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an0va wrote:yeah honestly who wants to hear a 21 measure phrase till it repeats? Unless you're meshuggah or something
The irony is that 90% of Meshuggahs stuff is in 4/4.
Exactly! They never forget about the PULSE 
an0va wrote:Yes! Thank you! I still think you can have super interesting rhythms within just straight 4/4 and no 'omg polyrhythms' needed. Just keep the syncopation interesting and don't ignore the pulse.
I agree! but, I'm not sure from your wording whether the comment about syncopation in 4/4 was a separate thought, or you assumed that I meant that these pop music examples were using that method in lieu of straight up using a balls out odd meter. because all these pop examples are notated in 11/8, 7/8, 5/8, 7/4, and some even weirder!
I just want to give writing props where they are due
My bad-separate thought. I'm so glad you mentioned peter gabriel- Solisbury Hill is like my fav example of naturally sounding unconventional meters
So how do you guys fit 12 "sixteenth" notes in a 16 16th notes lsdj screen?
I have long to go to master the ways of the Groove Command
So how do you guys fit 12 "sixteenth" notes in a 16 16th notes lsdj screen?
I have long to go to master the ways of the Groove Command
H00 command on C
Last edited by likeluke (Apr 27, 2012 5:41 pm)
Lol
H00 at C
G C/4 seems to do the trick.
Don't know what I did exactly, but hey.
naturally sounding unconventional meters
This! I'm not a fan of technical writing for its own sake. I wrote Prime as a challenge to myself to make the odd time signatures feel natural and feel I was mostly successful in that regard. The melody should be so powerful that it takes focus away from the count. 7/4 is definitely my favorite.
also, id say if anyone wants a master class in musical / badass uses for odd meters, Mussorgsky's "Pictures at an Exhibition" is it.
nice!
BR1GHT PR1MATE wrote:* TONS of pop music is written in odd or compound meter, from beatles to soundgarden, zepplin, red hot chili peppers, sting, peter gabriel. so its not just guys with pointed ibanez guitars counting in their head while palm-muting.
Yes! Thank you! I still think you can have super interesting rhythms within just straight 4/4 and no 'omg polyrhythms' needed. Just keep the syncopation interesting and don't ignore the pulse.
pulse AND spiraling, spinning rhythm section = god
danimal cannon wrote:lol syncing up 7/4 and 15/16 is the worst idea I've ever heard.
just tried this - he's right
trying to add 3/16 and then resolve to 4/4 makes it worse
it was just an example. though a bad example, I just used those two because they naturally almost never line up to say that hey, YOU CAN sync anything up, it's up to you to decide if you can make it work or not.
danimal cannon wrote:The irony is that 90% of Meshuggahs stuff is in 4/4.
Exactly! They never forget about the PULSE
1/1 is a powerful time sig
Lol
H00 at C
G C/4 seems to do the trick.
Don't know what I did exactly, but hey.
you just made 3/4.
I made poopy
I had a feeling what I was doing was actually dead simple,
i still don't know what time signature this tune is in:
Did an album of this type of shite some years back:
http://evilwezil.bandcamp.com/album/chronophobe
Track time signatures:
3: 3/4 (speeds up until 4/4 with triplets)
5: 5/4
6: 6/4 (Yes. 6/4. Not a waltz.)
7: 7/4
9: 9/8
11: 4/4, 7/4, 13/4
12: Isometric
14: ?
Also, a 15-minute isometric single song relaxfest:
http://soundcloud.com/evilwezil/evilwez … -in-motion
I like oddfun.
Nice! Btw, not every 3/4 tune is a waltz, by definition a waltz is a 3/4 tune with a heavy (loud) 1st beat followed by 2 light (soft) beats. The inverse of that (2 heavy beats and 1 soft beat) has a name, I forget atm, but it gives the tune a slow, drawn out feeling.
Real men do metric modulations. Check that Planet X shit
