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Thread: Odd timing signatures.

  1. #26

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    Default Re: Odd timing signatures.

    A great 9/8 piece is Blue Rondo ala Turk by Dave Brubeck... I count it as one and uh two and uh three and uh, even though the notation appears one and two and three and four and uh... The trick with 9/8 is realizing although the 8th notes are grouped in threes, they aren't triplets. The piece also switchs from 9/8 to 4/4 swing... Which makes for a good time
    "it aint got no thing if it aint got that swing"

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  2. #27

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    Default Re: Odd timing signatures.

    Just leaving this here

    - Zack

  3. #28

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    Default Re: Odd timing signatures.

    Quote Originally Posted by xweasel View Post
    Just leaving this here

    What about the video where Portnoy explains the time signature changes for... part of the song? hahah

  4. #29

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    Default Re: Odd timing signatures.

    Quote Originally Posted by Christiandrummer777 View Post
    A great 9/8 piece is Blue Rondo ala Turk by Dave Brubeck... I count it as one and uh two and uh three and uh, even though the notation appears one and two and three and four and uh... The trick with 9/8 is realizing although the 8th notes are grouped in threes, they aren't triplets. The piece also switchs from 9/8 to 4/4 swing... Which makes for a good time
    Yeah, and that's not the only way to approach a signature like 9/8. A classic example is also this tune.



    Sting scored well getting Vinnie Colauita to stretch out on this. How does Vinnie make it not sound so "odd"? I've got a magazine interview with him from around the time of the release of "Mercury Falling" where he said he was at the time counting it with numbers.....no 'ands', 'ahs' or whatever. So if you have say the simplest rock beat in 4/4, where we would normally count it as 1 + 2 + 3 + 4 +, he said now recount it as 1 2 3 4 5 6 7 8, where the bold numbers indicate either bass drum or snare. Once you do that, then to make it 9/8, make the '5' in the previous exercise an unaccented beat, shift everything along and then add an unaccented '9' at the end. Now you have:

    1 2 3 4 5 6 7 8 9......where you would play two even eighth notes on the hi-hat before the next kick lands on '6' (instead of what would have been a '5' in any 'reconverted' 4/4 count). So between Vinnie and Sting (who's no slouch in the music theory department as anyone will tell you), we have this pretty good example that you can mix the simple and complex in popular music, and yield great results.

    (Interesting thing to note, because I have an old Melvyn Bragg BBC interview with Sting somewhere on video tape that verifies this......the two horn players that did the studio version of this (not these guys in the video)....Andrew Love & Wayne Jackson, were given originally a 7/8 demo of this to learn before they flew over to record. When they arrived at Sting's place he said to them.....alright....we're going to relearn it in 9/8 because it sounds a bit better. These two guys were incidentally part of the noted "Memphis Horns"....the guys that did all the Sam & Dave stuff like "Hold On I'm Coming" and other Stax recordings in the past, so imagine what it would have been like for them to break away from the usual 4/4 counts that had been rooted in their playing.....it was like going to school for them all over, so they said!)
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  5. #30

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    Default Re: Odd timing signatures.

    Great example. However the biggest factor on how you count 9/8 is speed... Pretty much anything above 160 makes it difficult to count the 8th notes. At that point you could just "feel" the groove but I
    Usually try to subdivide the whole time
    "it aint got no thing if it aint got that swing"

    Yamaha Stage Custom Noveau
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    Evans EC2 over Remo Ambassador Resos
    Evans Genera Dry over ambassador resos
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    Sabian 14 inch HHX X-plosion crash
    Sabian 16 inch AAX studio crash
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    Zildjian 18 inch oriental china trash
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