Thanks, you put in words what I would have tried to explain. Ive been reading a little into the clave of afro cuban drums a lately where it is 3/2 until they eventually reach a point where it is then reversed back to 2/3, and that this happens as a switch over during the playing and so is a constant rhythm.jancivil wrote:it's a convention, of a style.ntom wrote:Something that I am certain goes to the very very basics of music theory...but why does the snare most commonly land on the 2 and 4 beat?no, there isn't really any simple principle in the convention of rock drumming in 4 to extrapolate from so as to apply to a different factored time.ntom wrote: Is there some sort of theory behind this that can be applied to other time signatures?
Where does the snare land commonly on 3/4? 5/4? 6/8?
3/4, waltz, typically snare on 2, 3.
5 is 3+2 or 2+3. or, you could be more interested in phrasing and say 2+2+1.
But, these are at bottom ways of metering the time. when do you do something [where's the snare]? when you get the idea to do something. the conventions for 4/4 per eg., 5/4? well, 4/4 is more conventional, you know. there is less conformity as you get away from it I reckon.
6/8 might be two dotted quarters, it might be a way of expressing 3/4 to give you a finer grid, it might be 4+2.
it might be a mixture of all the above. 'hemiola' 6/8 = 3/4 is interesting, emphasise it as the two dotted quarters, alternately as three quarters. I wanna be in Amer, i, ca.
9/8 might work like 3/4 + 3/8, it might be 2+3+2, could be 3+2+2...
"It's more common in 4/4 time to write the kick on the 1 and the snare on the 3." I doubt it. That's a half time feel. I like it a lot myself but it is probably quite a bit less common. Rock backbeat in 4/4 is 2 and 4 typically.
(Ive put this in case I need some correction so please feel free to let rip, that is with words and not natural gasses)
