Musique

I am currently learning:

It’s Amazing, by Jem. Minor Chords, haunting melod. Love it. My keys are sticking lately, just had the Music guy here, so not sure what’s up with that. Bummah.

Beauty of Speed by Tori Amos. I just can’t seem to get that opening melody. And then there’s 6 flats to get under my fingers. Hmmm…interesting.

Struggle for Pleasure, by Wim Mertens.

Almost have it, except for wrist fatigue impeding the strength at the fini.

Next: Tori Amos, Beauty of Speed and Blood Roses.

Beauty of Speed is an odd odd sig, so I’m having trouble with it. But can’t wait to master it. Blood Roses should be played on a Harpsichord. My next, next “wanna have” is a digital piano, so I’ll have to make sure it has Harpsichord feature .

Music Ramblings, odd time sigs have always fascinated me. Ever hear a song and wonder, why is this so different? Usually it is due to an odd or not so common time signature. 3/4 time is the lilting almost rock-a-bye motion of a Waltz.

¾ Time Sigs:
J’envoie Valser, Zazie
The Chain, Ingrid Michaelson.
Sweet Dreams, Jewel.
Moon and Moon, Bat for Lashes.
Army Dreamers, Kate Bush.
3 Libras A Perfect Circle
8th of November Big & Rich
A Bicycle Built For Two Traditional
A House With No Curtains Alan Jackson
A New Way To Fly Garth Brooks
A Picture of Me Without You Lorrie Morgan
A Wolf At The Door Radiohead
Alcohol Brad Paisley
Alibis Tracy Lawrence
All I Need Within Temptation
All These Things I Hate (Revolve Around Me) Bullet For My Valentine
Alone and Forsaken Hank Williams, Sr
Amazing Grace Traditional
Angel Sarah MacLachlan
Annie’s Song John Denver
Are You Lonesome Tonight? Elvis Presley
Army Dreamers Kate Bush
At This Moment Billy Vera
Atlanta Stone Temple Pilots
Away In a Manger Traditional
Baby mine Frank Churchill
Back Side of Thirty John Conlee
Bleed The Dream Envy Parade
Blue Eyes Cary Brothers
Little Waltz Bania Bulat

Money, Pink Floyd. 7/4-4/4 Time Sig. “Money” (Pink Floyd) is particularly notable for its unusual 7/4–4/4 time signature, its distinctive bass line and the seven-beat “loop” of money-related sound effects that opens the track: coins clinking, a cash register ringing, etc.

GoTo Sleep Radiohead 5/4

Unusual Times:
A Day in the Life, The Beatles.

“Here Comes the Sun”, by The Beatles. The bridge can be transcribed as 11/8 + 4/4 + 7/8 or 3/8 + 3/8 + 5/8 + 4/4 + 2/4 + 3/8

“Hey Ya!” by OutKast. Emulates 11/4[206] by using a cadential six-measure phrase consisting of three 4/4 measures, a 2/4 measure, and two 4/4 measures.

Math Rock: wiki: http://en.wikipedia.org/wiki/Math_rock
Whereas most rock music uses a basic 4/4 meter (however accented or syncopated), math rock frequently uses asymmetrical time signatures such as 7/8, 11/8, or 13/8, or features constantly changing meters based on various groupings of 2 and 3. This rhythmic complexity, seen as “mathematical” in character by many listeners and critics, is what gives the genre its name.[citation needed] Musically, math rock derives from other rock genres, including rock, heavy metal, progressive rock, and punk rock.

The sound is usually dominated by guitars and drums as in traditional rock, and because of the complex rhythms, drummers of math rock groups have a tendency to stick out more often than in other groups. It is commonplace to find guitarists in math rock groups using the “tapping” method of guitar playing, making for an unusual sound, and loop pedals are occasionally incorporated to create a machine-like effect, such as in the group Battles. Guitars are also often played in clean tones more than in other upbeat rock songs, but distortion is also used, depending on the group.

Lyrics are generally not the focus of math rock; the voice is treated as just another sound in the mix. Often, lyrics are not overdubbed, and are positioned low in the mix, as in the recording style of Steve Albini. Many of math rock’s most famous groups are entirely instrumental such as Don Caballero or Hella, though both have experimented with singers to varying degrees.

The term math rock has often been passed off as a joke that has developed into what some believe is a musical style. An advocate of this is Matt Sweeney, singer with Chavez, who themselves were often linked to the math rock scene:[3]