time signature choices

Message Bookmarked
Bookmark Removed
Today I found and purchased an edition of Tarrega's Preludes including #9...the short, but intense, Oremus. As I was looking it over I saw that it indicates "Lento" and is in 2/4 time signature. The melody line is written in 1/8 notes and the base line in 1/16ths. The result, assuming Lento as approx. 56 -60 bpm is a piece that moves along at a fair clip despite the tempo designation.

My question is: what causes a composer to choose, in this case, to make a Lento piece quick by using 2/4 with 1/8th and 1/16th notes, rather than using 1/4 and 1/8th notes and designating it Andante or Moderato? ..I understand (I think) that one might use time signature for rhythmic, and pace considerations but I'm afraid I don't understand the other.

chaki, Sunday, 28 April 2002 00:00 (twenty-two years ago) link

Maybe a matter of notating practicality not immediately obvious? Or maybe it's just the way the composer envisions the piece, for better or worse...

Joe, Monday, 29 April 2002 00:00 (twenty-two years ago) link

In most cases I think it's just how the composer feels the motion of the piece and the length of the phrases. No accounting for personal interpretation I guess.

Jordan, Monday, 29 April 2002 00:00 (twenty-two years ago) link

Maybe it's a function of what it's a prelude TO?

dave q, Monday, 29 April 2002 00:00 (twenty-two years ago) link

I agree with Jordan that it's mainly a question of pulse and phrasing. I think the visual appearance of 16th and 8th notes, with the beaming, tends to elicit a subtly different approach to the phrasing of a particular passage -- I want to say it "suggests" longer phrases, but that seems limited, though the visual difference between quarter notes and 8ths does count for something regardless. The question of pulse is more clear-cut, in that a slow written tempo with "fast" notes on top definitely suggests something different, rhythmically and in terms of what the root pulse is, than a medium tempo in quarter and eighth notes. As I recall, the 2nd movement of Beethoven's Op. 111 sonata is written in that kind of way -- everything is implicitly an extension of the one, underlying, very slow pulse.

Phil, Monday, 29 April 2002 00:00 (twenty-two years ago) link

There's also the consideration of where the composer feels the macro- pulse of the piece is. It's very likely that Tarrega didn't want player to put emphasis on every other note, which is what would be suggested if he wrote the bass lines as quarter notes and used a Presto tempo marking.

Dan Perry, Monday, 29 April 2002 00:00 (twenty-two years ago) link

fourteen years pass...

i'm usually pretty good at identifying time signatures, but i'm having trouble with this one:

https://www.youtube.com/watch?v=lrP1bspW7jQ

i have thoughts, but i'll wait til others weigh in

I look forward to hearing from you shortly, (Karl Malone), Wednesday, 5 October 2016 18:32 (seven years ago) link

For some reason I can't play this video, so Sund4r to thread.

pen pineapple apple pen (Turrican), Wednesday, 5 October 2016 18:33 (seven years ago) link

now it seems obvious, actually, and i feel foolish for even asking. but there was a longish facebook thread among friends with many varying opinions.

I look forward to hearing from you shortly, (Karl Malone), Wednesday, 5 October 2016 18:36 (seven years ago) link

sounds like you've got it, but it's 6/8. it fucks with you because that 'beep bee' part that is foregrounded in the beginning is a quarter-note triplet, based on the 6/8 pulse.

sam jax sax jam (Jordan), Wednesday, 5 October 2016 20:23 (seven years ago) link

Yeah agree with Jordan, although I'm tempted to call it 12/8 just because of the way the rhythmic phrase works out

like this record btw, best Shadow since Private Press imo

the last famous person you were surprised to discover was actually (man alive), Wednesday, 5 October 2016 20:28 (seven years ago) link

cool track. good job DJ Shadow!

i hear what you're saying about the phrase, but for some reason i never want to call anything 12/8. if it's kick-2-3-snare-2-3, then i always feel it as two phrases of 6/8. not like it matters what you call anything in terms of 2/4 vs 4/4 or 6/8 vs 12/8 imo.

sam jax sax jam (Jordan), Wednesday, 5 October 2016 20:33 (seven years ago) link

which apparently is what i said FOURTEEN YEARS AGO. jesus.

sam jax sax jam (Jordan), Wednesday, 5 October 2016 20:33 (seven years ago) link

yeah it's something about how the kick is syncopated in the second half of it that makes me hear it as 12/8, but as you say it really doesn't matter

the last famous person you were surprised to discover was actually (man alive), Wednesday, 5 October 2016 20:42 (seven years ago) link

i ended up at 6/8 as well (and also was tempted to call it 12/8), but for some reason at first i heard it as a really loose 4/4, 16th-based note groove, with an added 16th note of space added at the very beginning of each phrase (or the very end). i was somewhat confident about that and was praising dj shadow for coming up with something so fucking weird but without sounding too proggy, and then suddenly realized it was 6/8 and could never heard it the other way again.

I look forward to hearing from you shortly, (Karl Malone), Wednesday, 5 October 2016 20:44 (seven years ago) link

2 x 6/8 vs. 1 x 12/8 is a feel thing for me.

pen pineapple apple pen (Turrican), Wednesday, 5 October 2016 20:45 (seven years ago) link

wait is everyone talking about "Mambo" here? Hearing 9/8 (or 9/16) on this, basically like a 4/4 beat with one extra 8th note on the last beat. Unless I have the wrong song playing because my phone does weird things...

Dominique, Wednesday, 5 October 2016 20:54 (seven years ago) link

Hearing 9/8 (or 9/16) on this, basically like a 4/4 beat with one extra 8th note on the last beat.

that's exactly how i heard it at first! for a while i was looking up 18/8 time signature on wikipedia to see if it resembled what i was hearing. now i can only hear it as 6/8.

I look forward to hearing from you shortly, (Karl Malone), Wednesday, 5 October 2016 20:58 (seven years ago) link

Yeah. Sorry Dominique, but if you're listening to the right track, you're hearing it wrong. Better to drop in at the end, like 2:38, and get the key to the track. The intro is just designed to be deceptive.

I couldn't get it from the intro either.

xp

sam jax sax jam (Jordan), Wednesday, 5 October 2016 21:00 (seven years ago) link

wish we could have a skype on this.

I will have to work to hear this in 6/8 -- there are parts where a snare is laying down 8ths (or 16ths if I say 9/16), and the kick and main backbeat snare are landing on downbeats in 9. I can do this throughout, so still not sure how to hear in 6

Dominique, Wednesday, 5 October 2016 21:06 (seven years ago) link

If you're talking about the build about a minute it (before "ready, mambo"), that snare pattern is triplets over the 6/8 (so 9 hits per bar, or 18 if you're doing 12/8). same for most of the arpeggiated synth patterns.

sam jax sax jam (Jordan), Wednesday, 5 October 2016 21:12 (seven years ago) link

I got you now -- basically, if I group all the things I'm hearing as 8ths into threes, it comes out like an even groove, maybe similar to that famous Bonham/Porcaro break groove. I just wasn't hearing them as triplets, but as straight 8ths

Dominique, Wednesday, 5 October 2016 21:13 (seven years ago) link

exactly!

sam jax sax jam (Jordan), Wednesday, 5 October 2016 21:15 (seven years ago) link

"I Should Live in Salt" by the National might be the weirdest time signature for the simplest song. Like, 17/8 or something. What's the Mahavishnu Orchestra track with the unfathomable time signatures? Yeah, this one:

https://www.youtube.com/watch?v=Z5XoNlcLEfw

I read that Billy Cobham used to practice drums by suspending coins on the wall with tight rolls.

Josh in Chicago, Thursday, 6 October 2016 14:19 (seven years ago) link

the mario kart 64 victory music time signature is unexpectedly complicated (i think it's in eleven).

a confederacy of lampreys (rushomancy), Thursday, 6 October 2016 17:08 (seven years ago) link

9/8 isn't difficult. (xpost)

everything, Thursday, 6 October 2016 18:21 (seven years ago) link

ya i play a few tunes in 9/8

sounds very jazzy

F♯ A♯ (∞), Thursday, 6 October 2016 18:24 (seven years ago) link

Back in the day I wrote a couple of songs in 9/8 by ripping off the first bit of this:

https://www.youtube.com/watch?v=za2zHDM6g08

everything, Thursday, 6 October 2016 18:25 (seven years ago) link

here's a track with a sick deceptive intro. it's just in 4/4 with a mostly triplet-based feel, but the first 40 seconds are hard to feel if you don't know what you're looking for.

https://www.youtube.com/watch?v=RF_1LiZEm1w

it sound straightfoward to me now but i remember being thrown on first listen.

sam jax sax jam (Jordan), Thursday, 6 October 2016 18:30 (seven years ago) link

xp i ripped off a bert jansch track! who probably in turn ripped off davey graham?

F♯ A♯ (∞), Thursday, 6 October 2016 18:31 (seven years ago) link

"Turn It On Again" by Genesis is another stupidly simple song in a weird signature. "Eleven" by Primus, "The Eleven" by the Grateful Dead and "Take Five" by Brubeck all on the nose.

Josh in Chicago, Thursday, 6 October 2016 20:36 (seven years ago) link

I read that Billy Cobham used to practice drums by suspending coins on the wall with tight rolls.

Uh, what?

(SNIFFING AND INDISTINCT SOBBING) (Tom D.), Thursday, 6 October 2016 20:39 (seven years ago) link

Misread that as Billy Corgan for a second.

Berberian Begins at Home (James Redd and the Blecchs), Thursday, 6 October 2016 23:45 (seven years ago) link

i didn't get the tight rolled suspended coins thing either

i thought tight rolls were what you did to your pants? and by that i mean you, reading this. i think you tight rolled your pants.

I look forward to hearing from you shortly, (Karl Malone), Thursday, 6 October 2016 23:49 (seven years ago) link

Oh man, that Mahavishnu track and "Turn It On Again" were important tracks to me as a teenage drummer.

The Mahavishnu track is in 19/16. Really, you can think of it (and, for most of the song, the band plays it) as a good ol' 4/4 with three extra sixteenth notes tacked on at the end.

"Turn It On Again"... well, I've never seen sheet music for it. I always thought of it as having a thirteen-beat kernel, but 13/4 is far too long for a time signature. Call it a bar of 6/4 and a bar of 7/4, going back and forth, until the "I can show you" bit, when it goes into 4/4 like it's been there all along.

SlimAndSlam, Friday, 7 October 2016 01:53 (seven years ago) link

xpost Billy Cobham would do a press roll on a quarter against the wall, fast and hard enough to keep it pressed flat against a wall.

Josh in Chicago, Friday, 7 October 2016 02:11 (seven years ago) link

That is, do a press roll against the wall. Now imagine where the sticks are hitting there is a quarter or coin, and that the roll is keeping it against the wall.

Josh in Chicago, Friday, 7 October 2016 02:13 (seven years ago) link

Oh, I gotcha. Dang!

I look forward to hearing from you shortly, (Karl Malone), Friday, 7 October 2016 04:20 (seven years ago) link

Ah! (Had to google press roll though)

(SNIFFING AND INDISTINCT SOBBING) (Tom D.), Friday, 7 October 2016 08:57 (seven years ago) link

Just saw something yesterday about Mahavishnu final tour.

Easy, Spooky Action! (James Redd and the Blecchs), Friday, 7 October 2016 10:06 (seven years ago) link

^got excited for a second, but it turns out it doesn't involve Cobham or any of the original lineup, just McLaughlin's current band.

i wanna try the coin thing at home but don't want to mess up my wall.

sam jax sax jam (Jordan), Friday, 7 October 2016 16:58 (seven years ago) link


You must be logged in to post. Please either login here, or if you are not registered, you may register here.