Re: [microsound] sgnidroceR esreveR

[Kevin McCoy <km.takewithyou@xxxxxxxxx>]

Dunno - sounds like different beats/patterns going over each other like
faultlines in an earthquake overlapping.  I've always dug that part of Iera
particularly!  I see Autechre's music often as different conceptions of
musical time emerging, disappearing, etc.  They play heavily on perception
of pattern and form, as it relates to expressivity - for example, "Tapr" on
Draft 7.30 has patterns to it but sounds highly disordered and expressive.
Once you can notice the pattern, which is barely perceptible depending on
who you are, they make an expressive interjection to keep the process going,
not standing still.

Kevin

On 9/6/06, Guillaume Grenier <grenier.g@xxxxxxxxxxxx> wrote:
>
> Le 6 sept. 2006 à 18:15, mail@xxxxxxxxxxxx a écrit :
>
> > What I call "virtual non-linear" is the polyrythms AE develop that
> > are not
> > reduced only to playing 3/4 over 4/4 or stuff like that. One good
> > example
> > it track 5 "Iera". Listen to time 3.47. The section that starts there
> > combines different tempos and time signatures within the same bar
> > or group
> > of bars. Sounds like they had combined completely different tracks
> > into
> > one groovy fluid musical unit.
>
> The passage you're referring to is actually not that complex.
>
> There are two parts, or two bars if you wish.
>
> The first one is a very straightforward 4/4 at 112.
>
> The second one uses exactly the same tempo -- only, the reference
> value is doubled. So it's like a 2/2 at 56. Same tempo.
>
> The only "tricky" thing is that the last beat of this second bar is
> somewhat elongated. It is "organically stretched" -- not quite enough
> to get a 5th quarter note.
>
> That's how I perceive it, anyway.
>
> So, I don't hear any superimposition of time signatures or tempos.
>
> g.
>
> --
> Guillaume Grenier - grenier.g@xxxxxxxxxxxx
>
> "Things are more like they are now than they ever were before."
>
> (Dwight Eisenhower)
>
>
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