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...
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