It's so uncommon, even the composer had no idea he was making it. Rather fascinating how folks figured it out too.
it is extremely common in film. It is almost the standard given that you don't want people to start noticing a pattern they can bob to. And the fact that certain moments must be accented which makes use of odd time signatures to get an orchestra to play a part at the right time. It is also extremely simple and i'm pretty sure the composer knows what is going on.
almsot every single fight scene or car chase is using some form of 7/8 , or 6/4 . Usually a whole string of signatures to highlight the right action without changing tempo.
Sykonee
quote:
Originally posted by Looney4Clooney
it is extremely common in film. It is almost the standard given that you don't want people to start noticing a pattern they can bob to. And the fact that certain moments must be accented which makes use of odd time signatures to get an orchestra to play a part at the right time. It is also extremely simple and i'm pretty sure the composer knows what is going on.
almsot every single fight scene or car chase is using some form of 7/8 , or 6/4 . Usually a whole string of signatures to highlight the right action without changing tempo.
13/16, actually. It's so wonky because the composer was using samplers without any auto-correction, throwing the timing off just enough to create something entirely unconventional. He didn't even think about it because he was writing the theme more as an improvisational piece.
the problem is that 13/16 means nothing. Given the tempo, i can guarantee that the score has it broken up into actual sections that make sense.
a time signature isn't a technical spec. It is a heuristic that makes things more manageable to play. certain things are standard. 7/8 9/8, but given the speed of the piece , nobody would notate that as 13/16. it does make sense that he isn't trained and probably plays a instrument and was probably in a prog rock band where they did time signatures like 13/16 but there was never any notation and without notation, a time signature is just a mental mark.
anyways ...
i did orchestration for a few years for some typical hollywood style scores. Time signature is just a way to parse music. it isn't a spec. It isn't absolute and open to opinion.
If you had 13/16 in the score , it would be really ing fast, and it would probably be jumping all over the place and you would probably break up the 13 because musicians play 8/16 + 5/16 without blinking. anything past 9 on the top a you start to make people have to think. The original composer didn't care and the guy doing the article approached it like it was math.
anyways, the reason nobody has yet to find an example is that dance music is about patterns that you can dance to. The reason people use odd time for the most part is that most people are not really that familiar so it tends to not give people a sense of grounding and downbeat.
there is a ton of the electronic stuff that isn't EDM. Dance music just doesn't really work for the most part. Even 3/4 is foreign to most people and that used to be dance music way back.
Sykonee
quote:
Originally posted by Looney4Clooney
The original composer didn't care and the guy doing the article approached it like it was math.
Oh, now I just have to post it:
Trance-M
quote:
Originally posted by Looney4Clooney
4/4
"ein Griff ins Klo" then like they say in Germany..
I think the other one was Armin Van Buuren Feat. Trevor Guthrie - This is what it feels like. I remember John Ewbank (composer and producer, also of Gouryella - Ligaya) say it is was difficult to mix because of that or something.
hööpöë
Starts and ends in 4/4 but switches to 7/8 at the 2:34 mark.
I believe this one is 5/4.
Never been quite sure how to define it. The second number refers to the length of the note but how you can define that for multi-layer electronic tracks I don't know.
MSZ
quote:
Originally posted by Looney4Clooney
4/4
Isnt that Armin track mostly 3/4 with the outter bits 4/4 so it mixes well? what am I missing here.(other than the chromosomes)
Looney4Clooney
lol better than one too many.
both examples he posted are 4/4
3/4 - imagine a fat german kid playing omm pa pa oomm pa pa on a tuba. the clap alone every 2nd quarter would axe 3/4 from the get go as it is clearly not some counter rhythm but part of the main feel.
i think too many djs or producers don't seem to listen to music in a way that is music ie with phrases and start counting numbers without understanding why.
A pattern of 3 notes repeating doesn't mean 3/4. You look at the main structures. If you have a clap on 2 and 4, it is 4/4 or 12/8 if you have that hardstyle triplet feel.
If you don't derive any sort of actual feeling of why it is 4/4 other than just counting notes, i would say the whole point of a time signature is meaningless.
Alot of modern classical composers stopped using them and instead of using them. Just like many composers stopped using key signatures. They are there to help parse the music into ways we find easier to understand.
MSZ
quote:
Originally posted by Looney4Clooney
lol better than one too many.
Yea my bad, I started counting with the fill thats what derailed me initially, totally see it.
Trance-M
quote:
Originally posted by Looney4Clooney
lol better than one too many.
both examples he posted are 4/4
Then I guess it must have been the less common length of the melody John Ewbank was talking about, which is 14 beats. The first one has a part with 12 beats loop.
Indeed both are 4/4.
Looney4Clooney
quote:
Originally posted by Trance-M
Then I guess it must have been the less common length of the melody John Ewbank was talking about, which is 14 beats. The first one has a part with 12 beats loop.
Indeed both are 4/4.
that second track sounds like it is using a country singer. The melody sounds pretty country and alot of country acoustic stuff is in 3/4 which the melody in this case does outline. That is probably why he had trouble mixing it. Maybe the fact that it is a terrible track also made it hard to work on for any considerable time.
