Ohrwurm Girl Sun, 30 Mar 2014 03:49:24 +0000 en-US hourly 1 Simple 5 Beat: 4+1 Thu, 27 Mar 2014 20:19:54 +0000 Continue reading ]]> Asymmetrical beats are tricky if you’re not used to them. We as human-beings are naturally drawn towards symmetry and even-ness, so disjointed and uneven beats often seem just plain ODD. Becoming accustomed to music that has a repeating pulse of 5 or 7 opens this entirely new world of WEIRD SOUND POSSIBILITY. And it’s pretty fun over here in WEIRD SOUND POSSIBILITY land, I promise!

From my own experience, thinking of asymmetrical pulses as two smaller sums adding up to the big pulse is incredibly helpful. For instance, in a lot of orchestral music a pulse of 5 usually is either thought of as 2 beats + 3 beats, or 3 beats + 2 beats. When the pulse moves fast, it’s much easier to groove with those subdivisions than it is count straight 5 beats in a row.

For learning purposes, here’s an excerpt of a slower tune with 5 beats. You can hear it in another subdivision that will be helpful for ears new to complex meter: 4 + 1.

I’ve added a click track which gives five beats before the song starts. The strong-sounding beat always lines up with the first of each five beats.

This song 1842 by Samamidon has a pulse of 5, but in a way feels like it’s in a regular 4 pattern with extra time at the end. What’s happening is he plays 4 beats on the guitar and then adds a fifth or “extra” beat. This pattern is constant throughout the entire song. It doesn’t feel as complex as other 5-patterns because this addition of an extra beat is empty with no new material inside it. It’s an “empty” beat, thus why I can hear this is 4 + 1. To get a better feel of the basic 5 pattern in this song (and the 4 + 1), one could tap along on a table or cat or human or whatever is nearby and tappable, and note the “empty” beat at the end of each group of 5. Speaking the number of each beat out-loud is also a great way to feel what’s going on, and is something I typically do when practicing a musical passage that includes an asymmetrical or complex beat. I’m sharing classical musician secrets here, guys!

After hearing that bit with a click, it’s worth listening to the full track without the click to see if you can follow along.

Boom. Welcome to the Weird Sound World.


This is a fast banjo-y version of 1842, which is still in 5. OR IS IT (don’t worry: it is — try to listen for it!)

Little Fluffy Clouds Thu, 27 Mar 2014 02:37:18 +0000 Continue reading ]]> Once upon a time in the year 2007…..

I am way picky about what sorts of electronic music I will listen to. But I have a definite soft spot for The Orb, and I suspect it is due to this song.

It’s true, you might have heard this song before, if you watched TV in the late 90’s and ever happened upon a commercial for the then-new VW Beetle.

I’ve gotta say. Beats, keyboards/pitch producers, and cut&paste when done the right way do it for me. This song actually features a sample loop of minimalist composer Steve Reich‘s Electric Counterpoint (originally recorded and performed by Pat Metheny, but is apparently also arranged for guitar ensemble). Sadly, I have been listening to both this song and Electric Counterpoint for well over four years and it took me until somewhere in the middle of LAST WEEK to go “huh,” check Wikipedia, and then kind of want to hit myself in the face.

toothpaste for dinner
The other pasted clip featured in this song is from an interview with Rickie Lee Jones, a sample which was found on a promo CD. According to Wikipedia, Steve Reich was cool about his work being sampled, but Rickie Lee Jones was not down with the interview being used. Fascinating.

The other point I want to emphasize is that those VW commercials from the mid-90’s featured some truly excellent music. The Orb, Hooverphonic, Nick Drake, Fluke, Stereolab. Maybe they still do. I don’t know. I need to actually watch TV, apparently.

Hello world! Sat, 18 Jan 2014 22:55:28 +0000 Let’s talk about some music…stuff!

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