Songs with weird time signatures. I find these interesting, what does /mu/ think?
Pink Floyd - Money (7/4)
Dave Brubeck - Take Five (5/4, as stated in title)
Outkast - Hey Ya (11/4)
Got the obvious out of the way.
What i really hate is when people put songs into weird time signatures for that sake of it being in a weird time signature. They force the lyrics and instruments to "fit" so that they can be all "we're better at music than you"
Gorillaz did this and named it 5/4. They wanted attention. At least their other shit is good.
it'd be harder for me to pick a song in 4/4 than to not...
thisis in 11/16 up until 2:43, a bar of 13/16. then it goes and gets real fucky.
8 bars of 11, one of 5, followed by two 11s and another 5. two bars of 14/16 happen, then it goes to a bar of 7 then an 11 and two more 14s. then two 11s, a 7 and three more 11s. ends in 14 for a bar and then a few bars of 31 for the ring out.
i think i posted some of the score?
>They force the lyrics and instruments to "fit"
are you seriously arguing that to arrange for an odd meter is some form of selfish elitism?
>"we're better at music than you"
what kind of an inferiority complex you got going on to take such an innocent act personally? lmfao
I can't help but feel like most 5/4 tracks lend too much from Take 5's rhythm: stressing the 1, the "and" of 2, and 4. Just seems a bit stale.
here's some Austin Peralta.
When writing songs in odd meter, how do you guys go about it? Settle on the melody/riff that works with the rhythm and go with that, or figure out the drum parts/emphases on the beat, first?
I think the rythm of a piece and the way it can be changed is an essential part of the articulation and the structure of a piece. Keeping an odd time signature for the whole duration is basically using a slightly unusual groove, but nothing really exceptional. Shifting the signature from a meter to another is a great way of taking the song in a different direction and make the listener feel surprised. Altering the rythm every bar or two to basically cancel every feeling of precise alternation between accents thus "removing the rhytm" feels like an unnecessarily complex way to achieve something that you could do in a much easier way with some witty counterpoint.
Sorry for poor explanation but my english is shit
Odd time signatures are great if done right. Sometimes subtlety works best that obvious ones imo. For example, I can't stand contemporary classical music because you can't find a melody/theme due to the ever changing time signatures and chords. Some tracks that you never expect to have odd time signatures do it well, for example The Beatles' Here Comes The Sun. The song is in 7/8 and 11/8 and 4/4, but the pop sound doesn't make it obvious. Take 5, whose name obviously implies the piece is in 5/4 makes a memorable melody before the solo portion, yet sometimes you'll forget that it has the odd time. Radiohead's 15 Step is also in 5/4 but the downbeat will make it seem that it is a regular 4/4 song until you pay attention.
An example I really enjoy is King Crimson's Starless.
The song starts as a slow "ballad" with minor chords and a dark, moody feeling...yet there is some melancholy there. The intro portion along with the vocals are in regular 4/4 time until it climaxes and immediately retreats into the middle portion.
The middle portion is in 13/8, with only the bass providing the time and a wooden block hitting seemingly random beats. The guitar enters a little bit after with syncopated beats, repeating the same thing over and over again but dictating chord changes as time passes. The riff pretty much begins to drive the listener insane as you want something to happen, but it takes its time climaxing longer and longer until the drums start, but the riff continues even then. Eventually it all finishes when the guitar starts getting frenetic, leading to the conclusion with a fast jazz/rock fusion portion that leads to the repetition of the intro melody but sped up until it finishes.
So odd time signatures work best if done in appropriate ways (subjective opinion of course) and can be considered genius if it doesn't make itself obvious.
The two guitars play int he following time signatures: 5/8 and 5/8, 5/8 and 4/4, 5/8 and 9/8, 15/16 and 15/16, 15/16 and 14/16, 10/8 and 20/16, 15/16 and 15/16, 15/16 and 14/16, 12/16 and 12/16, 12/16 and 11/16, 15/16 and 15/16, 15/16 and 14/16.
Why is everyone posting the half of the time signature that tells you which note equals one beat when you're not looking at the sheet music? You're just guessing. If it's above 7 beats per measure are you just assuming it would be 8th notes, and above 15 beats assuming it would be 16ths? What is the point?
isn't only the end actually in 26? intro and most of the verses are 4/4 just with a few dropped beats.
yeah, i'm not gonna lie, i wrote it the way i did because i got to the end and was a few beats off of having a prime number so i just fucked around until i got a pattern-y thing i liked and was prime.
It's nice to hear odd meter being used in Hip-hop.
Any examples in other, more "electronica" genres of electronic music (IDM, etc?). I know Venetian Snares is known for using 7/4, but I'm sure you guys could come up with examples from Aphex or Squarepusher or something.
Are you going to start complaining about not naming the tempo next, because "OMG, you don't know if it's quarter notes at 100 bpm, what if the sheet music was written at 400 bpm with whole notes, lol"
Happy the Man - Service with a Smile is in 11/8
Bill Bruford - Hell's Bells is in 19 (it might be two measures of 7/8 and a measure of 5/8, repeating; I don't know)
Solsbury Hill by Peter Gabriel is probably the most natural-sounding 7/4 song I know.
And Back in NYC by Genesis (one album before above) is probably the least subtle 7/4 song I know, the way it's accented.
Turn it on Again by Genesis is in 13/8, and sounds like a straight-ahead 4/4 dance beat if you're not listening closely.
And Discipline by King Crimson has large sections with the percussion in 17, I believe. I have no idea how they would write it down and assign measures. Either two measures of 5/8 and a measure of 7/8, or just phrased that way within one big measure, I think.
Surprisingly haven't seen too much SP with strange time signatures.
I know his Tetra-Sync sticks in an extra measure every other group of sixteen 4/4 bars.
MmmHmm by Flying Lotus is in 12/4. This is a flawless use of incorporating an uncommon time signature. Nice way to keep the groove moving along with minimal dead space.