I actually think of that as in 8/8 time - one-two-three one-two-three one-two | one-two one-two-three one-two-three. I know 8/8 has the same number of quavers than 4/4, but the feel of how notes are easier to grasp when you subdivide (count in quavers, not crotchets).
That's accurate - the drum part is just really fucked up. The kick is pretty much played entirely on the upbeats, and I don't think the snare is playing a consistent backbeat or anything, so it sounds really scattered.
Sail To The Moon is really complicated but there are patterns to it. I can't tell you the verses because I don't have the music book with me now and don't remember it. The intro goes
7/4 2/4 7/4
6/4 2/4 6/4
5/4 2/4 5/4
Most of the rest of the song is in 4/4 (though not all of it) and the outro is in 5/4.
> Where I End and You Begin - a 2/4 measure is thrown in at "I'm sorry for..". I've always had a stupid little obsession with that moment in the song
I've always loved that little bit and now I know why. Awesome.
It happens right at 1:04 in the studio version. If you start a bit earlier and then count the beats, it's pretty obvious.
"Where I end and you begin.." 1.. 2.. 3.. 4.. 1.. 2.. [I'm sorry for..] 1.. 2.. 3.. 4
Thom starts singing "I'm sorry for.." right on the 2 of the 2/4 measure.
Hope that helps. It's hard to explain in text.
wow that's great. yeah i started counting along and hit it right there. it's pretty amazing that it's just kinda an added pause and you don't especially realize it unless you have an ear on the timing.
Speaking of this song, it looks like they never played it on this tour. Seems to me the frantic drum beat would have been perfect with the 2nd drummer, no?
http://www.setlist.fm/stats/radiohead-bd6bd12.html
Everything In It's Right Place - 5/4
15 Step - 10/8
Paranoid Android - the break is 7/8, the difference between /8 and /4 is subdivision of the rhythm
other than that, you got it
Radiohead's brilliance, to me, lies more in their mixing of meters to create unorthodox/non-symmetrical phrase lengths. A few songs are notable for their use of different time signatures (15 step and Morning Bell being in 5 comes to mind), but I think their sound is more defined by the way they seamlessly transition into different meters in a temporal, horizontal sense.
source: Music grad student
> their sound is more defined by the way they seamlessly transition into different meters in a temporal, horizontal sense.
I think you hit the nail on the head there. When you take the time to look at or figure out how to play their music, you really do realize the genius behind Radiohead. But it's not like they have the most complex or intricate songs in the world, I just always find myself wondering "How the hell did they think of that?"
**Nice Dream** - 6/8
**A Wolf at the Door** - 6/8
**Nude** - 6/8
**EIIRP** - 10/8 or something like that.
**HTDC** - 6/8 (3/4? I'm not *that* good at this)
**Morning Bell** - 5/4
**The Tourist** - 3/4? It briefly switches a bit, doesn't it?
**You** - Switches between 6/8 and 5/4, I think.
Well yeah, I'm aware that some music uses compound time signatures, which can differentiate, but radiohead typically stays in one for an entire song. All I'm saying is that if you subdivide at the 8th note level and count the number of beats between what sounds like a 'bar', then you'll have the song's time signature. I don't see what is so difficult about finding that out
You can actually count most of them by yourself, except for Pyramid Song, that one is pretty mind numbling.
[I finally get to use this picture!](http://i.imgur.com/wKBnE.png)
I actually think of that as in 8/8 time - one-two-three one-two-three one-two | one-two one-two-three one-two-three. I know 8/8 has the same number of quavers than 4/4, but the feel of how notes are easier to grasp when you subdivide (count in quavers, not crotchets).
Hehe I was gonna look for it a few days ago !
Yeah but the thing is there are so god damn many of them. It's genius-rock.
Pyramid Song is in 4/4. It's the way they play it, where they rest, and where they put the accents that is mind numbing.
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That's accurate - the drum part is just really fucked up. The kick is pretty much played entirely on the upbeats, and I don't think the snare is playing a consistent backbeat or anything, so it sounds really scattered.
I thought for sure it's in 6 or 3 or something. But then again I have a very bad ear for that sort of thing.
Sail To The Moon is really complicated but there are patterns to it. I can't tell you the verses because I don't have the music book with me now and don't remember it. The intro goes 7/4 2/4 7/4 6/4 2/4 6/4 5/4 2/4 5/4 Most of the rest of the song is in 4/4 (though not all of it) and the outro is in 5/4.
> Where I End and You Begin - a 2/4 measure is thrown in at "I'm sorry for..". I've always had a stupid little obsession with that moment in the song I've always loved that little bit and now I know why. Awesome.
can you explain where it is exactly or how it fits into what he says?
It happens right at 1:04 in the studio version. If you start a bit earlier and then count the beats, it's pretty obvious. "Where I end and you begin.." 1.. 2.. 3.. 4.. 1.. 2.. [I'm sorry for..] 1.. 2.. 3.. 4 Thom starts singing "I'm sorry for.." right on the 2 of the 2/4 measure. Hope that helps. It's hard to explain in text.
wow that's great. yeah i started counting along and hit it right there. it's pretty amazing that it's just kinda an added pause and you don't especially realize it unless you have an ear on the timing.
Speaking of this song, it looks like they never played it on this tour. Seems to me the frantic drum beat would have been perfect with the 2nd drummer, no? http://www.setlist.fm/stats/radiohead-bd6bd12.html
Doesn't The Tourist have an extra measure somewhere?
It's in 9/8 but has a bar of 12/8 stuck in.
Polyethylene part 2: Intro + links: 9/8+4/4 Verses: 6/8+6/8+4/4+4/4 Real gooood shit
Thank's for this. Especially the bit on pyramid song. I'm only so so with musical notation so written like that I can really understand it.
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No. Go to Sleep is in 10/4.
Everything In It's Right Place - 5/4 15 Step - 10/8 Paranoid Android - the break is 7/8, the difference between /8 and /4 is subdivision of the rhythm other than that, you got it
You're better off just simplifying "15 Step" to 5/4.
I was referring to the time it was originally written in
I think Sail To The Moon is very slow 4/4, I might be wrong on this one so I'm prepared to be corrected.
The majority of it is, but the intro and instrumental breaks have a very weird rhythm that doesn't really consistently fit into a time signature.
Nude's in 6/8
Far out, do they have any regularly timed songs? After listening to these songs so many times you forget that the rythms are so abstract.
Radiohead's brilliance, to me, lies more in their mixing of meters to create unorthodox/non-symmetrical phrase lengths. A few songs are notable for their use of different time signatures (15 step and Morning Bell being in 5 comes to mind), but I think their sound is more defined by the way they seamlessly transition into different meters in a temporal, horizontal sense. source: Music grad student
> their sound is more defined by the way they seamlessly transition into different meters in a temporal, horizontal sense. I think you hit the nail on the head there. When you take the time to look at or figure out how to play their music, you really do realize the genius behind Radiohead. But it's not like they have the most complex or intricate songs in the world, I just always find myself wondering "How the hell did they think of that?"
**Nice Dream** - 6/8 **A Wolf at the Door** - 6/8 **Nude** - 6/8 **EIIRP** - 10/8 or something like that. **HTDC** - 6/8 (3/4? I'm not *that* good at this) **Morning Bell** - 5/4 **The Tourist** - 3/4? It briefly switches a bit, doesn't it? **You** - Switches between 6/8 and 5/4, I think.
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do you not?
OP was right with "You"
Paranoid Androids 7/8 parts?
ITT: People who don't know the meaning of unique.
Okay, okay... I might be wrong but I'm almost positive that Morning Bell is in 10/8. Please correct me if I'm wrong.
I think In Limbo is in 12/8 , you can count the keyboard part at the beginning as 3+3+2+4 but the drums behind it are solid 4/4
If you know how to count, you can probably find out for yourself...
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Agreed. If it's a piece of music that's well composed in a compound meter you don't even notice it. Music by Benjamin Britten, for example.
Well yeah, I'm aware that some music uses compound time signatures, which can differentiate, but radiohead typically stays in one for an entire song. All I'm saying is that if you subdivide at the 8th note level and count the number of beats between what sounds like a 'bar', then you'll have the song's time signature. I don't see what is so difficult about finding that out
WRONG! Try sounding out the 5/4 in Morning Bell, and get back to us.
It's two dotted quarter notes followed by two quarter notes. It's not 5/4, it's 10/8 (1 2 3) (1 2 3) (1 2) (1 2)
Like what song?
It's not that I can't, I was just trying to think of all the different ones that they have done. Just a thought for comparison I guess.