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RE: [idm] time signatures - origin/ancient greece

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◇ merged from 2 subjects: time signatures · time signatures - origin/ancient greece
2000-08-16 21:30Thomas Lowes [idm] time signatures
├─ 2000-08-16 19:12Matt Anderson RE: [idm] time signatures
└─ 2000-08-16 22:14Ian Pojman RE: [idm] time signatures - origin/ancient greece
2000-08-17 05:00Daniel Kearley Re: [idm] time signatures - origin/ancient greece
2000-08-17 05:04Re: [idm] time signatures - origin/ancient greece
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2000-08-16 21:30Thomas Lowes> > Any time signature can sound like just about any other because there is > nothing that
From:
Thomas Lowes
To:
Date:
Wed, 16 Aug 2000 22:30:35 +0100
Subject:
[idm] time signatures
permalink · <E13PAlf-0003ix-00@wing1.herald.ox.ac.uk>
quoted 8 lines Any time signature can sound like just about any other because there is> > Any time signature can sound like just about any other because there is > nothing that says you've got to put the kick drum sound on the first > downbeat or any of the downbeats for that matter. > > If you superimpose nothing but quarter note triplets into a 4/4 pattern, its > gonna sound like 3/4. >
Yes - that is a better point to make. The thing is I think time signatures needn't really apply to idm (nearly all is 4/4 really), but composers would use it to lay down the basic rhythm of a bar - so 6/8 would have two clear beats, split into triplets - once that is laid down as a basis, when duplets are used (ie 2 across 3) it doesn't sound like 4/4 necessarily, but more interesting than that and variety is added. In a different way, 2/4 would be used to write marches, with a clear 'one-two-one-two' feel - not 'one-two-three-four'. If anyone own's Plaid's 'Undoneson' - have a listen out because I think it is one of the few (idm) tracks I've heard that sound more 2/4 than 4/4. To take the discussion (perhaps) to a different area - I find it interesting how difficult it is when making music to escape from the four bar (or multiples of) segments that western music seems to be so ingrained into.I mean loops in particular - chord sequences, beats whatever, sound most natural when looped in multiples of 4, and new sections being brought in and out of the mix, and the music becomes predictable - you begin to expect something to happen every 4 bars and if nothing changes then the groove just gets repetitive. Hmmm. Cue comedy comments a-plenty... --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org
2000-08-16 19:12Matt AndersonBecause I don't make music in realtime, I love making each bar similar, but slightly diffe
From:
Matt Anderson
To:
IDM LIST
Date:
Wed, 16 Aug 2000 12:12:43 -0700
Subject:
RE: [idm] time signatures
Reply to:
[idm] time signatures
permalink · <NCBBKNDBGLJADEIFLFFPCEPECEAA.655321@telus.net>
Because I don't make music in realtime, I love making each bar similar, but slightly different in length and/or time signature. I think it sounds cool to do one bar with 18 notes, then 16, the 20, then 16 for instance. But if you keep the beat 4/4 it just starts to sound a little odd and/or delayed. also, I like to phase (is this the right term for this process?) different parts, making the beat 7/4, but the overlying melody is in 4/4. over time the two parts meet up again, but before they do, the song seems to go on and on without being repetitious. Lastly, I think 3/4, 5/4, 7/4, and 9/4 are far more fun to work with than boring old 4 on the floor. btw, these are my opinions, and wrong terms may have been aplied to certain things, but I have developed processes that work for me, so flame away... -Matt- --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org
2000-08-16 22:14Ian PojmanSomething else of interest: Originally 3/4 was considered 'perfect' time by the greeks, ou
From:
Ian Pojman
To:
Date:
Wed, 16 Aug 2000 17:14:35 -0500
Subject:
RE: [idm] time signatures - origin/ancient greece
Reply to:
[idm] time signatures
permalink · <GNENLFEHEAMCLLIMHOOHMEACCAAA.ian@webice.net>
Something else of interest: Originally 3/4 was considered 'perfect' time by the greeks, our musical forefathers in many ways ... they gave it a circle as a time signature, and gave 4/4 a slightly broken circle, which we now still use and call "common time"... (the slightly broken circle happens to look like a C...) -----Original Message----- From: Thomas Lowes [mailto:thomas.lowes@worcester.oxford.ac.uk] Sent: Wednesday, August 16, 2000 4:31 PM To: idm@hyperreal.org Subject: [idm] time signatures
quoted 6 lines Any time signature can sound like just about any other because there is> > Any time signature can sound like just about any other because there is > nothing that says you've got to put the kick drum sound on the first > downbeat or any of the downbeats for that matter. > > If you superimpose nothing but quarter note triplets into a 4/4 pattern,
its
quoted 2 lines gonna sound like 3/4.> gonna sound like 3/4. >
Yes - that is a better point to make. The thing is I think time signatures needn't really apply to idm (nearly all is 4/4 really), but composers would use it to lay down the basic rhythm of a bar - so 6/8 would have two clear beats, split into triplets - once that is laid down as a basis, when duplets are used (ie 2 across 3) it doesn't sound like 4/4 necessarily, but more interesting than that and variety is added. In a different way, 2/4 would be used to write marches, with a clear 'one-two-one-two' feel - not 'one-two-three-four'. If anyone own's Plaid's 'Undoneson' - have a listen out because I think it is one of the few (idm) tracks I've heard that sound more 2/4 than 4/4. To take the discussion (perhaps) to a different area - I find it interesting how difficult it is when making music to escape from the four bar (or multiples of) segments that western music seems to be so ingrained into.I mean loops in particular - chord sequences, beats whatever, sound most natural when looped in multiples of 4, and new sections being brought in and out of the mix, and the music becomes predictable - you begin to expect something to happen every 4 bars and if nothing changes then the groove just gets repetitive. Hmmm. Cue comedy comments a-plenty... --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org
2000-08-17 05:00Daniel Kearleyboy , i hate to get in an arguement late here... but i think the 'c' refers to 4/4 and the
From:
Daniel Kearley
To:
IDM List
Date:
Wed, 16 Aug 2000 22:00:55 -0700
Subject:
Re: [idm] time signatures - origin/ancient greece
permalink · <00e501c00808$5cabd6e0$70277318@rct1.bc.wave.home.com>
boy , i hate to get in an arguement late here... but i think the 'c' refers to 4/4 and the 'c' with the line means cut time... anyone? ... y'think? d.kearley@home.com www.mp3.com/kearley Great Electronic Music from Kearley! ----- Original Message ----- From: "Ian Pojman" <ian@webice.net> To: <idm@hyperreal.org> Sent: Wednesday, August 16, 2000 3:14 PM Subject: RE: [idm] time signatures - origin/ancient greece
quoted 1 line Something else of interest: Originally 3/4 was considered 'perfect' time> Something else of interest: Originally 3/4 was considered 'perfect' time
by
quoted 25 lines the greeks, our musical forefathers in many ways ... they gave it a circle> the greeks, our musical forefathers in many ways ... they gave it a circle > as a time signature, and gave 4/4 a slightly broken circle, which we now > still use and call "common time"... (the slightly broken circle happens to > look like a C...) > > > -----Original Message----- > From: Thomas Lowes [mailto:thomas.lowes@worcester.oxford.ac.uk] > Sent: Wednesday, August 16, 2000 4:31 PM > To: idm@hyperreal.org > Subject: [idm] time signatures > > > > > > > Any time signature can sound like just about any other because there is > > nothing that says you've got to put the kick drum sound on the first > > downbeat or any of the downbeats for that matter. > > > > If you superimpose nothing but quarter note triplets into a 4/4 pattern, > its > > gonna sound like 3/4. > > > Yes - that is a better point to make. The thing is I think time signatures > needn't really apply to idm (nearly all is 4/4 really), but composers
would
quoted 6 lines use> use > it to lay down the basic rhythm of a bar - so 6/8 would have two clear > beats, > split into triplets - once that is laid down as a basis, when duplets are > used > (ie 2 across 3) it doesn't sound like 4/4 necessarily, but more
interesting
quoted 3 lines than> than > that and variety is added. In a different way, 2/4 would be used to write > marches, with a clear 'one-two-one-two' feel - not 'one-two-three-four'.
If
quoted 5 lines anyone own's Plaid's 'Undoneson' - have a listen out because I think i> anyone own's Plaid's 'Undoneson' - have a listen out because I think it is > one > of the few (idm) tracks I've heard that sound more 2/4 than 4/4. > > To take the discussion (perhaps) to a different area - I find it
interesting
quoted 2 lines how> how > difficult it is when making music to escape from the four bar (or
multiples
quoted 3 lines of)> of) > segments that western music seems to be so ingrained into.I mean loops in > particular - chord sequences, beats whatever, sound most natural when
looped
quoted 4 lines in> in > multiples of 4, and new sections being brought in and out of the mix, and > the > music becomes predictable - you begin to expect something to happen every
4
quoted 15 lines bars> bars > and if nothing changes then the groove just gets repetitive. > > Hmmm. Cue comedy comments a-plenty... > > --------------------------------------------------------------------- > To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org > For additional commands, e-mail: idm-help@hyperreal.org > > > > --------------------------------------------------------------------- > To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org > For additional commands, e-mail: idm-help@hyperreal.org >
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2000-08-17 05:04SampAce4@aol.com"C"= common time, "C with a line"= cut time or 2/2 Rock and Roll Gonna' Knock ya Dead Can'
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To:
,
Date:
Thu, 17 Aug 2000 01:04:39 EDT
Subject:
Re: [idm] time signatures - origin/ancient greece
permalink · <77.85e78e4.26cccc67@aol.com>
"C"= common time, "C with a line"= cut time or 2/2 Rock and Roll Gonna' Knock ya Dead Can't Get The Backbeat Outa' My Head --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org