#1
Lets say we have a riff consisted of 15 straight 8th notes. To make it simple, lets put it that way
G---------3-----------|------------------0--|
A----3----------------|-3-1----------------|
E-1----1---1-1-1-1-|-------1-1-1-1-----|
As you can see, the second measure is consisted of 7 straight 8th notes, so should I put it in 7/8 ? or should I leave it that way, going straight into the beginning of the riff on the last note of the 2nd measure (4/4)???
I always thought time signature had an effect only on drums...
can someone clear that up for me please?
thxs
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#2
I don't get the start of it but time signature effects all instruments. It has a lot to do with where the emphasis is placed on the beat.

Example, 3/4 would be ONE two three ONE two three
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#3
well, I know that. What I wanted to know is, if the riff ends on the open G should I start the riff over in that same measure?
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#4
time sigs effect ALL instruments, not just the drums... though, like the other guy said, its all about where the emphasis on the notes are and the drums are the likely emphasis-adders. logically, i think youd do a bar of 4/4 and then 7/8 - but try it the other way round, see which you prefer.

the reason why id say 4/4 then 7/8 is because the riff might sound a bit... odd, for lack of a better word - though i cant really describe why...

edit: just read your current post... don't start the riff again in the same bar (im assuming you're suggesting that to keep both bars in 4/4 timing?) this will make it seem out of time with the drums.
#5
i would keep it in 4/4 and just put in a thirty-second rest wherever in the second bar
#6
its just changing time signatures going back and forth from 8/8 (or 4/4) to 7/8 and back again

1 2 3 4 5 6 7 8|1 2 3 4 5 6 7|1 2 3 4 5 6 7 8|1 2 3 4 5 6 7|

like so

edit: or you can feel it in 3 4/8 measures and one 3/8 measure

1 2 3 4|1 2 3 4|1 2 3 4|1 2 3|1 2 3 4|1 2 3 4|1 2 3 4|1 2 3|
#7
alright...thats waht I wanted to know...
thxs
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#8
Do what winsbury says, measure of 4/4, then a measure of 7/8. 7/8 FTW!!!
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#9
if u want to be really cool you could stick it all in one bar and call it 15/8, as its 15 quavers (8th notes) in one phrase. that stops you having to change the time signature every bar, otherwise its 4/4 (or 8/8 if your counting in 8) and then 7/8. or you could just not put a time signature and write in the accent marks where you feel the emphasis is needed most.
#11
Really what you're playing is 3 groups of 4 and then a group of 3. Compound time signatures as the name implies is simply a combination of two different time signatures and in a technical point of view that's how you should address it. The speed in which you intend to play this lick would also very much matter in trying to make the accents sounds plausible. And of course the crucial question is whether you intend to cycle this lick or not. If not, you could simply include a rest for the last 8th note or sustain it in and give it the value of a crochet.
#12
just another thought, play it as one bar and you can write it in triplets, and make it 5/4, so it would be 5 groups of 3, tho it completely depends on how u intend to play it, tabs isnt very clear, if you accent every third note play it as triplets, otherwise u can make the last note a crochet then its just plain ol common time (4/4), but if you want that abrupt feeling, (think of money by pink floyd) you should look into alternating between 8/8 and 7/8 or do as i said before and make it 15/8 but thats not very traditional. however you could just not put a time signature, there not strictly needed, you can play without one, gives the piece a kind of randomly structured feel tho, think alot of renaisance music is all written without tiem signatures.
sorry for going on, doing A level music its all u bloody think about