much sense for it to switch to a 3/4 notation just for a couple of measures).

So, in isolation the example you gave certainly looks weird, but it is not entirely rare to see that sort of thing in actual scores, and it makes sense in context. Adding in the triplets gives it an extra challenge, though. :)

@Victor Wilburn I don't see any triplet 8th notes on the page... I'm gonna have to study more to understand because I genuinely am trying, but I don't understand what you mean. It's above my head.

@Jesse Lyons: Perhaps I misunderstood what you meant by this comment:

'In simple time signatures, the basic beat's 8th notes are grouped in 2's instead of 3's (like in compound time signatures)... The notation presented below would be correct if the time signature was 3/4 and not 6/8.'

I thought it meant we had arrived at an understanding that the issue with your example wasn't the triplet eighth-notes (again, triplets spanning more than one beat are quite common), but that the rhythm would be felt as 3 quarter-notes (some triplet-ized, some not) whereas in 6/8 time, you expect the rhythm to be felt as 2 dotted-quarter notes. This is what I mean by a 3 feel instead of a 2 feel.

What I posted is a real-world example of a piece in 6/8 (the 6/8 notation is at the beginning of the piece, so not in the picture), which generally has a 2 feel, temporarily switching to a 3 feel -- and even has different voices with different rhythmic feels in the same measure. I.e. you can see some voices having three quarter notes in those measures, and some sticking with what is more typical for 6/8 time -- either dotted quarters or quarter/eighth combos.

So, in summary, in your example:
* There is nothing unusual, wrong, or syntactically incorrect about the triplet eighth notes by themselves. Quarter notes are divided into triplets all the time, and triplets span multiple beats all the time.
* In isolation, it looks wrong that it has a 3 feel when it's notated in 6/8 time (3/4 would be more appropriate), but those sorts of things do happen in context as a temporary shift in feel. My example is a real-world example of that, and I didn't even have to go looking for it, I just happened to stumble across it.