Let's start with a basic one

Let's start with a basic one

What's Sup Forums's favorite time signature.
Include works in the signature as well.

Mines 12/8
m.youtube.com/watch?v=t_lOqfke3yc

Pic semi-related

Other urls found in this thread:

youtube.com/watch?v=sKeWRHpMdg0
youtube.com/watch?v=spnjTzuVBO0
youtu.be/0xkwcaH_KLw?t=4m15s
youtube.com/watch?v=29MBGwzEhMc
youtube.com/watch?v=CqajTLTYvlU
youtube.com/watch?v=rmJwraC4p5A
youtube.com/watch?v=vmDDOFXSgAs
files.catbox.moe/uj56hl.mp3
youtube.com/watch?v=bD56_u8cGRc
youtube.com/watch?v=KIsoyk1wQ_8
twitter.com/AnonBabble

4/4 or 5/4

7/8

youtube.com/watch?v=sKeWRHpMdg0

I definitely think either 5/4 or 7/8 are the coolest non-standard time signatures without being too weird

14/16 is pretty fun to play

19/8
youtube.com/watch?v=spnjTzuVBO0

I'm pretty big on 5/8 and 29/16 myself

youtu.be/0xkwcaH_KLw?t=4m15s

If you've never heard 7/4 done right I pity you

youtube.com/watch?v=29MBGwzEhMc

I love 6/8 and 5/4

4/4 you pretentious homos

Blue Rondo a La Turk is in 9/8.

Mine is definitely 5/4 or 5/8. It can sound so fluid sometimes.

youtube.com/watch?v=CqajTLTYvlU
youtube.com/watch?v=rmJwraC4p5A
youtube.com/watch?v=vmDDOFXSgAs

11/4 and 7/4 are quite interesting too. Anything odd over 8, above 7 and not 9 is where things start to sound weird and anything odd over 16 is where things start sounding forced.

>Dave Brubeck Quartet
Were you the guy posting Jazz Impressions of Japan a couple of months ago, or is this band getting more attention on Sup Forums lately?

Lmao Dave Brubeck is not obscure. Literally jazz essential

Are you actually implying that the Brubeck Quartet are obscure in the slightest?

i laughed out loud @ this

sure is samefag in here

shut the fuck up your worthless piece of shit

lmao, prove you aren't samefagging

Are you actually implying that you're not behind all of those posts?

what do i have to gain by samefagging? do you have autism or something?

i swear to fucking god faggots like you get on my nerves

This is a thread for faggots.

I don't care about time signatures, and I make music, that being said I love anything around 110-88 BPM

files.catbox.moe/uj56hl.mp3

soz lol

>I don't care about time signatures, and I make music
Wow, must be pretty shit.

post your freetime jams

I'm all self taught I never had time to learn time signatues, I have a basic understand but I just work within a set bmp with a metronome

1/8

wow what a faggot

4/4, 2/4, 3/4, 6/8
Everything else sounds gimped and obviously done to go "I wrote this in 572/14 time. Be impressed."

Except in modern jazz. Those faggots have their asses so far up their own asses nobody notices if they even use time signatures.

25/32 does make for a cool drunk shuffle at high tempos though.

this is tight

The fact that you think 14 is a proper meter shows that you know absolutely nothing about time signatures

I fucking know 14 is not a proper note length. You wouldn't believe how many dronefags I know in real life who don't and pretend they know what they're talking about. Notice it was a hypothetical quote from a hypothetical faggot.

>25/32
Show me one song that uses this meter.

Why?

Because you mentioned that it makes a good shuffle groove when played at high tempos. That means that you should be able to prove that this signature has been used in at least one composition, or you're just bullshitting

I find it funny that the most organic, flowing, non-metal song in 5/4 I have ever heard is by a band that is near universally despised.

youtube.com/watch?v=bD56_u8cGRc

I also usually hate 7/8 and find it longwinded and difficult to phrase; however, I love this.

youtube.com/watch?v=KIsoyk1wQ_8

>7/8 is longwinded
It's shorter than 4/4 though

It's just a compound time signature of 7/8 and 5/8. I don't get why people get so worked up regarding things like 11/4 or treat them as objectively different in feel than their composite time signatures.

I could write four bars of 4/4 as a single bar of 16/4. Would that make it sound "forced"? It would sound exactly the same.

I've used it in a couple of covers of songs in 6/8 or in 4/4 shuffle. Accent-wise I feel a bar out like two bars of 6/8 with an extra quarter beat jammed in after the 3rd accent (would be right after the first beat of the second measure in 6/8). Don't know of anything published off the top of my head, Sleep did a vaguely similar feel in Dragonaught but not the actual time signature, don't particularly give enough of a shit about impressing some autistic faggot more interested in pedantic bullshit than music on a music board to dig anything more up.

>plebs who actually listen to music with time signatures

>being cucked by the musical jew

What? A 7/8 time signature is a measure of 7 beats where the eighth note has the beat. One measure of 7/8 has seven beats before it lands on one. One measure of 4/4 has four beats before it lands on one. 7>4

>being cucked by the musical jew
did you really think that that was smart or funny?

Yeah but an eighth note is half of a quarter note.

7/8 is an eighth note off of 4/4.

And that song you posted is in 7/4

Do you not know how to differentiate eighth time, quarter time, cut time etc.?

Anything that subdivided is honestly useless and down to the level of feel. There is a reason we don't score jazz in 32 or 64 just to be able to surgically nail down the execution of any given passage, even though you could in theory.

There is a fine line between a score being informative and being a nuisance.

Which is essentially why 16 time is as high as people go. I've rarely if ever seen anything in 32 or 64 time.

Except when baiting faggy bitches on the look out for an opportunity to look smarter than someone, such as
Or to antagonize dronefags and other boring jam shit posing as written music making obviously wrong claims about their own score.

I seriously have anger issues from these burn-outs claiming they've written something in like 9/11, play a 4-track tape of it for me, and it's just four hours of open guitar strings downtuned to a low B, just one long note.

That's not how it works, man. I say that as somebody who does this for a living. If you want an illustration of your fallacy, consider what the difference between 1/4, 1/8, 1/16, and 1/32 would be. There isn't one.

Time signature simply denotes that we are scoring the rhythm in a way consistent with the fact that a quarter note is the beat, or an eighth note is the beat, and so on. One time signature is not explicitly a fraction of another time signature.

For that matter, more subdivided time signatures are really only useful for precisely locking down how notes fall between other notes when they get snuck in in odd ways. Subdividing the measure into more "bins" makes it more likely that a given beat will neatly land in one of these bins. Once again, this is independent of what note (quarter, eighth, sixteenth) you designate as the beat. A lot of that is chosen for sake of convention and readability.

No, I was being 100% serious.

9/4 divided into 7/8, 7/8 and 4/8. It's by far the best

why notate it as 12/8 instead of 6/8 or 6/4 or 12/4? Aren't they all essentially the same?

1/32 is half of 1/16, which is half of 1/18, which is half of 1/4.

You know nothing about music theory, do you?

Depends on tempo as well. Sometimes you need 32nd notes to catch a particularly fast flourish in slow tempo music. This actually happens in shit like gospel music all the time. Sometimes happens in slower metal to catch double kick ostinatos and triplet figures in cut time/D-beat/ gallop grooves.

12/8 implies there are 12 eighth notes in a bar, 6/8 implies there are 6 eighth notes in a bar, 6/4 implies there are 6 quarter notes in a bar, 12/4 implies there are 12 quarter notes in a bar.

Any questions?

32nd notes != 32nd note time signature

But yeah you have a point with that

i know that, but when it comes to playing aren't they all mutually exchangeable? Let's say I have a melody made of 12 notes of equal duration played without silence. I could fit this melody in a 12/8 bar (12 eight notes), in a 6/8 bar (12 sixteenth notes), in a 6/4 bar (12 eight notes) or a 12/4 bar (12 fourth notes). What's the difference?

No you retard, do you not know the relative difference between quarter notes, eighth notes, sixteenth notes and thirtysecond notes?

You could do that but that would involve upscaling all of the eighth notes into quarter notes/sixteenth notes to eighth notes (12/8 to 12/4, 6/8 to 6/4), or it would involve having to rewrite everything halved (12/8 to 6/8, 12/4 to 6/4). Basically you'd have to rewrite the entire piece to match the correct signature

Holy fuck, bud. I'll be sure to tell that to the jazz trio whose composition I just transcribed. Go take a rhythmic dictation class instead of memeing around on the internet.

As I said, a time signature only tells the number of beats in a measure and the note used to represent the beat. I don't think it is as complicated as you think it is. As I said, this is all stuff that becomes really obvious when you start trying to do practical rhythmic dictation.

I will say again: if a person played a single note, I could transcribe that as a single bar of 1/4, 1/8, or whatever. I could transcribe it as a single measure of 1/2 where the note played is a half note. I could transcribe it as a measure of 1/1, where the note played is a whole note. It doesn't make a difference. It is a matter of formality.

Holy fucking shit you idiot

Stop being a smug pretentious shit and realize that there is a HUGE fucking difference between 12/8 and 12/4. If you notice there is literally a number at the end of the signature that's completely different. You know what that means? It means it's an entirely different time signature to be played with an entirely different feel and speed.

Just quit music man, you're not smart enough to handle the mathematical portions of it.

I'm not talking about rewriting compositions to different signatures, my question is why there are four different notations to design the same metric relationship, or why a composer chooses 12/4 instead of 12/8? I don't write music, but I guess it has something to do with tempo?

Because the way you play a bar written with 8th notes is completely different form a way you play a bar written with 4th notes. 8th note based bars create a tighter feel and a more rhythmically precise section, whereas, say, 6/4 is way way looser and more free. It has to do with how the performers count the bars being played.

And 12/4 a bar in 12/4 is twice the length of a bar in 12/8, ignoring that I get your point and it's a very common misconception.

Let me elaborate further.

The "note used to represent the beat" affects heavily how the performer plays the bar in question. See .

It is extremely simple, you just don't seem to get it.

Yes, but the way someone plays a bar in 12/8 is completely different from the way they'd play the same bar transcribed to 6/4, or 3/2, or 24/16. Do you just not get that?

Have you ever actually fucking tried doing this yourself? Did you not cover this shit when you learnt how to sight read? Which incredibly dense piece of shit taught you music theory and where can I find this person so he loses his teaching license?

128/7

fuq with me

>different feel and speed

But these are things that are up to, respectively, musicianship and tempo. They have nothing to do with time signature and aren't implicit in it. Stop trying to ascribe magic powers to rhythmic dictation that aren't there.

The point of time signature is to define how beats are counted so that the relative spacing of notes can be worked out proportional to the time signature.

By your logic, it shouldn't make sense that some Chopin and Coltrane are written in the same meter because they sound so different. That is ridiculous from the perspective and practical goals of a person trying to transcribe music.

Sure, let's start with the fact that no composition written with seventh notes exist, much less one that has 128 seventh note beats in a bar.

>But these are things that are up to, respectively, musicianship and tempo
No you dense shit, the musicianship has nothing to do with it. The point of writing something in 2/2 rather than 4/4 is so that there is much more empty space between each beat that the perform counts, therefore it leads to the music sounding "less precise" and causes it to be looser. Likewise something written in 16/16 has much, much less empty space, it's incredibly quick counting. Which causes the performer to play much more in time and much more precisely.

That's the point of the meter. Not the full time signature. Stop pretending that only one half of the time signature matters and the other doesn't.

But that's not what any of this means you fool. What a fucking lousy strawman argument

1/4 is my fave

Christ dude, you're still up? You know people are just doing this to be assholes, and everybody actually knows what the bottom number means and what does and does not make sense there, right?

Full fucking Rain Man. Definitely full fucking Rain Man.

Whatever, man. I don't think you actually grasp what 2/2 strictly means, but that's fine because I'm pretty successful using my shitty, misinformed ideas regarding rhythmic dictation to make a living. I'll be sure to call up my drum tutor and theory tutor from school to tell them how wrong they were and apologize to the otherwise satisfied bands I've transcribed for defrauding them.

A half note in 2/2 doesn't mean the same thing as it does in 4/4. Go back to picking cheeto crumbs out of your seven string's active pickups while you masturbate to Dream Theater. There is a reason nobody likes it when teenagers who've played guitar for a few years magically understand composition.

>"err... errr.. whatver you're dum dum le ad hominem le cheap insult le fedora"

Nice

Does anyone know of any music written in 19/16? I consider it my favourite time signature but I haven't heard anything in it.

Not him but wow, you're an actual unironic retard

I hope this is bait, if not you should seriously follow his advice and just quit music permanently.

Yeah, who taught you that "implies" and "explicitly states" were the same thing?

your mom

Time signatures and BPM have nothing to do with each other. BPM defines the tempo of the song, time signatures define how many quarter/eighth/sixteenth... notes there are in one measure.

Retard

>what is emphasis/accentuation

6/8 is a waltz feel, 12/8 sounds like a swing. One sounds like 3 and the other sounds like 4 with triplets.