Well the problem with making songs in just 3/4, 5/4, and 7/4 is that its just as repetitious as a 4/4 repeating. Thus you get the maximum effect of "off-beats" when combining evens and odds for example, like 7 4/4s and a 3/4 (which you could interpret as 31/32).... you could look at this is chopping off the last beat in a long pattern. This s the most common way of giving the off-beat feel, I believe, but I hate it, its to orthodox and has been done many times before. What I love about autchre, especially the newest LP and EP, is time sigs are totally fluid and dynamic. THIS is the off-beat I dig. Lots more intelligent tan doing 63/64 or some shit, these guys take it everywhere.. I think those two albums are EXCELLENT especially in this area (time sigs).. I recommend everyone hear that shit that hasnt that wants to see some good examples of unorthodox time signatures.
IAn
---------- Original Message ----------------------------------
From: "Matt Anderson" <655321@telus.net>
Date: Wed, 16 Aug 2000 12:12:43 -0700
quoted 24 lines Because I don't make music in realtime, I love making each bar similar, but>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-
>
>
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