Ah, that's working well too.chris_b wrote: I hear 98bpm 4 beats per bar with the snare on the second beat: here
I start to feel stupid now...
Take my bows before you, guys!
Rhythm experts: WTF is this?
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- KVRAF
- Topic Starter
- 13444 posts since 14 Nov, 2000 from Hannover / Germany
I start to feel stupid now...
Take my bows before you, guys!
There are 3 kinds of people:
Those who can do maths and those who can't.
Those who can do maths and those who can't.
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- KVRian
- 522 posts since 10 Jan, 2004 from England
4/4 really slow.
There are 2 rules to being a success in life: 1. Never give out all the information.
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- KVRAF
- 2548 posts since 7 Jul, 2003 from Huntington, WV
Yes, that's synchronized, but why does it sound awkward to me?chris_b wrote:I hear 98bpm 4 beats per bar with the snare on the second beat: hereSascha Franck wrote:add a metronome
take care,
McLilith
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- KVRAF
- 2548 posts since 7 Jul, 2003 from Huntington, WV
Excuse me, I moved my post to a new thread:
http://www.kvraudio.com/forum/viewtopic.php?t=94773
It's a question about time signatures.
take care,
McLilith
http://www.kvraudio.com/forum/viewtopic.php?t=94773
It's a question about time signatures.
take care,
McLilith
Last edited by McLilith on Sat Jul 09, 2005 6:48 pm, edited 1 time in total.
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- KVRAF
- 6596 posts since 21 Jun, 2004 from Secret Underground Hideout
has the theory thread moved over here?
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- KVRAF
- 2548 posts since 7 Jul, 2003 from Huntington, WV
Hi androidlove,
Is that better?
take care,
McLilith
Is that better?
take care,
McLilith
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- KVRist
- 492 posts since 26 Feb, 2003 from Vancouver BC
Consider 4/4: Lean on the '1', it's funk. Lean on the '2', it's rock. Lean on the '3', it's reggae. Lean on the '4', it's ska.
...And that's not even considering what you assemble the 4 from. Beats are comprised of rhythm (note duration) and dynamics (note volume) occuring at a given meter (note tempo). There's a *lot* of different ways to count to 4 if you're a drummer. Most of them don't involve the numbers nine or eleventy three, despite what you've heard about us.
...Then you have to contextualize them against the other instrumental passages playing congruently, which may end up syncopating or being polyrhythmic.
Or in unison, but you're timeshifting the '2' 3 milliseconds forward for that 'con brio' feeling.
Of course if you have natural talent, ya don't worry about this kinda analytical nonsense, and write phenomenal tarnce instead.
The rest of us muddle along...
Ain't riddim grand?
K
...And that's not even considering what you assemble the 4 from. Beats are comprised of rhythm (note duration) and dynamics (note volume) occuring at a given meter (note tempo). There's a *lot* of different ways to count to 4 if you're a drummer. Most of them don't involve the numbers nine or eleventy three, despite what you've heard about us.
...Then you have to contextualize them against the other instrumental passages playing congruently, which may end up syncopating or being polyrhythmic.
Or in unison, but you're timeshifting the '2' 3 milliseconds forward for that 'con brio' feeling.
Of course if you have natural talent, ya don't worry about this kinda analytical nonsense, and write phenomenal tarnce instead.
The rest of us muddle along...
Ain't riddim grand?
K
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- KVRAF
- 1981 posts since 26 Oct, 2003 from Toronto
Cool beat, but not as screwed as Jane Siberry's 'Mimi On The Beach'. 
That still gets the 'Highly f**ked Prize' more than 20 years later still!
That still gets the 'Highly f**ked Prize' more than 20 years later still!
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- KVRAF
- 2058 posts since 23 Sep, 2004 from Canada
Great beat for a hiphop track BTW 
.
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- KVRAF
- 2830 posts since 2 Mar, 2003 from The only civilized county in Texas
Very cute.
Normally we can deal with any amount of weird bass drum accents as long as we keep the snare on the backbeat, that is, 2 and 4. Here there is only one snare hit per 4/4 measure, and that happens on the (2) *&*.
Or you could look at it as: you expect one snare hit on 3, but it has been moved one eigth earlier.
So you could count the measure as 1-2-3 1-2 1-2-3 (in eigth notes) with bass-snare-bass hits at the start of the three groups.
As I said, cute.
Normally we can deal with any amount of weird bass drum accents as long as we keep the snare on the backbeat, that is, 2 and 4. Here there is only one snare hit per 4/4 measure, and that happens on the (2) *&*.
Or you could look at it as: you expect one snare hit on 3, but it has been moved one eigth earlier.
So you could count the measure as 1-2-3 1-2 1-2-3 (in eigth notes) with bass-snare-bass hits at the start of the three groups.
As I said, cute.
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- KVRAF
- 4687 posts since 6 Jan, 2003
ok, i've got one for you guys.
i came up with an odd bassline many years ago but, being music theory illiterate, i've no idea how it actually works. so all these years i've been wondering what the hell im really playing.
rather than record my bass playing and further confuse the issue with my sloppy timing, i've managed to sequence it. the recording was done at 100bpm and i left the sequencer set to 4/4. the best i can say is that the first section does fit into the space of a 4/4 but the last section goes slightly over and the whole sequence loops on a 1/16th.
this line often messed with drummers heads. one even told me i was playing it wrong. some of my friends and i called it my 'falling down the stairs' bassline.
so here it is...
oddtimebassline
what would be the proper music theory way of describing to someone what im doing when im playing this?
-ugo
i came up with an odd bassline many years ago but, being music theory illiterate, i've no idea how it actually works. so all these years i've been wondering what the hell im really playing.
rather than record my bass playing and further confuse the issue with my sloppy timing, i've managed to sequence it. the recording was done at 100bpm and i left the sequencer set to 4/4. the best i can say is that the first section does fit into the space of a 4/4 but the last section goes slightly over and the whole sequence loops on a 1/16th.
this line often messed with drummers heads. one even told me i was playing it wrong.
some of my friends and i called it my 'falling down the stairs' bassline.so here it is...
oddtimebassline
what would be the proper music theory way of describing to someone what im doing when im playing this?
-ugo
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- KVRist
- 235 posts since 18 Oct, 2002
I have transcribed a lot of this type of music in the past. Most, but by no means all, popular dance oriented types of music are in 4/4, and have an underlying 16th note pulse. The confusing thing about this snippet is that there is no percussion playing on the first beat of each measure. The very first kick comes on the second eighth note of the fourth beat, or the "and of four." (This could also be thought of as a pick-up note to the first beat of the measure.) The hi-hat is next, on the second 16th note after 1, the snare is on 2, and the next kick is on three. The second kick is, again, on the second eighth note of the fourth beat, and the pattern repeats itself. Hope this clears things up.
Baxter
Baxter
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- KVRAF
- Topic Starter
- 13444 posts since 14 Nov, 2000 from Hannover / Germany
After analyzing things a bit more I really think that chris_b's version is working best.
I actually don't exactly care about subdivisions too much - they can be done in whatever fashion, I've allready been playing with drummers completely shifting beats in whatever manner during my "fusion years", add to that some 7/8 superimpositions over a straight 4/4 and the likes...
However, chris' example is covering everything just fine. Sure, some notes are played a bit laid back or in front of the beat, but generally a given 16th note grid would cover all of them fine. I'm almost sure a metronome such as in his take was the one they've been working along to while tracking.
I actually don't exactly care about subdivisions too much - they can be done in whatever fashion, I've allready been playing with drummers completely shifting beats in whatever manner during my "fusion years", add to that some 7/8 superimpositions over a straight 4/4 and the likes...
However, chris' example is covering everything just fine. Sure, some notes are played a bit laid back or in front of the beat, but generally a given 16th note grid would cover all of them fine. I'm almost sure a metronome such as in his take was the one they've been working along to while tracking.
There are 3 kinds of people:
Those who can do maths and those who can't.
Those who can do maths and those who can't.
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- KVRAF
- 8467 posts since 18 Apr, 2004
Sounds like basically you have just a plain 4/4 beat but you sneak in a 16th note every 4th [edit]beat^W bar[/edit]...ugo wrote:what would be the proper music theory way of describing to someone what im doing when im playing this?
I'm not in the know either but I think the semantically correct way to describe it would be a loop of three 16/16 bars and one 17/16. Or something.
Last edited by farlukar on Mon Jul 11, 2005 8:07 am, edited 1 time in total.
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- KVRAF
- 4822 posts since 14 Mar, 2002 from Somewhere else, on principle
Snoop Dogg. 