too late.Googly Smythe wrote:Time to tell us the answer, before we get bored...
Riddle: What time signature is this song preview based on?
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- KVRist
- Topic Starter
- 299 posts since 13 Dec, 2015
Ok people...
jancivil was closest in my eyes, because of the 5/4 guess.
The whole thing (as I said, ther's no change in it) is in 9/8.
Listening to Genesis Apocalypse in 9/8 (Foxtrot Album) I came up with the idea if you could do 9/8 danceable.
I used the bassdrum as assist for all other instruments.
The fun part: The problem was not the bassdrum, claps and pads, it was the bassline. If you put it on the bassdrum pattern (what logicaly must fit), it sounds wrong. That was really opening my eyes.
Here is a screenshot with 9/8 proof and also showing what I call the "bassline paradox" from now on. lol
Sure you could say "who cares" but for me it's a funny experiment and makes me thinky, if ther would be any consequences if it was not "4 on the floor" last decades but rather "9/8 on the floor". Would it change the feeling for time, make more happy, more relaxed, more angry?
Interesting is the "ther's something wrong/special) but I can't adress it fact, people gave me as feedback in other forums. It's kinda spice for me, something new in my arsenal.
Having some additional freetime, I will "correct" this song in this version to 4/4. I'm really wondering, what difference you hear/feel.
jancivil was closest in my eyes, because of the 5/4 guess.
The whole thing (as I said, ther's no change in it) is in 9/8.
Listening to Genesis Apocalypse in 9/8 (Foxtrot Album) I came up with the idea if you could do 9/8 danceable.
I used the bassdrum as assist for all other instruments.
The fun part: The problem was not the bassdrum, claps and pads, it was the bassline. If you put it on the bassdrum pattern (what logicaly must fit), it sounds wrong. That was really opening my eyes.
Here is a screenshot with 9/8 proof and also showing what I call the "bassline paradox" from now on. lol
Sure you could say "who cares" but for me it's a funny experiment and makes me thinky, if ther would be any consequences if it was not "4 on the floor" last decades but rather "9/8 on the floor". Would it change the feeling for time, make more happy, more relaxed, more angry?
Interesting is the "ther's something wrong/special) but I can't adress it fact, people gave me as feedback in other forums. It's kinda spice for me, something new in my arsenal.
Having some additional freetime, I will "correct" this song in this version to 4/4. I'm really wondering, what difference you hear/feel.
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
Well, Cubase may tell us it's in 9, but what you did is 8 in the time of that 9 with no expression of the 9 so it's a trick question.
there has never been a more appropriate time for
https://www.youtube.com/watch?v=gIUQt-9U3_c
there has never been a more appropriate time for
https://www.youtube.com/watch?v=gIUQt-9U3_c
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- KVRist
- 227 posts since 27 Sep, 2006 from Cologne, Germany
Well, you could as well have asked "What's inside my pocket?", and the answer could always be "Whatever fits in there!".
I don't see any paradox with the bassline either, it's clear that it can't fit into the grid when your beat is stretched to distribute 8 evenly across a metrum of 9. What some people perceive as some subtle rhythmical twist will be the slightly inexact timing of the bassline. That's got nothing to do with 9/8 but with your inaccurate placing of the bassline events.
It sure would be interesting had the history of popmusic further embraced that refined or more complex approach of the 70s as heard in the works of Genesis, Yes, ELP etc. with their odd metres and 5/4, 7/4, 9/8 would be in the flesh & blood of much more people. But since that is not the case I don't see why you would construct music in odd metres that is effectively 4onthefloor and only odd "on paper" when you could write interesting music that actually exploits the rich possibilities of the odd...
There's a great example of the opposite approach - "sounds/feels like something odd but is in fact even" - that is Radioheads Pyramid Song. And it also shows that it's not just the metre as such that makes music exciting, but the tension created by the elements in the context of a metre (that's also very apparent in the Apocalypse in 9/8).
I don't see any paradox with the bassline either, it's clear that it can't fit into the grid when your beat is stretched to distribute 8 evenly across a metrum of 9. What some people perceive as some subtle rhythmical twist will be the slightly inexact timing of the bassline. That's got nothing to do with 9/8 but with your inaccurate placing of the bassline events.
It sure would be interesting had the history of popmusic further embraced that refined or more complex approach of the 70s as heard in the works of Genesis, Yes, ELP etc. with their odd metres and 5/4, 7/4, 9/8 would be in the flesh & blood of much more people. But since that is not the case I don't see why you would construct music in odd metres that is effectively 4onthefloor and only odd "on paper" when you could write interesting music that actually exploits the rich possibilities of the odd...
There's a great example of the opposite approach - "sounds/feels like something odd but is in fact even" - that is Radioheads Pyramid Song. And it also shows that it's not just the metre as such that makes music exciting, but the tension created by the elements in the context of a metre (that's also very apparent in the Apocalypse in 9/8).
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- KVRist
- 164 posts since 4 Dec, 2006
All you've done is superimpose music written in 4/4 over a time signature of 9/8 within a DAW.
Without any actual sounds highlighting the 9/8 time signature guess what?
Your piece is in 4/4. Full stop.
Maybe you could try to write a dance tune that is *actually* in 9/8? Wouldn't really be that hard. Just a fast triple compound beat.
Without any actual sounds highlighting the 9/8 time signature guess what?
Your piece is in 4/4. Full stop.
Maybe you could try to write a dance tune that is *actually* in 9/8? Wouldn't really be that hard. Just a fast triple compound beat.
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- KVRAF
- 5703 posts since 8 Dec, 2004 from The Twin Cities
It has been done at least once already.stringtapper wrote:All you've done is superimpose music written in 4/4 over a time signature of 9/8 within a DAW.
Without any actual sounds highlighting the 9/8 time signature guess what?
Your piece is in 4/4. Full stop.
Maybe you could try to write a dance tune that is *actually* in 9/8? Wouldn't really be that hard. Just a fast triple compound beat.
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
lol. Yeah what most or all of us perceived is a flaky bass line over four on the floor.
FTR, I found a passage near the beginning of ten pulses (decidedly not the pulse of the 'kick drum' and handclap b'iness) before a feasible *1* came down, but I don't think the beginning has a really solid pulse throughout, I just threw that out there, having not gotten very far in the track.
FTR, I found a passage near the beginning of ten pulses (decidedly not the pulse of the 'kick drum' and handclap b'iness) before a feasible *1* came down, but I don't think the beginning has a really solid pulse throughout, I just threw that out there, having not gotten very far in the track.
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- KVRist
- 164 posts since 4 Dec, 2006
It wasn't a waste of time if you or someone else reading learned something from it.Cruba wrote:Well, I think you ppl are right... Sorry for wasting your time...
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
31/32Sendy wrote:I don't know the proper "notation" way to say this, but I'm pretty sure it's something close to 4/4, but either with a 32nd note lopped off of each bar,
31:32. I don't know anybody that's gone to that extent. Frank Zappa's T'Mershi Duween does 23:24 (6/4). People say '23 in the time of 24', or in the space of 24.Sendy wrote: or where each set of 32nd notes only has 31 notes (or 'ticks') but spread over the same space as a 4/4 bar (like the same concept as trip- or quintuplets but taken up to a finer grain).
