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jonberg

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Johan, it's been awhile since I hung out here but I've been listening to the Dave Brubeck album 'Time Out' w/ 'Take Five' and other odd meter tunes lately. Did this set influence any of your approach to playing odd time signatures? Do you or have you ever set out to just come up with a weird time or rhythmic feel for the heck of it? Looking forward to some U.S. Asia shows, hopefully.....


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Reply with quote  #2 
The music of KC and UK had lots of time signature variations. Crimson probably owed more to Igor Stravinsky than Dave Brubeck. For my money, in order to work in rock music,it has to sound natural--even if it's in an odd metre,so it doesn't sound like everyone's counting. Even if they are. Eddie Jobson's brilliant piano part in Rendezvous 6.02 doesn't sound like it's in anything other than 4/4, but the piece alternates 7/8 and 5/4.
jonberg

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Thanks for the reply, Johan. I do appreciate the musicianship more when it flows and sounds natural rather than obvious; perhaps, 'undanceable'. Looking forward to all the new material on the way


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Reply with quote  #4 
We don't want to make people fall over,do we?
emwhy

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Reply with quote  #5 

For my money, in order to work in rock music,it has to sound natural


HOTM has a few timing changes in it as well, nothing extreme like 5/4 7/4, but you'd never know it. The song just flows.




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brianos

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Reply with quote  #6 
...and Sole Survivor has the odd 5/4 measure & Midnight Sun lots of 7/4!
btw Jonberg - Time Out is one of my 'desert island discs' Another classic musical foursome from another era.


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emwhy

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Reply with quote  #7 
Sole Survivor alternates between 7/4 and 5/4 with those ascending chords and it gets really tricky between the first chorus and 2nd verse, but it still flows.

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Andrew

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Reply with quote  #8 
...I remember people trying to dance to "Turn It On Again" (Genesis) in the early '80s and remember watching the rhythm of the room fall apart in the verses. Nothing like 13/4 (or 6/4 and 7/4, if you will) to make people stumble. But it flowed nicely.

I think I also recall an interview with Collins who said that Rutherford (who apparently wrote the riff) hadn't noticed himself that it wasn't in 4/4...

On another note, Rush was/is great with shifting time in a commercially accessible manner: Limelight, Tom Sawyer, Subdivisions, etc. 
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