Rythm and You - Knowing what you're doing

Originally posted by chris mood
Hello!! That's exactly what I said. Please tell me where I said other wise!:mad:

Originally posted by chris mood *your not clapping the numbers at the exact speed, becuase in 9/8 your not clapping on beats 2,3,5,6,8&9.

You should clap on all numbers; except one, four and seven would be stressed. About the demeaning remarks, I do not mean them to be demeaning towards you. I'm saying accept this to be true so that you can see what I'm saying. I'm trying to point out that time signatures refer to feel, and you keep bringing up "speed". Like we've done before, your trying to prove one point and me another. Remember that discussion about a year back with enharmonic spellings. 'LOL'

I'll reply to the rest later, I'm on break now.

Nothin' like a good, ol' fashioned, down n' dirty, time signature/tempo debate!

You want to get in on this eggman?? ;) haha

**6/4 is debatable, sometimes the pulse is on the dotted half, sometimes (more commonly in my exp.) the pulse is on the quarter. Your right 12/16 is compound, except it is made up of 4 dotted 8ths not 2.

Debatable? it's definitely a compound time signature. I don't think you can argue otherwise, but I would agree 6/8 is ALOT more common than 6/4. 6/4 is heard sometimes in String arrangements because of it's manner. And something like 12/16 is hardly ever heard. But they do exist.

WHy not think of it as a triplet? I guess because a triplet infers more to rhythm and although every third beat gets more emphasize (the others are divisions of those beats), they are part of the pulse of the music. I also guess the same reason you would not refer 3/4 as a triplet either. It can get quite confusing since I find it's better to focus on the feel rather than how the beats are divided. Like I said you can argue it so, and you'll probably say "everyone learns different". In my opinion, focusing on the feel is far more important than the division itself.

**That's what I've been arguing all along, that each note of the riff A C# E G B D D D# E recieves a pulse, and the chord part clealy represents and equal subdivision of the beats 2 & 3, which is entirely characteristic of 3/4.

Ok, I don't know what you mean. 'A' recieves a pulse and encompasses one in 3/8. Then it follows with A-G-A-G. The first 'A' is on two in 3/8, the second 'A' is on three in 3/8. The first A is the only pulse I hear in that measure of music. This is 3/8. Your saying there is a pulse on all 3 "A's", there I disagree. To me, there is no pulse on those last two "A's". Here we'll have a stalemate, no matter how much we try to prove our points. It's 3/4 to you, 3/8 to me. The A C# E part does sound alittle more like 3/4, although I would consider placing a dramatic marking under each one since you can not do the opposite.

I also wonder- did cryptic every get help from this thread??

Who cares? This is SO beyond my scope of intelligence.

6/4 can represent, and often does in my experience, 6 beats per measure w/each 1/4 recieving the stress. If you've ever played in the pit for any theater shows you will come across crazy **** like this quite often.

Yes, your right. But that 6/4 would not be considered a compound T.S.. It would be a simple one. There is always a confusion between T.S.'s when the top number is divisiable by 3. It can be both simple and compound. Some twentieth century composers make the difference by writting the note that gets a beat in place of the denominator, and the actual number of beats on top (numerator). So 6/4 as a compound would be a 2 above a dotted half note. The simple T.S. of 6/4 would written as 6/4. I'm sure with your experience you have seen both.

Yeah, funny, I ask for help with understanding time signatures and I start a war on debating time signatures to a degree I really don't understand. All I really learned was the first pulse is the strongest. Other than that, it seemed like the war had begun already. If I knew it was gonna be this bad, I'da just kept my mouth shut and maintained my ignorance, lol.

Ok, I"m gonna venture off topic (way off t.s./tempo topic) and mention this. Noticingthemistake, your signature. "My whole life is a dark room, one big dark room". I see that you give afi credit for coining that term. That was actually from the movie beetlejuice. I forget the name of the person that said it, but I really doubt she's in afi. Well, there you go.

Winona Ryder...

Yeah yeah, so I watched it alot as a kid, so what :)

- J

Yeah, it was in Beetlejuice too, but it's in an afi song also. It's not Wynona saying it either. Actually I believe Edgar Allen Poe said something very similar, but I don't recall if it was exactly the same or not.

get a metranome

Im just of the phone to Don King (boxing promoter) He reconds this would make a great showdown.