Hello! I've seen the video that you reference in this comment, and I must admit that I did get a chuckle out of it. However, I've had some experiences that have caused me to think otherwise. The most memorable/notable was the Greek Festival that I would attend when I lived in New Orleans. Much of the music that they played was in meters other than 4/4, and there was plenty of dancing to be seen. Maybe it it was the Ouzo, or maybe it was another culture's definition of what constitutes "groove." But either way, booties were shaking and I did not hear 4/4.
@@TroubleshootingError here's a link to that song, it's the very 1st riff of the intro ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-609Alu2eZuw.html
I wrote a song partly in 13/8 and I found another way to explain it which seems easier to understand, at least for me. Inspired by David Bennett's piece made up of 5/8 bars that "feel like beats", I tried to make a melody with two 5/8 bars and one 3/8 bar. So I basically devided a 13/8 bar into groups of five, five and three. After that I added a segment that had a waltzy feel, because I grouped the 8th notes as 6 and 7. This I think has a cool vibe to it, because you would expect it to be 6/8, but every second bar has an extra beat.
Andrew Kruspe , yes it did! Thanks. I am not sure about the groupings in that tune, but I think in the main riff it’s counting 123 + 12 +1..... followed by 123+1234 resulting in a 6/8 + 7/8
Ruud Voest Grand! And thank you for turning me onto Genesis… I haven’t really been a fan in the past, but I am looking forward to delving into that catalog after this interaction. Cheers!
Hello, and thanks for checking this out! Usually, the groupings within a time signature correspond to strong emphases or accents within the measure. In the case of “Skimbleshanks,” it corresponds to the syllable within the lyrics - First measure: Skim-=3 -ble-=3 -shanks=3 The=4 ...and so forth. I hope that this helps!
Hello, and thank you! It is a traditional Irish frame drum called a bodhrán. You can find out more about it at my website- www.andykruspebodhran.com. Cheers!
Hello! I think of the difference between these two time signatures in terms of styles that I have played in the past- American marches (a la John Philip Sousa) and Irish jigs. I have seen these two styles notated as 6/8, and I think it makes sense- a strong dotted-quarter note pulses with eighth-notes used to mark the subdivisions between them. In this case, beats 1 and 4 in 6/8 get the emphasis/pulse. However, when I've played pieces in 6/4, this hasn't been the case. I remember these pieces feeling like a bar of 4/4 extended by two beats. It did not feel like my previous experiences with 6/8. Cheers!
Joe Gibbons Hello, and thanks for watching! You can find several examples here: en.m.wikipedia.org/wiki/List_of_musical_works_in_unusual_time_signatures Not on the list but pertinent to the instrument that I am playing (the bodhrán) is Julie Fowlis’ Thig Am Bata (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ODT_VEdrl8Y.html) this song has bars of 13 in corporates into the tune. It proceeds as follows: -a bar of 13 (3+3+3+2+2) -a bar of 12 (3+2+3+4) -a bar of 11 (3+3+2+3) -a bar of 12 (3+2+3+4) I hope this helps!
Hello! A time signature of 4/4 implies that the pulse is felt on the quarter note (crotchet) and one would need four triplets to play the rhythm that is notated in the first line. By using a signature of 12/8, it was easier to illustrate that the eighth note (quaver) gets the pulse. By adding one more eighth note to 12/8, the result is 13/8. From here, one can break up 13 eighth notes in a number of ways (per the video). As such, the groupings of three eighth notes in the second line are are not triplets. Were they triplets, they would not have the same speed as the groups of two eighth notes. I hope this helps!
Thank you Andrew for the feedback, it helps, I was just confused with the number 3 above the quaver, and the counting, it sounds to me like ONE two three, ONE two three, suddenly it sounds like triplets, but you are right if these are triplets, the quavers doesn't have the same value as the other 4 quavers (no triplets). But the real problem I see sometimes in this kind of x/8 situation is that musicians tend to count pulses in 4, or and quaver and dot, when we must to count just as quaver, so that is a very fast pulse. Keep on with this videos man!! Cheers !!
Socrates el Guitarrista - Sure thing! You are absolutely correct regarding the speed of the 8th note when counting. Sometimes I’ll use counting akin to konnakol in those situations- groups of three become TA-ke-ta, and groups of two become TA-ka. Counting in this manner, to me makes the speed a little more manageable. Again, thanks, and take care!
