cool time signature experiment

Alright - we all know what a time signature is and the basic elements that allow us to form compound time signatures and poly rhythms. We all also know what a hemiola is (either a transfer from a duplet emphasis to triplet emphasis on the same rythm scheme). The only hemiola transfer form that i have heard is the basic 6/4 consisting of 12 duplet emphasized eighth notes transforming into 12/8 triplet emphasized eighth notes, but what if you put the duple count in an irregular time signature such as 7/8 and then used a hemiola transfer?! ex) (parentheses are the down beat, commas end a measure) 7/8 duple: (1)2(3)4(5)6(7), 1(2)3(4)5(6)7, (1) -the basic 7/8 we know where the riff goes exactly off beat causing the riff to have to cycle twice before returning to the down beat, but watch when you keep the eighth notes the same magnitude but switch from duple count to triple count- (1)2(3)4(5)6(7), 1(2)3(4)5(6)7, (1)23(4)56(7), 12(3)45(6)7, 1(2)34(5)67, (1) - this time signature that lasts for seven beats but it was a cycle of three measures! the rhythm does not go off by 1/2, instead the rhythm is 1/3 off beat, then 2/3 off beat, and then returns to the down beat. This surly could not be called a 7/8 beat, but would make more mathematical sense to be called 7/12 sense the quarter note is divided into three parts (1/3)*(1/4)=1/12. But the nomenclature does not matter, just the cool idea of a hemiola with a compound time signature.

Way over my head.

except there's no 12th note

i'm trying to tap these out with my fingers... to little success

No problem you are clearly educated in the realms of rhythm.

Not really sure if this qualifies as an experiment.  Also, by definition, it's not a hemiola unless it is a (perceived) shift from duple to triple time.  Another point, though already articulated, is that a twelfth-note isn't part of the the conventional vocabulary of music (although one could, of course, conceive of and express a note whose duration is a twelfth of a beat:  take an eighth note and follow it by two eighth rests, and group all three as a triplet).

As a drummer, time signatures are pretty much my life (concerning prog music that is). A lot of the music I have written (in Finale) has often used anything BUT 4/4 time signatures. As a result, I vary the phrasing of them to allow changes within and across a barline.

heres something. the drums play in 7/8. the bass plays in 4/4. the guitar plays in 9/8, and the keyboards play in 11/16. if there's horns, make them play unison lines in 6/4 alternating to 3/4

ah! i love porcupine tree. Yes hes a polyrythm king. do not take 4/4 for granted though. besides, if you use a hemiola you will not be able to tell that the rhythm was derived from 4/4 unless you were someone like one of us.

timesignature wrote: akiko wrote: To quote Vinnie "I never count past 4" that would be a neat poly rhythm, but still doesnt quite work the same way. not sure if you were just saying another idea or if you were saying the result would be the same. Thank you though for your idea.

that reply was meant for dark shade.