Відео

@@amiracvk4997 three equal notes in one quarter note, or one half note or in a whole bar. I'll get to it at some point soon. I haven't started that series yet.

@MusicianSpecies tnx man keep going 💣

@@JayDayKay it's an original track I made for the video.

@@MusicianSpecies ah! well the tone is very nice

@@nexyboye5111 Sure, you can do all of it. Some of it is redundant, and the main thing is what it does musically and what the tempo is. More useful on subdivisions. I'll get to that later on.

I see no redundancy, they can be divided further and be phase shifted of course, but how we percieve and group rhythm is just a matter of emphasis. Let's say for example you have 12-12345 with velocities [100, 70, 100, 90, 80, 70, 60], you should percieve five notes as a single group this way.

@@nexyboye5111 certainly a possible point of view. Musically speaking, it is a matter of so many variables, including tastes and what makes sense to the artist and the listener beyond the numbers. Try it, I'm glad the video triggers curiosity.

@@jeremymalli tuplets (including quintuplets) are an entirely different thing. They occupy a different space.

@@MusicianSpecies In your example you are adding a measure of 5/16 to the end of a different time signature. That measure of 5/16 is putting 5 equally spaced notes within the quarter note frame. Those 5 equally spaced notes could also be thought of as a quintuple in 1/4 note space. This is a trick I have to use in DAW's that don't understand quintuples in order to represent the space.

@jeremymalli they are actual five 16th notes, as in 125% of the quarter note. They do not occupy the equal space of the quarter note found in the previous 4/4 bar, hence it's 5/16, not 5 16th quintuplets.

@@MusicianSpecies Yeah, I was thinking about this over dinner and realized I had only ever used 5/16 in the hacked manner (representing sequential quints) and had never used them in the correct manner. I realized that you're just tacking on the additional 5 16ths to the end of the major sequence. This would create a pretty wicked over the barline structure.

@@Tarai glad it makes sense

@@Justin_the_Analog_IC_architect just getting started

@@Hi-ov5nj thank you

@alexandrelagace9485 5/16 is next

@alexandrelagace9485 it's coming

@@mikel5163 Thank you, you get it. That was the idea, especially exposing the possibilities across genres.

@@May_kyiv This is an original riff I made for the example. I improvise on the spot when I film the video, and then I build a track around it afterwards.

@ please, make full song

@May_kyiv haha, alright!. I have one in 13/16 😀

@ I’m waiting 🥁☺️

@@hin4085 thank you!

@@v-ba you got it. Thank you

@@brekreney5734 and odd time is the cure

@@CastIronNutsack Cool. I'm glad to be able to inspire.

Not necessarily. You could have pretty gnarly stuff at120 or so. There's a place for any tempo in metal.

Thank you thank you!

Hey Thanks! These are tracks I created after I sang/grunted the examples on video. There are a couple of songs from the Balkan folklore, though.

@MusicianSpecies Nice, great job!!

@@amnorth5342 thank you

You can do this any way you want, as long you feel comfortable. I use dum or taa for the quarter notes, yes, but that's just my interpretation. Your 12 123 12 sentence works. I prefer using different words for the same groups that meet at the end and the beginning of the phrase, in this case the 12 at the end and the beginning.

@MusicianSpecies you're the best tnx

Welcome! Welcome! Welcome!

Thank you!

Hey! Yes, that riff was done for the video. I sang it spontaneously as I was filming, then made the track afterwards. Glad you dig.

You got it

Thank you! Let's put a K after it 😁

That's was my cunning plan :-) Thanks!

Absolutely! I'm starting with odd time, but I have the content that you're asking coming up soon. Keep checking.

@MusicianSpecies finding your channel is the best thing that happened to me this month Keep it up♥️

Thank you!

Thank you!