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Old 10-22-2006, 11:16 AM   #21
SethMegadefan
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Quote:
Originally Posted by Naboo
31/16 is the best because its just one 16th note off 4 bars of 4/4 so it sounds wierd.

You mean 1 16th note off of 2 bars? Look where your education has left you!

Do you know any songs in particular that use that signature? I'd kind of like to hear it... it does sound like it's pretty weird.
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Old 10-22-2006, 12:48 PM   #22
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Don't have a favorite but there's some crazy odd stuff on "Visions of the Emerald Beyond" by Mahavishnu Orchestra. It's a pretty old recording, like '73 or so, but if you like whacked time signatures, this is a must listen.
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Old 10-22-2006, 01:51 PM   #23
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Quote:
Originally Posted by SethMegadefan
You mean 1 16th note off of 2 bars? Look where your education has left you!

Do you know any songs in particular that use that signature? I'd kind of like to hear it... it does sound like it's pretty weird.


Woops text book error.
I dont know of any songs using that time signature but me and my mate wer just jamming in it the other day and it sounded well good.
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Old 10-22-2006, 03:20 PM   #24
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9/8 but played as one bar of 4/4 and an extra eighth note

7/8s pretty cool too
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Old 10-22-2006, 05:34 PM   #25
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3/4 Waltz
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Old 10-22-2006, 05:36 PM   #26
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5/4. It just sounds so screwy!
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Old 10-23-2006, 01:57 AM   #27
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umm 7/8 5/4

I like the way it sounds to alternate time sigs too... So I dunno, I like the way it sounds when you go 7/8 bar then 8/8 bar... Thats kinda neat.
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Old 10-23-2006, 04:27 AM   #28
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Someone mentioned the Mahavishnu Orchestra, so I thought I share some bits from an article I have.

Hope (Birds of Fire) 7/8
Lila's Dance (Visions of the Emerald Beyond) 20/8
Dream (Lost Trident Sessions) 15/16
Celestial Terrestrial Communters (Birds of Fire) 19/8
Miles Beyond (Birds of Fire) 9/4 and 10/4
Birds of Fire (Birds of Fire) 18/8
Dance of Maya (Inner Mounting Flame) 10/8

Billy Cobham really dominates those time sigs too!

They were such a remarkable group of musicans!
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Old 10-23-2006, 11:46 AM   #29
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9/8 and 5/4 are my favorites.

I also love Question! by SOAD, and that's got 9/16, 10/8, and 6/8 in it.
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Old 10-23-2006, 01:43 PM   #30
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15/8 : Into to the Ocean by Zeppelin
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Old 10-23-2006, 02:37 PM   #31
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7/8 and 5/4 (Vicarious!)
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Old 10-23-2006, 02:53 PM   #32
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4/4 for the win kthx go die
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Old 10-23-2006, 02:58 PM   #33
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Quote:
Originally Posted by Remebol
4/4 for the win kthx go die



[Looks at thread title]

Yeah... that's truly an odd time signature...
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Old 08-13-2013, 05:59 PM   #34
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Time to dig up an old thread...

19/16!!! Definitely my fav...
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Old 08-13-2013, 06:17 PM   #35
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9/4. Wrote an Earth-esqe thing a while ago and added an extra beat unintentionally. Just felt right. When I found out, I started to work with it a little more. Love it now. I'm a big fan of adding an extra beat on to riffs and progressions generally. Adds a jolt to it.
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Old 08-13-2013, 06:19 PM   #36
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I never really think "I love this time signature" - I tend towards groupings, where I'll either fit them into 4/4, or else fit them together for a weird time signature. Just setting out thinking "I'll write something in 7/8" sounds restrictive to me. I play it, *then* decide if I like it.

In a shameless self-plug, check out the 11/4 in my piece, The Jaunt!
http://www.youtube.com/watch?v=mMAf...eature=youtu.be
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Old 08-13-2013, 06:45 PM   #37
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5/4 just makes everything better. But it's not really odd...

I wrote a song in 4/4, but the guitars for the main riff are polyrhythmic. Over 16 bars of 4/4, it plays 21/16, 24/16, 21/16, 24/16, 21/16, 17/16. Half of the percussion keeps a strict 4/4, but the various rhythmic subdivisions are syncopated in a predictable way. So you have two different predictable rhythms, but the way they match up makes it feel like it's pulsating with a third rhythm that all comes together in the end for a powerful rhythmic crescendo.
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Old 08-13-2013, 07:33 PM   #38
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I play what I feel. Writing in odd time signatures can sound very forced. But sometimes it doesn't and then it sounds great. As HeretiK538 said, it's more about groupings. I have written one song in 5/4 and it was heavily based on 2+2+3+3 rhythm (and it doesn't sound that awkward because you actually count in four instead of five - it kind of has two short beats and two long beats). Actually writing songs using a rhythmic idea throughout the whole song can make the song flow really well.

(If somebody wants to hear my 5/4 song, here it is: https://soundcloud.com/jaakkorauhamaa/5-4-demo)
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Old 08-13-2013, 07:36 PM   #39
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^ RE forced thing that's very true. It's a problem I have with a lot of mathcore. Many artists in the genre kind of push the need to make it jarring a little too far rather than keeping that controlled chaos but making it "fit". Hard to enunciate.

But then you get stuff like Vicarious and Take Five and Money that do it without you even noticing at first.
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Old 08-13-2013, 07:45 PM   #40
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Quote:
Originally Posted by Banjocal
9/4. Wrote an Earth-esqe thing a while ago and added an extra beat unintentionally. Just felt right. When I found out, I started to work with it a little more. Love it now. I'm a big fan of adding an extra beat on to riffs and progressions generally. Adds a jolt to it.

The riff in the end of No More Tears by Ozzy Osbourne also adds an extra beat (it's the same riff as in the chorus of the song but just with an added extra beat). It sounds cool there. But overusing it starts to sound like a cliche. Using this kind of stuff always sounds good if used reasonably. Then it sounds more surprising and cool to the listener. But if the whole song is that rhythm (OK, it may also sound cool) or you have many songs that all use the same idea, it starts to sound like a cliche and a bit forced. So be careful with it. Many times things sound the best when the listener can't expect them.
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