The SECRET To Make Odd Time Signatures FLOW (And Not Sound Choppy)
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- Опубліковано 7 чер 2024
- Complete Chord Mastery course: www.musictheoryforguitar.com/...
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0:00 A song in honor of our guest!
1:00 "Finland , Finland , Finland
2:00 The country where I want to be
3:00 Pony trekking or camping or just watching T.V.
4:00 Finland , Finland , Finland
5:00 It's the country for me
6:00 You're so sadly neglected
7:00 And often ignored
8:00 A poor second to Belgium
9:00 When going abroad"
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And now that the cat's out of the bag, watch out how many YT videos will repeat this... but you know where you've heard it first :-)
Want more examples? Have a look at the videos I made on odd & strange time signatures and how they are used in songs:
- How to count time signatures: ua-cam.com/video/1RSyaTFPVqY/v-deo.html
- 5/4: ua-cam.com/video/948iIiI2kmQ/v-deo.html
- 7/4: ua-cam.com/video/m8ZinEYa3bQ/v-deo.html
- 15/8: ua-cam.com/video/XfAXVCkdOFQ/v-deo.html
- 3/4 vs 6/8: ua-cam.com/video/3zNiKROEHAk/v-deo.html
- Changing time signature in a song: ua-cam.com/video/ec7wiBkHLC4/v-deo.html
Most folks don't have much trouble understanding 2/4, 3/4, or 4/4. So 5/4 could be thought of as a bar of 3 followed by a bar of 2 (or vice versa). 7/4 could be thought of as a bar of 4 followed by a bar of 3.
Another idea is to skip the last "and" (last upbeat) of an ordinary time signature. This will turn 3/4 into 5/8, and 4/4 into 7/8. Hope this is helpful to someone.
... and that bar of 4 (in 7/4) gets subdivided into two bars of 2 in the mind. It's all 2s and 3s.
THIS IS IT!!! A VIDEO FOR MATH-ROCK, POST-ROCK AND PROGRESSIVE PLAYERS!!!!!!
Wow! This was incredibly userful and well explained. Thank you so much for this video!
(1) Don Ellis wrote a lot of jazz in weird time signatures. He once titled an album "Live in 3⅔/4 Time." And Frank Zappa loved weird time signatures from the beginning.
(2) 04:00 In addition, there also tend to be more rhythmic events (claps) in the second half than in the first half. This gives a feel of acceleration.
When I was waiting for a dental appointment, I turned this into an algorithm, for distributing K events into N time slots (with K < N). If K = 1, put the event at the first position (I don't like syncopation); otherwise, divide K into two numbers K1 and K2 (both less than N/2, with K1 < K2), and put K1 events into the first N/2 slots and then K2 in the next N/2. Alternatively, if K = 2, then you put an event at the start and one at the end.
Example: [K,N] = [5, 8] -> [2, 4][3, 4] -> [2,4][1,2],[2,2]->[2,4][1,2][1,1],[1,1]. This comes out as a dotted quarter note followed by an eighth note, followed by a quarter note, then two eighth notes.
05:12 3 eighths followed by 3 eighths followed by 2 eighths is the bridge to "Red" by King Crimson.
This makes me want to make a song with drum fills at the beginning of every section. :) Great content, as usual. Thanks, and en-joy!
That really makes sense, thanks Tommaso
you read my mind, really this is the best channel i could find!
Good stuff. Thanks for the upload.
I've never really consciously realized this point. Thanks for explaining it! 🙏🏼
Great explanation.
This is so helpful, thank you for doing this . Cheers BC
Thanks, TZ!
Thank you, Tommaso 🙏
Hello internet! Great stuff as always, Tommaso.
BPM modulation is also an interesting subject I've been learning lately.
2:32 .... "diciamo" spotted
Im not sure if you said it but sometimes longer bar is used as a break or transition to start a new section
The best-sounding riff in an odd-time (7/4) is “Blackened,” by Metallica. It just sounds so natural, whereas most riffs in odd time tend to sound forced.
That track is great, but Floyd and Tull used a lot of odd times and time shifts… most of those flow pretty well… Gabriel’s Solsbury Hill also.
@@leegosling Oh gawd the number of times I've had people try to convince me Money is just 4/4 time. Yeesh...
Karsten: and all the times I've see people fighting on Money being in 7/4 vs 7/8...
Debate Hitman: and the shift to the sung part in 6/4 is quite smooth too!
@@MusicTheoryForGuitar lol yea. The excuse goes that the riff is played enough times that it ends on the proper beat. It doesn't cycle through the beat, but hey!
That's me! WOOOHOOOO! :D
Yes it is :) Did you spot the little song in your honor? ;-))
@@MusicTheoryForGuitar ua-cam.com/video/baHsoEAAMZU/v-deo.html&ab_channel=MontyPython
@@MusicTheoryForGuitar Yes! It even has mixed meters in the vocals :)
You got it :)
Kitaristifi: it's indeed the perfect song for talking mixed meters with a Finn :) (Fin? Finnn? Finnish person? Elf?)
Hi Tomasso. I've just started your Master of the Modes course. I am working through Session One but I cannot find the Introduction and Instructions Session on the resources. Could you point me in the right direction please? Thank you, Chris
I've found it! Really looking forward to this journey. Great resources
Glad you found it! :-)In future, whenever you ask a question, just write me at tommaso@musictheoryforguitar.com (this is the fastest way to get an answer from me)
@@MusicTheoryForGuitar Perfect! :}
I’d love to hear some examples
Check the links in the pinned comment
Shoutout to all the people who watched the video enough times to notice the bonus song
I'm glad somebody noticed! :)
Good point technical point. But also consider this. You have a word. It is 7 syllables long. This is the word you want to sing. Some composers would add a rest to the end so that it fits in their 4/4 bar. Some would add a yeah. Some will just decide to cut the bar and continue with the next line and don't mind ending up in a 7/8 meter. In this process you will for sure get a flowing, natural rhythm even if odd. But if you start the composition with the goal to have weird odd time signatures, it is hard work to make it sound natural. Because it is not natural. Most of the time the listener will feel that you want to sound very progressive, which is a legit message but not very deep, right?
If you write songs with 7 syllables words, then how natural the odd-time signatures sound is the last of your problems...
@@MusicTheoryForGuitar :)) Maybe that is why there are so many 4/4 songs. But seriously, two words adding up to 7 beats will do.
Check out Meshuggah - Millennium Cyanide Christ for the most absurd time signatures that continue to sound good. I think it’s in 23/16. This song is responsible for most of the bizarre Stuff we hear now. This combined with Future Breed Machine... yikes. So good.
That said, I don’t like most of Meshuggah. Getting that flow to sound good is crucial.
Far from me to diminish Meshuggah's influence, but if I had to mention THE most influential piece re:odd time signatures, then it would be Stravinskij's Rite of Spring. I mean, there are more than 400 time signature changes in ~35 minutes of music with some crazy ones in there too. And it flows great! (I'm defining "influential" as "most copied")
Basically what he's saying is establish a rhythm and melody that is fairly conventional and makes sense to the ear...then cut out the less interesting/longer notes at the end of the phrase. Because typically, the stronger and more intricate part of the melody will be towards the front end. And longer held and less strong parts will be at the end of a melody...so you can more easily cut out those notes in the melody (or the trails of longer notes), which also truncates the beats...creating odd signatures.
Because it's a psychological game at the end of the day. Give your audience something they can grasp, then quickly cut the fat...that way the audience can still follow the already established idea. And that rushing through the melody creates a sense of urgency.
Mmmh, this is not what I say. For one, I do not suggest to 'cut a melody'.
A Eurocentric view .When you’re born in a culture of rhythms like in Africa ( the mother continent of Modern music) ,this explanation is not applicable
Maybe. Show me a few pieces that you consider examples of African rhythm that are in odd time signatures, so I can see if it applies.