His excellent new album with Kenny Segal, Maps, wrings insights out of transitory moments. Across two decades worth of wonky, wordy music, wandering has informed much of the rapper's best writing. With my guess being with both, the players would still be tapping their feet in 1/4's - and playing the various syncopation/subdivisions against that constant pulse.When Tolkien said not all those who wander are lost, he was talking specifically about billy woods. In this case, they are virtually synonymous. The guitar fingerpicking parts is 5+5+5+3īy writing this in 9/4 or 18/8 - all of these parts are contained within ONE bar - which to me would seem much more clear than writing "over the bar lines" as one would have to do in 3/4.ĩ/4 or 18/8? Personally I don't think it matters. The bass and violin riff is basically in 4/4 + 5/4 with 1/8th note syncopations within. But he's also playing constant 1/8th's in the BD's turning it into - 1&2&3& 4&5&6& 7&8&9& - of course, this can be written as 9/4 or 18/8 - either way changes nothing as far the drums are concerned. But his putting snare backbeats on the "one" of the 2nd and 3rd bars makes the whole pattern sound like one big bar of 9/4 with snare accents on "4" and "7". In the main section of BoF there are three rhythmic ideas present.īilly playing in phrases of 3 bars of 3/4. I don't think it would be any more labor intensive to write the other parts in 3/4 - but doing so would probably make them less clear to read and comprehend. Writing BoF in 3/4 works great for the drum part - but not so great for the other parts. one that today's algorithms and heck, even human writers/musicians struggle with. Music recognition algorithms have gotten real good at sussing out the top number - "where's one and how many beats are between it?" But again, deciding on that bottom number is sometimes a far more nuanced decision. Because the bottom number really can change how will count and feel a given section of music compared the same bit of music being conceived with a different bottom number. It's the deciding which bottom number should apply is where things are far more subjective. In a nutshell - once it's decided what the bottom number of the time signature will be, the top number is just arithmetic/counting. But this isn't a judgement call for just weird odd-meter fusion tunes, but is also quite common with regular 4/4 songs, that can also be written/felt as cut-time (in 2). there are completely valid arguments for writing it any of them (except for that little turnaround, interlude section - which is pretty unrelated). And then all of the songs with meters that can be written more than one way - sort of "synonym meters" - same rhythmic content, just different notational approach. Songs like "I Love Rock N Poll" and "Money" that fall somewhere between A and Bĭ. ![]() Songs like "All You Need Is Love", "Promises, Promises", "Classical Gas" that vary meters throughout.Ĭ. all 4/4 except the occasional 2/4 type songs.ī. All the songs that are in one time signature except for or two bars the are different. ![]() There are so many exceptions with so many pieces of music that make "what time signature in?" a pointless question.Ī. Just one example of why something like an app would so often fall short with this. Click to expand.Not really a big fail as the bulk of "One Word" is indeed in 4/4.
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