#odd time

[penelope-whispered]

i’m this girl, penny farthing (like the bicycle)

i stream improvised experimental music on twitch at ttv/pennyyells

in “penny show” i collect techniques and styles from across time and space and combine them into an emotive, intimate, and imaginative journey

i perform using guitar, synthesizers, sequencers, and livelooping

you can’t flip the same penny twice, it’s different every time. currently saturdays starting between 6PM and 9PM PST, and usually ending 5-6h later

here is something from the last performance, where i decided that what a folksy danceable 11/8 groove really needs is FM drum and sputtery gated fuzz screams

[gstdaisuki]

GSTMIX26: Super Nintendo Odd Time Tour

new mix! today, we're taking a look at some odd time and fun rhythmic tricks that appear on the SNES.

video premieres in 15 minutes, so join us in chat!

[vgm-in-irregular-time-of-the-day]

DAY 1850) Tron 2.0 - Credits Medley

Composer: Nathan Grigg, Wendy Carlos

Given that this is a medley; there’s lots of timesig changes but they’re more like unrelated sections from each other, often totally fading in/out or with ambiguous pauses, so I’ll just talk about each section separately.

0:00 - 1:29 is all just 4/4, frantic drums, crazy synth sound design, but no odd time really for this section.

1:29 - 1:44 i’m counting as triplets in mixed meter: 4/4, 4/4, 5/4, 5/4, 6/4, 5/4, 4/4. if you were to count those as 8ths instead of triplets it’d be more like 12/8, 12/8, 15/8, 15/8, 18/8, 15/8, 12/8 (replace the 8s with 16s if you’re going to be weird like me and count them as 16ths if you find x/16 more natural to think about for some reason) !

1:46 - 2:17 is polymetric! The syncopated bell-like synth ostinato is in 7/8, but the slower synth hits and most everything else behind it really are in 6/4. For a short bit before 2:17 I guess there’s some 5/8 polymeter in one of the synth layers also. Some other more ambiguous stuff you might be able to interpret as even further layers of polymeter but the point is like, yeah this part’s lots of layers looping in different loop lengths from each other on top of each other!

2:17 - 3:06′s at a bit faster a tempo than the previous section. Also polymetric but a lot simpler case of it. 4/4 in that metallic bell-like synth rhythm, and 6/4 polymeter in the beeps under it from 2:17 - 2:42

3:06 - 4:03, here it’s 6/4 through most of the parts of this that have enough of a rhythm to latch onto something, which only really happens starting with the echoy drums that come in at 3:31.

4:03 - 4:45 is interesting; this is taken from “FCon/The Root of the Problem (Combat)”, which is one of the tracks I have on my biiiiig queue of possible tracks to eventually post on here but never happened to ever post. I’d count this snippet of it as all 7+8, 15/16, but just being aware that there’s a constant four-on-the-floor “4/4″ kick acting “polymetric” to it from the bits at 4:15 - 4:21 / 4:27 - 4:34.

4:45 - end is all loose, but just 4/4 stuff whenever concretely countable

Hopefully I addressed everything important here! there’s a lot going on in all of these sections, so it wouldn’t surprise me if I missed an obvious polymeter layer or something and just didn’t realize it! Lots of these sections come from other tracks in the game too, so are in a bit different of a context musically from their amalgamation here. Obviously wild tempo changes between each section that i’m not bothering to write out lol

This is a great cross section of the crazy stuff present throughout this ost though, tron 2.0 is totally one of the most odd time/polymeter/etc filled game soundtracks out there. Part of that’s obvious influence from Wendy Carlos’s original score to the 1982 film being much like that (and this game borrowing a lot of the material she wrote), but Nathan Grigg’s style is always full of that kinda thing as well, and he only adds to that intricacy in his original additions to the mix!

For all those reasons I thought this would be a pretty good sort-of-sendoff for this blog i’ve been running for over 5 years...........

....so...

...!

...THE FINAL DAY sort of...! As I said many posts ago (https://vgm-in-irregular-time-of-the-day.tumblr.com/post/623135939348365312/day-1828-shining-force-cd-track-25-composer) [probably a better read than my post right now here today], this will be my final post that’s in the “1 song presented with a text post daily” format; I’ll take a break but I will eventually shift to talking about this again in (most likely) YT video vgm mixes, including other related content besides just the very specific odd timesig stuff in vgm too!

Thank you to everyone who has supported me all this time! ULTRA SPECIAL SHOUT OUT TO CHz who has helped me out with this blog FAR more than anyone could possibly imagine, he’s done far more work than anyone ever needed to do, far beyond my expectations to help me along with this. And he doesn’t get enough credit for that, this blog would’ve probably died a long time ago without chz’s help. Thank you so much CHz for all your assistance! Sharing me things you remember when I’m in desperate need of a new track to post at the last minute, uploading so much music for me, helping me organize so much, writing out timesig charts for me so many times, sharing overwhelmingly huge amounts of odd time vgm with me, probably even more than anyone else. So many other things all these years you’ve helped me with on here, I can’t thank you enough!

That said, thank you to EVERYONE who has shared odd time vgm with me (and this is like, a LOT of people, far too many to list, and i’m sure plenty would be uncomfortable being listed too, so i won’t subject this post to that).

I’m very bad at responding to PMs and other messages sent to me; I apologize greatly if i’ve left you hanging for months...or years...or forever. I’m just bad at that form of communication lol, but I’ve read the majority of what’s been sent and still try to keep as much as possible in my big list backlog of stuff to eventually post. I get excited and happy when I see people linking me new odd time vgm i’ve never heard and stuff like that; so if i’ve never responded or never posted stuff you’ve linked me here, please know that I actually do appreciate it even if i might not show it haha. I’ve honestly mostly only maintained this blog pretty sporadically and rely heavily on queuing everything in advance on occasion, rather than constant observation of it.

Once i shift to the new format of presentation i’ll still include the suggestions that’ve been linked to me, and stuff. I’ll maybe try to be more communicative in the future now that i’m not going to be bogged down by the load of keeping a constant daily stream of these posts. (though i probably won’t be paying too much attention to tumblr for a while during my break from doing this stuff)

thank you to everyone for every positive comment, every intent to help by sharing, and just...general inquisitiveness and enthusiasm about this THING i’m doing for no reason! This is all literally just me nerding out about my favorite combination of niche subjects together “proggy/mathy/etc music” and “video game music” at the same time as each other. I never expected this would get anything close to the following it’s gotten, but now occasionally it’ll get pointed out that this blog is me in some group i’m in or something and 5 people will be like “WAIT...that’s YOU?! I’ve been watching that blog for years!” or something; like i’m really startled by how many people follow this sometimes lol.

Really thankful for everyone showing interest in me just being me, having fun talking about things i like in music. I hope that can continue even if i’ll be changing what I talk about and how I talk about it!

It might be quite a while before I return to doing this kind of thing again, and it’ll definitely be a much less constant pace, but I think that trade-off be worth it. I’ll return to making posts here again when I finally have new stuff to post, big video mixes with animated visual transcriptions or WHATever i wind up doing (probably a new dedicated youtube channel for the new stuff too) and stuff! I’ll find out what that will be when I get there

Thank you all for everything!

THank you!

WOW

THANKJ YOU for all 5 years of this website being a fun place to post music i like inside of

BYE

OH WAIt here’s my twitter/soundcloud/etc links and stuff if you want to contact me in a place i’ll be far more attentive to than tumblr, since i won’t be paying attention to here for a while:

https://twitter.com/chimeratio_

https://soundcloud.com/chimeratio

ok now ACTUALLY BYE

THANK YOUI

(thank you part 2)

[demonicsweaters]

When creating Polybius I wanted to make a very drum-heavy album, and that's what it is. Every song except two, feature live drums. I worked nearly entirely in odd time signatures which I thought were complementary to the overlapping spiral and grid graphics lore of the game, which is fully realized on the final track "Overlapping Spirals" where I combined several odd time signatures 7/4 3/4 5/4 and 4/4 on different sounds with a 7/4 grove on drums to create what I think is a very hypnotic sound. Also, I wanted to do some things on the drums I never did before. So I went back to the drawing board and started studying again. By using YouTube, and watching some lessons by some of the most talented players out there today, I was able to push myself into learning some new beats, new fills, and digging deeply into pushing myself into playing new things. I also spent some time creating a signature sound on my drums. I'm using an assortment of odd cymbals made from nickle silver, brass, and bronze from various manufacturers that I feel helped me to achieve that goal. Recording details: Three main recording devices were used in the making of this album and will be listed as Systems 1, 2, and 3 in the rest of the liner notes. System 1 - 2007 Black Apple Macbook running Ubuntu 16.04 LTS and Mixbus 3 with Jack as it's primary DAW. System 2 - Zoom PS-04 handheld digital 4 track System 3 - 2012 Samsung Chromebook running Ubuntu 12.04 w/ IceWM desktop environment and Ardour 2 with Jack as it's primary DAW. Individual track notes: 1. The Wrong Way The Stripe Goes - Recorded on System 3. Casio CT-370 for drums and synth sounds, as well as AMsynth (LADSPA software synth for Linux) 2. Helicopter Cop - Recorded on System 1. Music sequence created in LMMS using all software synths/samples contained within LMMS software. Stems exported and mixed in Mixbus3, live drums recorded using Alesis IO4 audio interface in conjunction with built-in audio for 6 channel input. Mixed in Mixbus3. 3. Ghost Image (same as #2) 4. Cerulean Blue - Recorded on System 2. Synth sounds were played on my Mothman 1000 and 2000 software synths for windows running on wine on System 1 physically routed to system 2. Exported to and mixed on System 3 in Ardour 2. 5. AM Ultra - Recorded on system 3, sequences created in seq24 using Hydrogen, Amsynth, Zynaddsubfx, and Hexter softsynths for Linux. Mixed in Ardour 2. 6. Polybius - Recorded on System 2 (long recording mode 15.62khz sample rate) Synths all played live on Casio CT-370. Drums recorded with two mics, kick and overhead mixed to a single track with a behringer micromixer. Mixed on system 1 in Mixbus3. 7. Tunnel of Dark - Recorded on System 2 (hi fi mode 31.25khz) Bass and drums recorded (1 mic) and exported from System 2 to System 3 and guitar was recorded directly into Ardour 2. Mixed on Ardour 2. 8. Flowers - Recorded on System 2. Main sequences created in LMMS, drums recorded in (2 mics) Aurdour 2, mixed in Ardour 2. 9. Autumn Sun - Recorded on System 1 except with Mac OS 10.6 and Cubase LE 5. Guitars and basses are all sampled and played via midi within Cubase. Drums recorded in (6 mics) and mixed in Cubase. 10. dev/null - Recorded on System 1 except on Mac OS 10.6 using Ableton Live as DAW. Synth sounds played on Casio CT-370 and sequenced in Ableton. Drums recorded in (4 mics) Mixbus 3, mixed in Mixbus 3. 11. Overlapping Spirals - Recorded on System 3 with seq24 used to sequence midi, Amsynth, Zynaddsubfx, Hexter softsynths, Drums (2 mics) recorded in and mixed in Ardour 2. All songs mastered on System 3 in Audacitycreditsreleased January 11, 2017 Justin Wierbonski - drums, bass, guitar, synths, sequencing, programming, recording, mixing, mastering, artwork.

[vgm-in-irregular-time-of-the-day]

DAY 1844) Shining Force II - Final Battle

Composer: Motoaki Takenouchi

this is mostly 4/4 really, BUT there’s one crazy element that makes me consider it more than “odd time enough” to post on the blog-- the fast constant 16ths psg beeps from :28 - :53. Those are polymetric actually, one layers looping in 11/16, while the other layer is looping in 15/16. It’s so fast that it’s extremely difficult to count or feel it that way unless you slow it down, but that is technically what’s happening there.

During that section, the hits are technically in 4/4 atop them, but it’s definitely hard to feel that, since there’s nothing to latch onto except for two unrelated layers of polymetric constant 16th beeps! not made any easier by the fact that the delay echo on this harsh hits is timed super weird, means lots of things layered on top of each other all doing completely different things! the “actual 4/4 container”, 15/16 beep layer, 11/16 beep layer, and the weirdly timed delay echo (doesn’t actually line up with 16ths in timing at all because it’s so weird)

Motoaki Takenouchi is so good at making this kind of stuff~!

[vgm-in-irregular-time-of-the-day]

DAY 1828) Shining Force CD - Track 25

Composer: Motoaki Takenouchi

celebrating 3 simultaneous things today as is usual for month/day "7/8"

1) Happy FIVE YEAR ANNIVERSARY to this blog. I have posted one vgm track with some form of odd time in it every day for 5 years now! That is half a decade!

2) Happy birthday Motoaki Takenouchi! I started this blog off with a post of a song of his from Jewel Master, chosen specifically because 7/8 is his birthday! Takenouchi is one of the proggiest vgm composers with a ton of odd time throughout his work, so I've always felt that worth celebrating every year.

3) Happy 7/8 time day!! There is actually not any VGM I’m aware of by Takenouchi left to post that I'd call explicitly 7/8 time, but I hope this heavily "7/4" (not that there's much difference beyond semantics) track will do!

anyways, the way I’d interpret this track is 7/4 from 0:03 - 0:29 / 0:47 - 1:10, and 4/4 for the rest!

---

Also I am finally making this announcement, possibly a sad one, but also possibly a hopeful and optimistic one:

I am going to be ending the "one vgm track posted on tumblr a day" format, on day 1850

..........BUT replacing it with more sparsely shared seamless mixes I'll post on YouTube of 50 odd time VGM tunes, breaking it down in the video if I can. In addition to other YT videos about various theory/production/etc topics in relation to vgm or maybe even other music! The irregular-time-of-the-day mixes just being one of many things I post to share and talk about music I find interesting!

The reason for this desire to switch format is partly that posting/writing about VGM often enough to post an example daily is overwhelming and cutting into other life things I’d rather do, but that’s not quite the main reason. I don’t actually want to stop talking about vgm in odd time, it’s my favorite subject! it’s more that...I’d like to talk about other interesting things music does besides just odd time signatures too! So my goal (whenever I can get around to doing it anyway) is to transition into having this account be for posting analysis of other forms: talking about things i like in chords, synth sound design, Other Rhythm Stuff Besides Just Odd Time Signatures. even just sharing vgm I find interesting or cool in some way and talking about it!

It’s been a crazy ride going with this concept for 5 years. Originally I did it all in response to someone I knew who said something like “you’ll run out of music to talk about after one page” when i brought up the idea of making a thread about vgm in odd time sigs on a forum once. I wanted to prove a point that there was A LOT of vgm with odd time, and that it’d take forever to run out of examples of it to discuss. I’ve more than proved my point at this point! So now I’m interested in just talking about other cool niche things VGM has to offer, theory-wise, or even just...anything! Anything interesting I feel worth sharing or talking about

Hopefully it won’t be too long after day 1850 that I can start to post that sorta thing, most likely it’ll be YT videos like I said (have not decided what i want a channel for this to be called or anything yet, i’ll link the channel when i have one lol, and will still link everything on this tumblr account). but i may post text here too. There’s already plenty of other yt channels talking about vgm or music theory or both at once, so I’m not intending to copy what they do at all, not even sure how “educational” I want to be. Just want an outlet to talk about the things that interest me in VGM/music, usually that’s “music theory stuff” but other times it’s just “this is a cool sound it comes from this keyboard from the 1989 here’s 29 other vgm tracks that use the same cool sound i like” or even just very abstract responses, emotions, imagery the music paints to me. More personal and subjective things rather than necessarily technical or educational or whatever; abstract things that I think deserve just as much respect in when it comes to talking about music!

I’m not going anywhere, just changing the format on how I run this, and broadening the scope of other things you’ll see me post on here too!

sorry this rambling is going nowhere, probably hard to read and not explaining this intent shift with as much clarity as I’d like, and i’m probably forgetting things I intended to address. but anyways I hope people can look forward to the direction I take this account when the time comes! I’ll hopefully have more concrete decisions and things to say about it when day 1850 comes. Thanks for following me all these years!

[vgm-in-irregular-time-of-the-day]

DAY 1841) Taiko no Tatsujin - Mata Saitama 2000

Composer: Akihiko Ishikawa (LindaAI-CUE)

This is fast enough (~240bpm) that, at least interpreting it at this tempo, there’s not very much of “real odd time signatures” here since it’s better described by alternating between ‘common’ ones, but it’s undeniably pretty complex crazy mixed meter! Perfect hard rhythm game music! LindaAI-CUE‘s music is always consistently full of this kind of rhythmic zaniness and crazy sounds all around

(0:00 - 0:12) [6/8, 6/8, 6/8, 2/4, 6/8, 6/8, 6/8, 6/8]x2

(0:12 - 0:20) meterless section ending in 1 bar of 2/4

(0:20 - 0:52) [6/8, 6/8, 3/4]x7, 6/8, 6/8, 7/8, [6/8, 6/8, 3/4]x6

(0:52 - 0:57) 6/8, 6/8, 6/8, 2/4, 6/8, 6/8, 6/8, 6/8

(0:57 - 1:17) 6 bars of 6/4, 11 bars of 4/4

(1:17 - 1:27) 11 bars of 3/4, 1 bar of 4/4

(1:27 - 1:45) [6/8, 6/8, 3/4]x8

(1:45 - 1:50) 4 bars of 5/4

(1:50 - end) [6/8, 6/8, 6/8, 2/4, 6/8, 6/8, 6/8, 6/8]x2

[vgm-in-irregular-time-of-the-day]

DAY 1821) Oninaki - Atonement

Composer: Shunsuke Tsuchiya

5/4 all the way through here! Just like 20 other songs from this game hahaha. even after a recent interview there is still no answer for “why is half the ost in 5″