Actually it's in 7. Switches to 4/4 for a solo.tapper mike wrote:Not to mention "Money" by Pink Floyd, another classic 5/4 song.
Ultimately, how significant are time signatures when composing?
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- KVRian
- 538 posts since 18 Feb, 2005
Take Five is not in 4/4...it's in 5/4. I have the score on my *desk* in front of me.anomandaris1 wrote:take 5 is 4/4 - 180 bpm
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himynameistony himynameistony https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=252188
- KVRer
- 8 posts since 10 Mar, 2011 from UK
i would say pretty significant but you're right you can write music with a 7/4 feel in 4/4 midi, it'll just look confusing as hell, and given the option you might aswell use it....
nobody mentioned golden brown?
also that nice broken social scene song 7/4 shoreline, which im guessing is 7/4
im a big fan of songs which are in unusual time signatures without sounding weird
nobody mentioned golden brown?
also that nice broken social scene song 7/4 shoreline, which im guessing is 7/4
im a big fan of songs which are in unusual time signatures without sounding weird
the internet is too big
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
take five is called that because it's IN FIVE. .~)
time signatures are just measurements of what you do. if one does not understand them, one does need to focus on it. if one has not noticed the difference between 3 and 4 beats per bar, this whole subject has exceeded their grasp until they have done some music and know what time it is.
you can have the most complicated thing in the world and it may as well be 4/4 to your sequencer, as it needn't be concerned with where the barlines are in order to output the notes on time. That's for your understanding and organization, or if you will output something for someone else to read and execute from, for their understanding and organization...
Unless a given measurement of beats is to rule what you're thinking of doing, one may not need to think about this in order to begin. I often do not; in the initial recording of ideas I start in SMPTE mode and ignore the grid entirely, but once I am ready to build something from the basis, that will tend to require a ruler I will [using 'time mode' (as opposed to bars/beats, which will move everything around anew)] warp the timeline to fit the music so that the new parts are easier to work with. Usually I do not put too fine a point on defining it for the world until I'm done writing, this is to establish a basis and some known points of departure. I'm talking of course of a lot of changes in the time here.
OTOH this is an example where I predetermined the bars before I did any of the arrangement.
time signatures are just measurements of what you do. if one does not understand them, one does need to focus on it. if one has not noticed the difference between 3 and 4 beats per bar, this whole subject has exceeded their grasp until they have done some music and know what time it is.
you can have the most complicated thing in the world and it may as well be 4/4 to your sequencer, as it needn't be concerned with where the barlines are in order to output the notes on time. That's for your understanding and organization, or if you will output something for someone else to read and execute from, for their understanding and organization...
Unless a given measurement of beats is to rule what you're thinking of doing, one may not need to think about this in order to begin. I often do not; in the initial recording of ideas I start in SMPTE mode and ignore the grid entirely, but once I am ready to build something from the basis, that will tend to require a ruler I will [using 'time mode' (as opposed to bars/beats, which will move everything around anew)] warp the timeline to fit the music so that the new parts are easier to work with. Usually I do not put too fine a point on defining it for the world until I'm done writing, this is to establish a basis and some known points of departure. I'm talking of course of a lot of changes in the time here.
OTOH this is an example where I predetermined the bars before I did any of the arrangement.
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himynameistony himynameistony https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=252188
- KVRer
- 8 posts since 10 Mar, 2011 from UK
jancivil that song you posted is awesome
*edit* is it all arranged digially? or did you play any of the bits???
*edit* is it all arranged digially? or did you play any of the bits???
the internet is too big
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
hi tony, thanks.
it isn't so much either/or, I play bits in and then arrange them/edit them. this began with a midi of Erik Satie's composition, Nocturne #3 that I'd downloaded. Satie signed the manuscript in 1913. I had done a couple other Satie covers and happened upon this at youtube (after making for one of them) and immediately saw the possibilities...
The actual time sigs as given were simpler than the material seemed to me to be, so I at once made some decisions based on the phrasing. Then I sorted through the rather thick pianos and subtracted/cut things, assigning some mallet percussion and some bass in place of some of the piano, then decided on the general instrumentation, the general color. Then I set out to make the drum part, a section at a time, using a zendrum controller and BFD2. Then I built the chart from the drums up.
(All the instruments are virtual.)
(at ~ 40 seconds there are three bars where I superimposed my own theme over and put a pedal bass under a couple of moments that don't work for me as written, and to work my idea I had to extend by a couple of beats. Then around 1 minute there is another tune I overlaid over the basis, and of course there are a couple of solos.)
it isn't so much either/or, I play bits in and then arrange them/edit them. this began with a midi of Erik Satie's composition, Nocturne #3 that I'd downloaded. Satie signed the manuscript in 1913. I had done a couple other Satie covers and happened upon this at youtube (after making for one of them) and immediately saw the possibilities...
The actual time sigs as given were simpler than the material seemed to me to be, so I at once made some decisions based on the phrasing. Then I sorted through the rather thick pianos and subtracted/cut things, assigning some mallet percussion and some bass in place of some of the piano, then decided on the general instrumentation, the general color. Then I set out to make the drum part, a section at a time, using a zendrum controller and BFD2. Then I built the chart from the drums up.
(All the instruments are virtual.)
(at ~ 40 seconds there are three bars where I superimposed my own theme over and put a pedal bass under a couple of moments that don't work for me as written, and to work my idea I had to extend by a couple of beats. Then around 1 minute there is another tune I overlaid over the basis, and of course there are a couple of solos.)