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Posted: Tue Oct 14, 2003 6:22 pm
cinnamon is in 6/8, but doesnt it sound like the drums are playing 4/4? would that make it 6/4? i have no idea. it could be just me.
Posted: Tue Oct 14, 2003 11:42 pm
if it's playing in 6/8, it's 4-beat equviliant would be 2/4 or cut-time (2/2).
Posted: Wed Oct 15, 2003 6:54 am
I've asked Michael to explain this to me at lesat twice, and I still don't understand what's happening. It's like the drumming equivalent of an Escher drawing.
I think it might be what Stewart Copeland (and Carl Jung) called "synchronicity."
Posted: Wed Oct 15, 2003 3:00 pm
cool, Im glad someone else asked about this. I mentioned it in someone else's forum and got yellow-carded.
Posted: Wed Oct 15, 2003 10:59 pm
"What was that?"
"The sound of this thred flying right over my head."
Posted: Thu Oct 16, 2003 4:04 pm
4/4 & 3/4.. the drums are playing a rock beat and everything else is playing to a waltz kind of time. Super cool. Not having seen TLW live yet, I'm curious to see how people dance to this one.
Posted: Thu Oct 16, 2003 4:13 pm
There's actually a word for layering time signatures like this, although it's not coming to mind at the moment.
I thought it was jarring the first few times I heard the song, but after a while it just started feeling right in my head. Now I just don't think the song would work quite right with a 6/8 beat. 6/8 just doesn't rock as hard.
Posted: Thu Oct 16, 2003 5:09 pm
Posted: Sun Oct 19, 2003 11:44 am
I wanted the song to sound like the Allman Brothers, Statesboro Blues perhaps, and 4/4 against 3/4 has that gentle floaty push that they do so well, like two jets flying in erratic formation that never quite collide.
Rock the jam
Posted: Sat Oct 25, 2003 3:53 pm
Soon you will have two drummers and a cover of Whipping Post added to the live act.
Posted: Sun Oct 26, 2003 2:35 pm
Oh God, you're so close to predicting the future you can't even know. Two drummers, Whipping Post... that's it, we're all growing beards.
Posted: Sun Oct 26, 2003 3:29 pm
The Long Winters: Live from the Fillmore East.
The cover of the record could have the band leaning against the van, drinking PBR, Milwaukee's Best, or perhaps tall boys of Schlitz.
"This next song is a little ditty called Stormy Monday...."
Posted: Mon Mar 22, 2004 7:31 am
I'm really late posting to this thread, but being someone who aspires musically but gets completely lost with things like time signatures and...um...well keys and pretty much everything else "technical" i just wanted to say, Fi, you should teach music. I had no idea what you guys were talking about but when you mentioned it being like a waltz/rock fusion, I totally understood...I just had to imagine waltzing to it and then I could totally pick out the beat you were talking about.
Posted: Mon Mar 22, 2004 5:59 pm
hah! that's cool. actually, funny to read this old post. cinnamon was in the set on NYE, & so I finally did see it live.
Posted: Mon Mar 22, 2004 10:12 pm
I actually heard them perform Cinnamon, Shapes, and Stupid live before WIPTF came out. They played them at a show at the Crocodile the first time I saw them.
Posted: Tue Mar 23, 2004 10:48 pm
anthropomorphizing_kitty wrote:I actually heard them perform Cinnamon, Shapes, and Stupid live before WIPTF came out. They played them at a show at the Crocodile the first time I saw them.
Yeah, I had heard every song on WIPTF live before the album came out (except blue diamonds and blanket hog).
Posted: Mon Oct 04, 2004 7:12 pm
i'm fairly sure the timing is 6/8 in cut time. this would, in turn, make it 3/4 in a sense, when in reality it is 6/8.
Posted: Tue Oct 19, 2004 2:21 pm
Mite wrote:There's actually a word for layering time signatures like this, although it's not coming to mind at the moment.
I think it may be called "hemiola".
Eh, here's a definition from http://www.music.vt.edu/musicdictionary/
and it seems to fit with what y'all are sayin.
In early music, this term meant the ratio of 3:2, employed musically in two senses: the ratio of the perfect fifth, whose musical value is 3:2, and the rhythmic relation of three notes in the time of two, i.e., the triplet. In the Baroque era hemiola was used in dance music in the sense that it denoted the articulation of two measures of triple meter as if they were three measures of duple meter. In later music, especially Viennese waltzes the use of hemiola was common, in the sense of playing duplets in one part of the music, over which another part of the music is playing triplets.
I seem to have a penchant for remembering mostly(or entirely)-useless words...do you suppose that's marketable?
Posted: Thu Dec 02, 2004 2:03 pm
No, it's called a polyrhythm (wikipedia.org)
. Your "hemiola" is an example of a polyrhythm, but is specific to 3:2 time.
Polyrythms are popular in traditional african music, especially west africa.
Posted: Sun Apr 02, 2006 9:42 am
Baring in mind all the points that have been talked over in the previous posts i have to say this,
It was the out of time drumming on this track that made it my least favorite of all. It just struck me as poorly composed... and out of time.