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RedDeath9
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Join date: Aug 2006
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#1
Yeah, so what is everybody's favourite odd time signature? Mine is 5/4 or 7/8.
Last edited by RedDeath9 at Jan 8, 2008,
sumfears
Play With A Purpose
Join date: Jan 2005
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#2
7/4

Money!


Edit: oops lol yes it is 7/8...that was a stupid simple mistake
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Last edited by sumfears at Oct 22, 2006,
gynther flynt
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Join date: Jan 2005
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#3
i like 17/16. Steve vai uses it in a part in freak show excess.
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maXterbat0r
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Join date: Mar 2006
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#4
Quote by sumfears
7/4

Money!
I thought that was 7/8...

I like 5/4 and am trying to get into 9/8...
Kartman
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#5
I really like 12/8. The Blues all the way...
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SethMegadefan
UG's Star Wars Nerd
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#6
I've always thought the 9/8 signature for Zeppelin's "The Crunge" is goofy but pretty cool. Although the funkiness of that song definitely contributes to its awesomeness.
kevinmawae25
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Join date: Jun 2005
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#7
Quote by 4string-tsurigi
I thought that was 7/8...

I like 5/4 and am trying to get into 9/8...



it is 7/8 and that is the greatest crazy time signature ever
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maXterbat0r
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#9
Quote by kevinmawae25
it is 7/8 and that is the greatest crazy time signature ever
Yeah, it is cool. Money was the first song I learned.

6/8 is pretty much two triplets, right? Or am I missing something?
SethMegadefan
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#10
Quote by 4string-tsurigi
6/8 is pretty much two triplets, right? Or am I missing something?

Yep, that's pretty much it. You can always tell the difference between 6/8 and 3/4 because 6/8 accents the 1st and 4th eighth note, so it sounds like paired triplets, and 3/4 accents the 1st, 3rd, and 5th eighth notes. That's how I've always kept them straight.
maXterbat0r
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#11
Quote by SethMegadefan
Yep, that's pretty much it. You can always tell the difference between 6/8 and 3/4 because 6/8 accents the 1st and 4th eighth note, so it sounds like paired triplets, and 3/4 accents the 1st, 3rd, and 5th eighth notes. That's how I've always kept them straight.
Cool, thanks.
walkinbazooka
BRB Bulking
Join date: Aug 2006
593 IQ
#12
Still Vie Die Nacht is in 6/4
Beethoven's 5th Symphony 2/4

But I also like 3/4, 6/8, and good ole 4/4
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Last edited by walkinbazooka at Oct 22, 2006,
LucasGtrGod
Wishes he was Mahler
Join date: Sep 2003
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#15
what's cut time.
I like 9/8 or 12/8, you just can't beat the feeling of triplets.
walkinbazooka
BRB Bulking
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#16
Quote by LucasGtrGod
what's cut time.
I like 9/8 or 12/8, you just can't beat the feeling of triplets.

oops my bad. cut time is 2/2 but Beethoven's 5th is in 2/4

wow i feel dumb now....I...o gosh

*kills self*
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Last edited by walkinbazooka at Oct 22, 2006,
SethMegadefan
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Join date: Dec 2004
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#18
Quote by walkinbazooka
oops my bad. cut time is 2/2

Er... isn't cut time basically like 4/4 with a half-time feel? I guess what I mean to ask is, is 2/2 really an accurate way to put it?
Argh, some time signature things confuse me...
LucasGtrGod
Wishes he was Mahler
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#19
cool thanks guys. I've seen it around i jsut didn't realise it was called cut time.
Naboo
Zoot Allures
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#20
31/16 is the best because its just one 16th note off 4 bars of 4/4 so it sounds wierd.
SethMegadefan
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#21
Quote 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.
DesertRat
Registered User
Join date: Oct 2006
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#22
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.
Naboo
Zoot Allures
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#23
Quote 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.
metalmaster362
shred fan
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#24
9/8 but played as one bar of 4/4 and an extra eighth note

7/8s pretty cool too
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Evil_Empire24-7
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#25
3/4 Waltz
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The Moor
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#27
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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aNOMaly
Kiwi Ace
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#28
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!
aprescott_27
Friggatriskaidekaphobic
Join date: Nov 2004
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#29
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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Last edited by aprescott_27 at Oct 23, 2006,
YlwThunder87
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#30
15/8 : Into to the Ocean by Zeppelin
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SethMegadefan
UG's Star Wars Nerd
Join date: Dec 2004
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#33
Quote by Remebol
4/4 for the win kthx go die



[Looks at thread title]

Yeah... that's truly an odd time signature...
Banjocal
UG's only only
Join date: Sep 2009
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#35
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.
HeretiK538
Petrol
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#36
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=mMAfEETvA6w&feature=youtu.be
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Dayn
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#37
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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#38
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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Banjocal
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#39
^ 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.
MaggaraMarine
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#40
Quote 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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Charvel So Cal
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