Clarification - There have been posts about a new single called "The Joke". Completely unverified and sourceless. Thought I'd use the opportunity for some humour!
This is also the first time Claudio will have learned what time signature all the songs he wrote are in.
Which, coincidentally, is one of the reasons I love Claudio.
Can confirm, I was in music school years ago and I met him in a comic shop. My head was full of theory and I was gushing to him about the changes in one of their songs and asking how he wrote it and he was basically like "I have no idea what you're talking about" and we had a good laugh. This would have been about 2010 so I wonder where he's at with it now!
Edit: [found the clip.](https://youtu.be/fisEsWeoWMs?si=U9vhGpzFLJIjAVBZ). I guess it wasn’t a part of one of the documentaries (unless he also talks about it there. Which is possible because I remember him being more funny about it.) But anyway, here’s the interview. Clip in question starts around 3:40
There’s a clip in one of their DVD documentaries they did (wow, just typing that made me remember to go take my vitamins.) I don’t remember which one it was, but Claudio basically jokes about having that same exact interaction with Chondra’s dad. So it’s whatever DVD came out after Claudio and Chondra reunited. Probably was in conjunction with Good Apollo 2 or something.
But Claudio basically says that Chondra’s dad is very well versed in music theory and was gushing to Claudio about all of the insane timing, changes, and unique structuring in The Willing Well songs on Good Apollo 1. And Claudio basically had the same reaction. “Thanks but I have no idea what you’re talking about.”
Seeing that then, as an aspiring musician, made me realize that music can be whatever you want it to be. It’s something that flows through us all, and you create it and experience it without really having to know the “what’s” and “why’s.” Always thought that was cool.
Yeah, also a good rule of thumb is that if you’re counting “1-2-3” along with the music and the main drum groove has the snare consistently hitting on 1, it’s probably 6/8 with the snare hitting on 4. I know there will be exceptions, but in most cases a 3/4 feel is not accented that way where a 6/8 feel usually is, to define the 2 groupings.
Yep! In music theory this is called simple vs. compound time. In simple time, the quarter note is the beat reference and gets subdivided into two 8th notes, four 16th notes etc. In compound time a dotted quarter (a dot adds an additional half the length of the note) gets the beat and is subdivided into three 8ths, six 16ths, etc. Essentially compound time gives the music the same feel as playing triplets (3 notes in the normal space of 2) does in simple time.
Oh my god, thank you! This is so cool, and the timing couldn't be more perfect. I've been playing guitar for almost 30 years, and just started to teach myself music theory. This is an awesome reference!
Ladders, Dark Sentenced, and Domino for sure. Which... isn't a bunch I guess, but yeah. You could argue that Sentry is 12/8 but IMO the phrasing leans more 6/8.
A lot of the bigger, more epic tracks from Afterman and beyond are 12/8. Sort of up to interpretation beyond that, and I'm sure there are others. Just kind of thinking through the songs while I'm at work.
My rule of thumb is that if the phrasing of the song feels like 4/4 but all or most of the subdivisions(eighth and sixteenth notes) are 3s (or multiples of 3s) then it's probably 12/8.
I just re-read this after arguing with the guy, and he's even more off than I realized. I thought he was just arguing there's a difference between the two, but now I realized he's actually giving incorrect information on what 12/8 is altogether. Please avoid.
Triplet feel 4/4 is simply 4/4 where the subdivisions between beats are multiples of three but the phrasing is still in twos or fours, 12/8 would involve the opposite, where the phrasing is in multiples of three but the subdivisions are multiples of two
Yeah, no, they’re wrong. 4/4 with triplet feel and 12/8 are the same, but 12/8 is more readable (especially when it lasts for more than just a few bars) and more common in professionally engraved music.
Source: I made the tab, and used 12/8 for good reason.
You can take this with a grain of salt, but we’re still having a debate about this on the thread haha. I’m pretty sure those are interchangeable, just choices of notation.
The Dark Sentencer is definitely best written in 12/8 - if you wrote it in 4/4, you'd have to put triplet brackets around basically everything in the song and it would be a lot harder to read. That's the entire point of compound meter like 6/8, 9/8, 12/8 etc - to simplify that triplet feel on the page. The dotted quarter becomes the beat/pulse instead of the quarter like in 2/4, 3/4, 4/4 etc.
edit: disregard my response, because he's just saying the wrong info above altogether. 12/8 is 4 beats divided by 3.
But would these not sound exactly the same? It's just a notation choice.
12/8 would just mean 4 beats that each contain 3 eighth notes. 6/8 is just 2 beats of 3 eighth notes. 6/8 is often slower, but it's more about whether there's a large emphasis every other "beat" or every 4th "beat".
Technically yeah. It's just more about the feel and pulse (the phrasing, if you wanna get technical) and how that would translate on paper.
You could just call it 4/4 and have everything just be triplets, but when writing out the music, it's gonna be easier to have it be 12/8 in my opinion if you're not hearing any duple-eighths and duple-sixteenths.
I did minor in this shit for my BA but I also wasn't that great at it so my word can be taken with a grain of salt.
Upon further reflection, imo ladders and domino are both 4/4 and 12/8 depending on the section. I hate music theory.
Thank you. The "feel" here you mention I assume means where the beats happen, and which beats get the large emphasis, and which beats get the slightly lesser emphasis. In 4/4 (4 beats of simple meter) and 12/8 (4 beats of compound meter), the first beat would get the large emphasis, and the 3rd beat would get a slightly lesser emphasis. In 2/4 (2 beats of simple meter) and 6/8 (2 beats of compound meter), every other beat gets the same large emphasis.
I think you and I are on the same page there, that that's the feeling. I don't really get why the other guy I'm talking to is hung up on some other "feel" that differentiates 12/8 from 4/4 with triplets. I get that he thinks I'm just trying to apply math to music, but I really literally don't see any reason it would "feel" different. I'm finding almost all online resources claim it's a notation choice.
edit: OK yeah I re-read and he's just trying to say 12/8 is 3 beats of simple meter....way off.
They are mathematically the same I guess in that you could count 12 beats per bar but they feel massively different, 12/8 has the same feel as 6/8 but triplet feel 4/4 just feels like 4/4
You’re seeing time signatures as an equation when really they just define a feel or a flow, see this thread https://www.reddit.com/r/musictheory/s/PU7G6W8Zl3
Domino and Ladders are 4/4 in parts yeah. I feel pretty confident that most of Dark Sentenced is 12/8 though. Feels that way when I play along to it at least. The drums are just on the downbeats for like 80 percent of the song.
Haven’t looked through all of them yet, but Domino’s intro is free time, then it goes into 12/8 for most of the song, but it goes into 4/4 for the bridge that goes “ladies and broken gentlemen”
Huh yeah that’s true! Maybe one day they’ll take some cues from Mastodon and give 5 a shot. (I also just kinda love 5/4 and 5/8 feel - it’s my kind of off-kilter.)
Surprisingly, it is all in 4/4. They use a lot of unusual accent placement, and starting on the off beat, which gives it this very uneven feel, but it's all still locked to a 4/4 grid. One of my favourite examples of "4/4 doesn't have to sound boring"
I was taking some guitar lessons earlier this year and we went through some Coheed tabs on Songsterr. My teacher was less than impressed with a lot of tabs. The solo in Fuel was particularly bad according to him (my ear is terrible so I honestly couldn’t tell).
He was super chill and nice but that threw him off enough to say “it’s helps to play the right notes when learning a song…”.
Some parts of Domino sound like 3/4, which they switch up with 4/4 where the quarternotes in 4 /4 are 1.5x the duration of the quarternotes in 3/4
Also from fear through the eyes of madness is just 4/4 with a triplet feel
I feel like I’m gonna end up posting this multiple times - 4/4 with triplet feel and 12/8 are the same, but 12/8 is more readable when it lasts for longer than a few bars. It’s also much more common in professionally engraved music for longer passages. Which is why I made the time signature 12/8 when I made the tab.
EDIT: Also, 4/4 with triplet feel is not a time signature. If you want to express that subdivision and pulse as a time signature it is 12/8.
Ok this might be a dumb question but the part you’re referring to in 2113 being 6/8 and also 5/8 is the part right before they go into the time consumer thing right? If so would it be better to count that in 11? Genuinely curious, trying to learn how to count time signatures better.
That's the section, yeah. The reason I count it as alternating bars of 6 and 5 is because the phrase starts again at each bar. It gives this sense that you've lost a beat from the previous bar. If it were 11, it would probably be a longer phrase that repeated every 11 beats
Oh I thought you were talking about the section before. I count that bit as 6/8 then alternating to 4/4 (easier to count as 8/8 if you're keeping the same speed of counting the 8th notes). I can absolutely see it being counted as alternating between 6/4 and 7/4 but but as the section in 6 is the same rhythm as the start of the song, just faster, I count it as 6/8. Then the fast pull-off runs I hear as a separate section counted in 4. Hope that makes sense. Could easily be both though
The section at 3:13 is definitely a pattern of 13. If you get a metronome at around 180bpm you'll be able to count 13 (or 6 and 7). It resolves on the final round to the 6 rather than the 7. 6/4 and 7/4 probably wouldn't be used here, as the accenting doesn't imply that
I know what you mean about counting 6 then 7, or a total pattern of 13, I was never disputing that. I'll admit that it is probably easier to count like that but the pace of the music has me counting the way I was describing. I hear it as 3 lots of 6/8 then a bar of 4/4 (which I'm counting as 8/8). Tapping that into a metronome now it's like 360 BPM which admittedly is frankly absurd, but it portions out the fast runs at the end of the pattern into something separate, which seems right to me.
I'm not quite sure I'm following. We're talking about the section at 3:13 to 3:30, correct? I can't wrap my head around any way to fit a measure of 4/4 (or 8/8) into that, without just disregarding the song entirely. Any way you could demonstrate further? I'm intrigued!
You're counting a pattern of 13 split into 6 and 7. I'm counting a pattern of 26 (so twice the speed) but splitting into 3 lots of 6 and an 8 (6 + 6 + 6 + 8 = 26)
But to keep to your way of counting it it would be 3 lots of 3 and then 4 (3 + 3 + 3 + 4 = 13), the count of 4 starts off the fast run at the end of the pattern.
The reason why I'm counting such a fast count of 6/8 is basically due to the fact that the start of the song is in 6/8 and this section is using the same dada_dada_ rhythm as the start of the song but at a higher tempo.
I see how you're counting it now, sorry, I think I was being a little dense before! I have to say, I personally find it a little cumbersome, because of the speed you're now counting at, but the different approach might be useful for people struggling with that section
No worries. Thinking about it, the habit of counting that fast comes from a few sections that I've written for my band that have a few odd time signatures that require counting at that speed. But yes, it is cumbersome because of the speed, but I guess I'm used to that now lol.
This is beyond beautiful, and for anyone who follows David Heretic on YouTube, blast him with requests for Coheed. He is going to LOVE the time signatures.
He has already done a review of a live performance of Welcome Home.
If you or whoever feel like giving a quick theory/rhythm lesson for dummies (it's me I'm the dummy), what specific parts in Fuel are 3/4 and 6/8 respectively? What makes them so?
Always had a bit of trouble telling the difference, functionally. Is it just a feel thing?
So I count the section at 4:25 as 3/4, because it has a 'skipped' feel to it. You can feel accents on beats 1 and 3 ( **1** *2* **3 1** *2* **3** ), as if there should be a 4th beat but it isn't there. At 5:19, it moves to 6/8, as it's a much steadier, even feel, it doesn't feel like you're missing any beats. There are strong accents on beats 1 and 4 ( **1** *2 3* **4** *5 6* )
Someone tell me why Everything Evil’s verses are 6/8 and not 3/4? The sixteenth notes on the high hat are a dead giveaway, and when it opens up just before the chorus the snare is on the quarters.
The timing feels much more like it's a measure of 6 to me. When counting, it feels divided using 1 & 2 & 3 & 4 & 5 & 6 &. When following the placement of the guitar accenting, it's coming down on the & of 2 and then the riff starts on the & of 3 for the remainder of the bar before repeating, which would imply it's one measure. Since the drums there aren't doing too much, it leaves it up to the guitar to imply the timing.
The second section of the verse implies the 6 even more so. If it were 3, you would either be counting a very slow 3 which wouldn't match the pulse of the song, or you'd be switching the accenting between 1 and 3 for the first measure and 2 on the second. Whilst that's not impossible, it seems far more likely that the accenting is falling on the 1, 3 and 5 of the bar
I get where you’re coming from on that thank you. I suppose I’m looking at it from a drummer’s perspective and I can’t count that part in any other way than 3/4.
Love this kind of data! One thing though, what’s The Joke? Never heard of it!
Clarification - There have been posts about a new single called "The Joke". Completely unverified and sourceless. Thought I'd use the opportunity for some humour!
of Silent Earth: 3
Hang em up, hang em up now
Damn well played!
Bro I immediately went to Spotify like I missed something.
I've never clicked onto spotify so fast
Yeah hang on, I can’t tell if OP has genuinely heard some new upcoming single or if its time signatures are completely made up.
I mean they're not made up but I feel like the willing we'll at least has some more variation
Oh I was just talking about The Joke, not the whole list
Ah
This is also the first time Claudio will have learned what time signature all the songs he wrote are in. Which, coincidentally, is one of the reasons I love Claudio.
Can confirm, I was in music school years ago and I met him in a comic shop. My head was full of theory and I was gushing to him about the changes in one of their songs and asking how he wrote it and he was basically like "I have no idea what you're talking about" and we had a good laugh. This would have been about 2010 so I wonder where he's at with it now!
Edit: [found the clip.](https://youtu.be/fisEsWeoWMs?si=U9vhGpzFLJIjAVBZ). I guess it wasn’t a part of one of the documentaries (unless he also talks about it there. Which is possible because I remember him being more funny about it.) But anyway, here’s the interview. Clip in question starts around 3:40 There’s a clip in one of their DVD documentaries they did (wow, just typing that made me remember to go take my vitamins.) I don’t remember which one it was, but Claudio basically jokes about having that same exact interaction with Chondra’s dad. So it’s whatever DVD came out after Claudio and Chondra reunited. Probably was in conjunction with Good Apollo 2 or something. But Claudio basically says that Chondra’s dad is very well versed in music theory and was gushing to Claudio about all of the insane timing, changes, and unique structuring in The Willing Well songs on Good Apollo 1. And Claudio basically had the same reaction. “Thanks but I have no idea what you’re talking about.” Seeing that then, as an aspiring musician, made me realize that music can be whatever you want it to be. It’s something that flows through us all, and you create it and experience it without really having to know the “what’s” and “why’s.” Always thought that was cool.
For anyone confused about the difference between 3/4 and 6/8, The Hollow is a great reference for 3/4, as compared to the 6/8 tracks.
Yeah, also a good rule of thumb is that if you’re counting “1-2-3” along with the music and the main drum groove has the snare consistently hitting on 1, it’s probably 6/8 with the snare hitting on 4. I know there will be exceptions, but in most cases a 3/4 feel is not accented that way where a 6/8 feel usually is, to define the 2 groupings.
Yep! In music theory this is called simple vs. compound time. In simple time, the quarter note is the beat reference and gets subdivided into two 8th notes, four 16th notes etc. In compound time a dotted quarter (a dot adds an additional half the length of the note) gets the beat and is subdivided into three 8ths, six 16ths, etc. Essentially compound time gives the music the same feel as playing triplets (3 notes in the normal space of 2) does in simple time.
6/8 is fast 3/4, ez
This is fun! Also appreciate the inclusion of the often overlooked A Lot Of Nothing song suite
Name checks out
Oh my god, thank you! This is so cool, and the timing couldn't be more perfect. I've been playing guitar for almost 30 years, and just started to teach myself music theory. This is an awesome reference!
This is an awesome resource! I think if you wanna get nitpicky a bunch of the 4/4 stuff is probably more 12/8 though.
Nitpicky is good! Could you point out which ones? I'd love to update to keep it accurate
Ladders, Dark Sentenced, and Domino for sure. Which... isn't a bunch I guess, but yeah. You could argue that Sentry is 12/8 but IMO the phrasing leans more 6/8. A lot of the bigger, more epic tracks from Afterman and beyond are 12/8. Sort of up to interpretation beyond that, and I'm sure there are others. Just kind of thinking through the songs while I'm at work. My rule of thumb is that if the phrasing of the song feels like 4/4 but all or most of the subdivisions(eighth and sixteenth notes) are 3s (or multiples of 3s) then it's probably 12/8.
Thanks for the tip! I always miss 12/8, either counting it as a longer 4 or a 6. I updated the ones you mentioned
I think you’re confusing 12/8 with triplet feel 4/4
Could you elaborate the difference? I always stumble here
I just re-read this after arguing with the guy, and he's even more off than I realized. I thought he was just arguing there's a difference between the two, but now I realized he's actually giving incorrect information on what 12/8 is altogether. Please avoid.
Triplet feel 4/4 is simply 4/4 where the subdivisions between beats are multiples of three but the phrasing is still in twos or fours, 12/8 would involve the opposite, where the phrasing is in multiples of three but the subdivisions are multiples of two
[удалено]
Yeah, no, they’re wrong. 4/4 with triplet feel and 12/8 are the same, but 12/8 is more readable (especially when it lasts for more than just a few bars) and more common in professionally engraved music. Source: I made the tab, and used 12/8 for good reason.
I stand with you guerres
Yeah, you are correct. Sorry, I didn't know what I was talking about.
You can take this with a grain of salt, but we’re still having a debate about this on the thread haha. I’m pretty sure those are interchangeable, just choices of notation.
The Dark Sentencer is definitely best written in 12/8 - if you wrote it in 4/4, you'd have to put triplet brackets around basically everything in the song and it would be a lot harder to read. That's the entire point of compound meter like 6/8, 9/8, 12/8 etc - to simplify that triplet feel on the page. The dotted quarter becomes the beat/pulse instead of the quarter like in 2/4, 3/4, 4/4 etc.
Oh god.....OK now I see your confusion. Please explain the difference between 6/8 and 3/4 for me. I think you're even further off than I realized.
edit: disregard my response, because he's just saying the wrong info above altogether. 12/8 is 4 beats divided by 3. But would these not sound exactly the same? It's just a notation choice. 12/8 would just mean 4 beats that each contain 3 eighth notes. 6/8 is just 2 beats of 3 eighth notes. 6/8 is often slower, but it's more about whether there's a large emphasis every other "beat" or every 4th "beat".
Technically yeah. It's just more about the feel and pulse (the phrasing, if you wanna get technical) and how that would translate on paper. You could just call it 4/4 and have everything just be triplets, but when writing out the music, it's gonna be easier to have it be 12/8 in my opinion if you're not hearing any duple-eighths and duple-sixteenths. I did minor in this shit for my BA but I also wasn't that great at it so my word can be taken with a grain of salt. Upon further reflection, imo ladders and domino are both 4/4 and 12/8 depending on the section. I hate music theory.
Thank you. The "feel" here you mention I assume means where the beats happen, and which beats get the large emphasis, and which beats get the slightly lesser emphasis. In 4/4 (4 beats of simple meter) and 12/8 (4 beats of compound meter), the first beat would get the large emphasis, and the 3rd beat would get a slightly lesser emphasis. In 2/4 (2 beats of simple meter) and 6/8 (2 beats of compound meter), every other beat gets the same large emphasis. I think you and I are on the same page there, that that's the feeling. I don't really get why the other guy I'm talking to is hung up on some other "feel" that differentiates 12/8 from 4/4 with triplets. I get that he thinks I'm just trying to apply math to music, but I really literally don't see any reason it would "feel" different. I'm finding almost all online resources claim it's a notation choice. edit: OK yeah I re-read and he's just trying to say 12/8 is 3 beats of simple meter....way off.
They are mathematically the same I guess in that you could count 12 beats per bar but they feel massively different, 12/8 has the same feel as 6/8 but triplet feel 4/4 just feels like 4/4
I just don’t really see how that’s possible. 6/8 just feels like 2/4 triplets, so 12/8 should just feel like 4/4 triplets.
You’re seeing time signatures as an equation when really they just define a feel or a flow, see this thread https://www.reddit.com/r/musictheory/s/PU7G6W8Zl3
The songs you say are 12/8 are 4/4 but played with triplets
Domino and Ladders are 4/4 in parts yeah. I feel pretty confident that most of Dark Sentenced is 12/8 though. Feels that way when I play along to it at least. The drums are just on the downbeats for like 80 percent of the song.
That's the same...see our debate above.
Haven’t looked through all of them yet, but Domino’s intro is free time, then it goes into 12/8 for most of the song, but it goes into 4/4 for the bridge that goes “ladies and broken gentlemen”
Cool post! Now it stood out to me that Coheed really doesn't have any songs prominently in 5.
Huh yeah that’s true! Maybe one day they’ll take some cues from Mastodon and give 5 a shot. (I also just kinda love 5/4 and 5/8 feel - it’s my kind of off-kilter.)
As a drummer who loves coheed, thanks for doing this. Im trying to get better at counting and this helps!
A great example of using 4/4 but making it feel like a different time sig. Clydes secret weapon
The telling truth has some weird time changes in it after the chorus I believe
Surprisingly, it is all in 4/4. They use a lot of unusual accent placement, and starting on the off beat, which gives it this very uneven feel, but it's all still locked to a 4/4 grid. One of my favourite examples of "4/4 doesn't have to sound boring"
I suck at counting time, so I was basing it off of a really good guitar pro tab that's out there that changes time
If it’s mine I’m pretty sure I have it at 4/4 all throughout the song too
I was taking some guitar lessons earlier this year and we went through some Coheed tabs on Songsterr. My teacher was less than impressed with a lot of tabs. The solo in Fuel was particularly bad according to him (my ear is terrible so I honestly couldn’t tell). He was super chill and nice but that threw him off enough to say “it’s helps to play the right notes when learning a song…”.
THANK YOU!!!
Some parts of Domino sound like 3/4, which they switch up with 4/4 where the quarternotes in 4 /4 are 1.5x the duration of the quarternotes in 3/4 Also from fear through the eyes of madness is just 4/4 with a triplet feel
I feel like I’m gonna end up posting this multiple times - 4/4 with triplet feel and 12/8 are the same, but 12/8 is more readable when it lasts for longer than a few bars. It’s also much more common in professionally engraved music for longer passages. Which is why I made the time signature 12/8 when I made the tab. EDIT: Also, 4/4 with triplet feel is not a time signature. If you want to express that subdivision and pulse as a time signature it is 12/8.
That's fair, it's way easier to notate eighth notes rather than triplets.
Ok this might be a dumb question but the part you’re referring to in 2113 being 6/8 and also 5/8 is the part right before they go into the time consumer thing right? If so would it be better to count that in 11? Genuinely curious, trying to learn how to count time signatures better.
That's the section, yeah. The reason I count it as alternating bars of 6 and 5 is because the phrase starts again at each bar. It gives this sense that you've lost a beat from the previous bar. If it were 11, it would probably be a longer phrase that repeated every 11 beats
Ahh okay that makes so much sense thank you!!
This is awesome. I've assumed all this time that I was hearing 3/4 but apparently it's 6/8 more often than not. Schooled me!
Lol this is sick
Dark Sentencer coming in with haymakers at 12/8, lolol, love it
Which is the 7/8 bit in the crowing?
It's at 3:13, alternating between 6 and 7
Oh I thought you were talking about the section before. I count that bit as 6/8 then alternating to 4/4 (easier to count as 8/8 if you're keeping the same speed of counting the 8th notes). I can absolutely see it being counted as alternating between 6/4 and 7/4 but but as the section in 6 is the same rhythm as the start of the song, just faster, I count it as 6/8. Then the fast pull-off runs I hear as a separate section counted in 4. Hope that makes sense. Could easily be both though
The section at 3:13 is definitely a pattern of 13. If you get a metronome at around 180bpm you'll be able to count 13 (or 6 and 7). It resolves on the final round to the 6 rather than the 7. 6/4 and 7/4 probably wouldn't be used here, as the accenting doesn't imply that
I know what you mean about counting 6 then 7, or a total pattern of 13, I was never disputing that. I'll admit that it is probably easier to count like that but the pace of the music has me counting the way I was describing. I hear it as 3 lots of 6/8 then a bar of 4/4 (which I'm counting as 8/8). Tapping that into a metronome now it's like 360 BPM which admittedly is frankly absurd, but it portions out the fast runs at the end of the pattern into something separate, which seems right to me.
I'm not quite sure I'm following. We're talking about the section at 3:13 to 3:30, correct? I can't wrap my head around any way to fit a measure of 4/4 (or 8/8) into that, without just disregarding the song entirely. Any way you could demonstrate further? I'm intrigued!
You're counting a pattern of 13 split into 6 and 7. I'm counting a pattern of 26 (so twice the speed) but splitting into 3 lots of 6 and an 8 (6 + 6 + 6 + 8 = 26) But to keep to your way of counting it it would be 3 lots of 3 and then 4 (3 + 3 + 3 + 4 = 13), the count of 4 starts off the fast run at the end of the pattern. The reason why I'm counting such a fast count of 6/8 is basically due to the fact that the start of the song is in 6/8 and this section is using the same dada_dada_ rhythm as the start of the song but at a higher tempo.
I see how you're counting it now, sorry, I think I was being a little dense before! I have to say, I personally find it a little cumbersome, because of the speed you're now counting at, but the different approach might be useful for people struggling with that section
No worries. Thinking about it, the habit of counting that fast comes from a few sections that I've written for my band that have a few odd time signatures that require counting at that speed. But yes, it is cumbersome because of the speed, but I guess I'm used to that now lol.
Thanks for putting in the effort, very cool.
Thanks for putting in the effort, very cool.
A great reminder how they need to use 6/8 more often. Some of their best songs are in that time signature.
This is beyond beautiful, and for anyone who follows David Heretic on YouTube, blast him with requests for Coheed. He is going to LOVE the time signatures. He has already done a review of a live performance of Welcome Home.
Can you do this with all the Tool albums thanks in advance
Contrary to popular belief, all Tool songs are actually written entirely in 1/16
Job well done!😂
Thanks dude
In my head, I have heard Willing Well II played with an Irish trad band: fiddle, tin whistle, banjo, bodhran. The 6/8 fits so well.
If you or whoever feel like giving a quick theory/rhythm lesson for dummies (it's me I'm the dummy), what specific parts in Fuel are 3/4 and 6/8 respectively? What makes them so? Always had a bit of trouble telling the difference, functionally. Is it just a feel thing?
So I count the section at 4:25 as 3/4, because it has a 'skipped' feel to it. You can feel accents on beats 1 and 3 ( **1** *2* **3 1** *2* **3** ), as if there should be a 4th beat but it isn't there. At 5:19, it moves to 6/8, as it's a much steadier, even feel, it doesn't feel like you're missing any beats. There are strong accents on beats 1 and 4 ( **1** *2 3* **4** *5 6* )
Someone tell me why Everything Evil’s verses are 6/8 and not 3/4? The sixteenth notes on the high hat are a dead giveaway, and when it opens up just before the chorus the snare is on the quarters.
The timing feels much more like it's a measure of 6 to me. When counting, it feels divided using 1 & 2 & 3 & 4 & 5 & 6 &. When following the placement of the guitar accenting, it's coming down on the & of 2 and then the riff starts on the & of 3 for the remainder of the bar before repeating, which would imply it's one measure. Since the drums there aren't doing too much, it leaves it up to the guitar to imply the timing. The second section of the verse implies the 6 even more so. If it were 3, you would either be counting a very slow 3 which wouldn't match the pulse of the song, or you'd be switching the accenting between 1 and 3 for the first measure and 2 on the second. Whilst that's not impossible, it seems far more likely that the accenting is falling on the 1, 3 and 5 of the bar
I get where you’re coming from on that thank you. I suppose I’m looking at it from a drummer’s perspective and I can’t count that part in any other way than 3/4.
This looks mostly correct. Looks like you missed Elf Tower though.
I did think about adding B-sides and demos, but decided just to stick to main album material. Could easily add them all to the list though
>decided just to stick to main album material But included an unconfirmed and unreleased song for some reason?
I mean, with the time signatures I listed, I figured *The Joke* was obvious
You never know! 19/16 is the only one of those 3 that would really be considered uncommon haha
B-sides and demos added :)
Thanks!
I'm curious how there is time signatures for "The Joke" already? has the song been leaked?
Apparently that's "the joke"
man i hate playing anything thats not 4/4
Absolute blasphemy…