Hi Hernan,
Again, I'd ask whether it's different time signatures or not... it
might be a perception of it, but it's only a perception. It's all due
to the "process" which creates the music. The musicians (or was this
one made with tapes?) don't consider it or create it by thinking of
different time signatures, only of one being ever so slightly faster
than the other, so that their patterns phase.
On 9/8/06, mail@xxxxxxxxxxxx <mail@xxxxxxxxxxxx> wrote:
> Another good example of musicians playing different time signatures and
> tempos is Steve Reich's "Violin Phase". The Kronos Quartet version is
> incredible. I wish I had the opportunity to see this piece live. I wonder
> how can the violin players isolate themselves from what the others are
> playing.
> Still waiting for more examples like these in electronic music...
>
> Hernan
>
>
>
> > Hi Martin,
> >
> > I don't dispute for a second what you're saying. I didn't say there's
> > no such thing as structure, just time signatures. It's all in my
> > thesis too!! What the author of that book proposes is that the
> > patterns do come together, and can be layered in multiple
> > "time-signatures", because of a basic underlying pulse which unites
> > them all. (The other structural aspect which he also acknowledges,
> > which you mention, is that the patterns are learned in relation to one
> > another - one pattern defines another. Also that many musicians find
> > it hard to play one pattern without having someone play the other one
> > too).What you say about a pattern that every drummer knows and that
> > holds it together, even if it's not being played, is exactly the idea
> > of the "Metronomic sense", that the musician requires a subjective
> > pattern or pulse underlying the ones that are actually played. To link
> > all of the last few posts beautifully together, Ligeti writes in the
> > foreword of that very book I'm referencing now that the overall
> > pattern is not actually played by any one individual musician - it is
> > the combinations that give a subjective super-pattern from the
> > components.
> >
> >
> > What I'm talking about, I suppose, is the impression that many early
> > ethnomusicologists got that they perceived that each individual part
> > had its own time signature, and that all of the time signatures were
> > happening at the same time. Which they couldn't understand. The
> > answer, I hope you'll agree, is not multiple time signatures, but
> > actually a combination of the subjective pulse which I mentioned above
> > and the understanding of the relationships of patterns to one another
> > that you mention, which I left out last time!
> >
> > One of the other authors who had studied for many years in Ghana
> > before writing his book made the very good point
>
>
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