I am taking notes because I am teaching music to children for the first time in my life and this one actually gave me idea of doing those groupings, thank you!
I listened to 'The Smile - Don't get me started, and couldn't get my head round the signature or meter. These things really keeps the mind entertained.
Very grateful you are covering this topic because 50% of the time when I sit down to record, I am at a loss how to set the time signature -- so often I realise I need to double my tempo and half my note lengths, or that what I played in 3/4 is actually triplets in 4/4 ... or the inverse... So simple when playing, and yet...!
Odd time signatures can be a strong flavor, or subtle. If you're subdividing by eighths, or sixteenths, the hiccup is really in your face. But if it's quarter notes, it feels like a regular pulse. Just look at Peter Gabriel's Solsbury Hill -- smooth as silk. Or Night on Bald Mountain, which is in 9.
I like to use odd meters. Inspiration from Billy Cobham Spanish moss 17/16ths. Metheny Mays First Circle 11/4. Own peace in 23/16ths. I know it sounds crazy but it grooves just fine dependent upon sub-division. NB both 17 and 23 are prime numbers like 5,7 and 11, so it cannot be split, but sub-divided into chunks of 2s and 3s. I have yet to come up with something on 13/16ths (13 is also a prime) - or maybe you do it.
@@vizzo7 grouping is the key. Using accents. This is an excellent question, and I’ve got a whole technique for practicing this, but it comes down to overlaying an odd accent pattern on conventional scale and five finger patterns. They create interference waves that can be interesting. An easy example is doing a one octave scale in triplets. When you get back down the accent will have shifted from the tonic.
Here is my son Jack’s (who writes and performs under the name Goliath) song, Fake Faces, which is in 11/8 ua-cam.com/video/5hT0IhURDKU/v-deo.htmlsi=W5maueemkNGpDgEJ
The transitions in spring tide (like at 6:19) are beautiful.
I am taking notes because I am teaching music to children for the first time in my life and this one actually gave me idea of doing those groupings, thank you!
super. i use this concept with kids as young as 8 or 9.
I listened to 'The Smile - Don't get me started, and couldn't get my head round the signature or meter. These things really keeps the mind entertained.
Beautiful. I really like 13/8, which I've used a couple of times in my recent work. I'm going to check out your trio channel now. Happy new ears!
Awesome! Thank you!
You are amazing.. your vidoeos are so inspiring!
That’s great to hear, thanks for watching!
Very grateful you are covering this topic because 50% of the time when I sit down to record, I am at a loss how to set the time signature -- so often I realise I need to double my tempo and half my note lengths, or that what I played in 3/4 is actually triplets in 4/4 ... or the inverse... So simple when playing, and yet...!
Odd time signatures can be a strong flavor, or subtle. If you're subdividing by eighths, or sixteenths, the hiccup is really in your face. But if it's quarter notes, it feels like a regular pulse. Just look at Peter Gabriel's Solsbury Hill -- smooth as silk. Or Night on Bald Mountain, which is in 9.
Solsbury Hill is magical
I like to use odd meters. Inspiration from Billy Cobham Spanish moss 17/16ths. Metheny Mays First Circle 11/4. Own peace in 23/16ths. I know it sounds crazy but it grooves just fine dependent upon sub-division. NB both 17 and 23 are prime numbers like 5,7 and 11, so it cannot be split, but sub-divided into chunks of 2s and 3s. I have yet to come up with something on 13/16ths (13 is also a prime) - or maybe you do it.
Who had made a jazz version of the Glass etude?
@@ronnyskaar3737 Aaron Diehl. Amazing
so how do you practive this with a metronome say playing scales up and down for example
@@vizzo7 grouping is the key. Using accents. This is an excellent question, and I’ve got a whole technique for practicing this, but it comes down to overlaying an odd accent pattern on conventional scale and five finger patterns. They create interference waves that can be interesting. An easy example is doing a one octave scale in triplets. When you get back down the accent will have shifted from the tonic.
Here is my son Jack’s (who writes and performs under the name Goliath) song, Fake Faces, which is in 11/8 ua-cam.com/video/5hT0IhURDKU/v-deo.htmlsi=W5maueemkNGpDgEJ