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Discussion in 'Bad Dog Cafe' started by december, Oct 13, 2021.
Not blues, but here's a 3/3:
Irrational time signatures and riddims are cool.
That's in 9/8, no?
Interesting how we try to express odd times by referencing even times.
I think most can not wrap their brain around any thing but 2 or 4 time and many of them dont even know about accent beats that fit those times. With out the accent beats a 4/4 could just as easy be a 2/2.
A time signature of 3/3 would mean one beat = a "third note"... is that a thing?
half note triplet...but you'd end up just feeling it the same as 3/4 (or whatever triple meter) anyway.
See the video in reply 22 -- it can be viewed as an irrational time signature.
I get that's how you see a measure, but if anything, that's locking your head further into a 4/4 standard.
In reality, a measure is a full cycle of downbeats and upbeats (primary and secondary accents and releases)...what delineates a "measure" is when you restart that accent cycle, no matter what the total written note value of that measure is.
It's a better way to think about it if you can get used to it....if nothing else because it's a reminder that those primary and secondary accents exist, and to play them as such.
If I don't come up with the tune myself ..... they piss me off. No matter how odd or goofy ........ anything from my own brain is doable. Trying to duplicate somebody else's odd time signature is a pain in the butt. Not that I don't find some of them amazing. I just don't feel like going through the extra time and work to figure them out.
I often listen to fusion and prog. Different time sigs are the norm.
Blotted Science has an insane amount of time sig changes, key changes and tempo changes. The same mind is responsible for Spastic Ink. Dream Theater has a tune with over 100 time sig changes in it.
Blotted Science "Synaptic Plasticity" is an example:
Just when you thought it's safe, he'll drop in a measure of 5/12 or 9/20.
I've always had problems with the 17/13 signature, very odd.
Yes. 3/3 actually can't exist.
It does go: 1 2 3, 1 2 3, 1 2 3, but the bottom number of a time sig is always even, so you're right, the proper way to express this is 9/8.
No, we figured it out, it would be 9/8. The bottom number is always even. There's dotted and triplet, but these are expressed 6/8, 9/8, etc.
It irritates me in Ableton Live, though, that you can't put an odd number on the bottom. I have 2 songs in 4/5, but I can only put 4/4 or 4/8. It still works, but the shaded sections don't match up with the actual measures.
The 4/5s are just like 4/4, but there are 5 bars per measure. I'm not sure if I could put 8/10 either, I think it only lets you put multiples of 4, so it'd have to be 16/20.
Joan Osborne, killin' it in 7/4:
I love watching people trying to dance to odd time sigs.
Stings pop album Ten Summoners Tales is full of odd and changing time sigs. Saint Augustine in Hell and 7 Days are favorites.
After decades of teaching composition, I have seen a lot of ways that people approach rhythm. My own practice has been to write in changing meters when necessary in the early sketches. Then I cram it into 4/4. Players of my kind of music know that the older conventions of strong/weak patterns don't apply to our work. It is strictly a re-notation of the odd bar version. But I do try to have major events occuring on beat 1. Basically, you just slide the notes back and forth in the time grid. Then make modifications for 4/4 by individually lengthening and shortening notes. This process only makes sense if meters had been changing frequently. Anytime one has a groove and beat going on, it's usually best to go with as few changes as possible.
Stravinsky's L'histoire du soldat for small, traveling ensemble does some interesting things. One of the movements, "the soldier's march," has been used in theory classes for years. I'm not going to look this up, but it is something like the violin plays in 5/8 while the percussion plays in 2/4. Any time signatures with relatively prime numerators can be played in different parts to create a composite (polymetric?) sound.
In some of my electronic + instrument pieces, some sections will use a graphic timeline measured in seconds. My view of notation is to use the simplest, clearest method, so you could switch from conventional notation to graphic notation. Whatever saves time in rehearsal.
Years back I did an instrumental intro to one of my songs that was a 7/4 thing that crossfaded into a 4/4. By and large I don't deliberately seekout odd time signatures just because.