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Re: [Fwd: Re: Maybe why Avante-garde looping in US...]

:johnsrude@peak.org wrote:

> Well, I've played Balkan and I humbly disagree altho your mileage may 
> In Balkan the bars don't always constantly change meter, they're usually 
>in a
> standard odd meter that continues thoughout the tune. 

Well I'm certainly not an expert on said subject.  My experience is 
limited to a few late night jam sessions (and drinking contests). I didn't 
mean to 
imply that all of the time signatures I listed were in on song.  But in 
getting shown some traditional forms, I was shown some songs that were, as 
you said, all in one time signature, but also some forms that went through 
multiple signatures (at least that's how I would notate it from a western 
point of view)

For example: 

 5+7+11+7+5  Now, you could just call that a "35/16" that repeats 
throughout the song, but it makes more sense (to me any way) to divide it 
smaller bars.


 9/16 + 13/16 

Also, in re-reading my original posting (and reading Rick Walker's, and 
others subsequent postings on the thread) I'd like to revisit my statement 
regarding my subjective views on the relative sophistication of hip-hop 
vs. Balkan rhythmic phrasing. It is possible that I never really 
hip-hop phrasing all that sophisticated, because I've lived with hip-hop 
all my life.  It's part of a cultural landscape in which I'm immersed.  
Kind of 
the same way that "other people have accents", we never hear our own, we 
just sound "right".  I can't recall ever hearing a hip-hop song and 
thinking "how the hell did that work (rhythmically speaking)".  Largely, 
perhaps, because it is based on speech patterns, and as long as I can hear 
the lyric it tmakes sense.  I wonder what would happen if the lyric were 
transcribed into musical notation and I had to play it on an instrument?  




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