Writing in 6/8 and 3/4: Songs with a Swaying Feel

Almost everything on the radio is in 4/4, so when a song rocks back and forth like a slow dance, it stands out right away. That swaying feel usually comes from 3/4 or 6/8. If you've wanted to write 6/8 time signature songs or a waltz in 3/4 but aren't sure how they differ, this guide explains the difference, how to count and strum each one, and how to write lyrics that ride the lilt.

1. 3/4 and 6/8 Are Not the Same

A bar of 3/4 is felt in three beats, while a bar of 6/8 is felt in two big beats. Both contain the same amount of time if you count in eighth notes (six eighths per bar), which is why they get confused. The difference is how those six eighths are grouped.

• 3/4 groups them in pairs: 1-and, 2-and, 3-and. You feel three pulses, with the strongest on beat 1.
• 6/8 groups them in threes: 1-2-3, 4-5-6. You feel two pulses, on 1 and 4, each split into three.

Tap your foot to a 3/4 song and it goes down three times per bar. Tap it to a 6/8 song and it usually goes down twice, with a rolling triplet feel inside each tap.

2. Count It Before You Write It

Counting out loud is the quickest way to lock in either feel. Say the counts while clapping on the capital letters:

3/4:  ONE  two  three  | ONE  two  three
6/8:  ONE two three FOUR five six | ONE two three FOUR five six

In 3/4, every beat is roughly equal, with a lean on ONE. In 6/8, the accents fall on ONE and FOUR, and "two three" and "five six" are lighter. Some players count 6/8 as "ONE-la-li, TWO-la-li" to feel the two big beats more clearly.

If you're unsure which one you're hearing, try both counts against the song. The one your body agrees with is the answer.

3. The Sway and the Waltz

Both meters sway, but a 3/4 waltz turns in circles while 6/8 rocks back and forth. 3/4 has the "OOM-pah-pah" of a waltz: one heavy beat, then two light ones, like a dancer stepping and turning. It feels elegant, a little old-fashioned and very good for storytelling.

6/8 feels more like a rocking chair or a boat on water. Because each big beat is split into three, it has a lilting, rolling quality that suits tender ballads and slow, emotional builds. It can also move fast: lively Irish jigs are written in 6/8.

4. Genres That Use Triple Feel

Ballads, folk, soul and doo-wop all lean on these swaying meters. A few places to listen for them:

• Ballads: 6/8 is a go-to for slow, heartfelt songs because the triplet pulse keeps a slow tempo from feeling static. Our guide to writing a ballad pairs well with this feel.
• Folk and country: the country waltz and many traditional folk songs sit in 3/4. Billy Joel's "Piano Man" is a well-known pop example of waltz time.
• Soul and R&B: slow soul ballads often use a 6/8 or 12/8 groove, with the drummer playing steady triplets on the cymbal.
• Doo-wop: the 1950s slow-dance sound is often in 12/8, which is the same three-note lilt stretched across four big beats per bar.

5. Writing Lyrics to the Lilt

Triple meters reward words that already have a strong-weak-weak rhythm. Words like "BEAU-ti-ful," "WAN-der-ing" and "MEM-o-ry" fall naturally into a 1-2-3 group, with the stressed syllable on the strong beat.

Here's an original example in 6/8, with stressed syllables on the big beats:

CAR-ry me DOWN to the RIV-er at NIGHT

WAIT-ing for SOME-one who FOL-lows the LIGHT

Read it out loud and you'll feel it rock. Also use the long-short pattern that defines this feel: hold a syllable for two eighths and follow it with a quick one, like "WAIT ing." Stretching syllables this way is what makes a 6/8 melody sound sung rather than spoken.

Fast Rhymes' syllable counter helps here, since lines in a triple meter work best when they keep a consistent number of syllables per beat group.

6. Strumming Patterns That Sway

Your strumming pattern tells listeners which meter they're in before you sing a word. Start with these on guitar:

• 3/4 waltz: bass note on 1, then two light strums on 2 and 3 ("boom-chick-chick"). Pick the low root note, then strum the upper strings.
• 6/8 basic: six down strums per bar, accenting 1 and 4.
• 6/8 with movement: Down, down, up, Down, down, up, accenting the capitals.
• 6/8 ballad: one strong strum on 1 and one on 4, letting each ring.

On piano, the left hand can play the bass note on the strong beats while the right hand fills the lighter ones.

Try this exercise

Take a four-chord loop you already like, play it in 6/8 for eight bars, then in 3/4 for eight bars. Hum over each and notice how the melody you find changes. Keep whichever version makes the words feel most natural.

Conclusion

Writing in 3/4 or 6/8 is one of the fastest ways to make a song feel different from everything else in your catalog. Count the meter, strum it until it's in your body, and choose words whose natural stress rocks with the beat.

When you're shaping lines to fit that lilt, Fast Rhymes helps you find rhymes and keep syllable counts steady so your 6/8 time signature songs flow from the first bar to the last.