Time for some springy spring stuff. Playing around with pizzicato strings again (aren't I always?) I decided to challenge myself to write something in one of my least favourite time signatures, 5/4. As work on this progressed, it became one of my favourites as that extra beat just allowed a little bit manoeuvrability and a quirky rhythm.
As it's spring and stuff, it kinda reminded me of dandelions - when they turn from strange yellow flowery bits to little parachute seed blowy things. Nevertheless, the tune grew on me and I had great fun composing it - hope you enjoy it too!
As it's spring and stuff, it kinda reminded me of dandelions - when they turn from strange yellow flowery bits to little parachute seed blowy things. Nevertheless, the tune grew on me and I had great fun composing it - hope you enjoy it too!
Category Music / All
Species Unspecified / Any
Gender Any
Size 120 x 120px
File Size 6.58 MB
I must admit, this put a smile on my face ^^ A very fun piece of music :3
Nice; I really like the syncopation, the mood really fits the spring with things/plants popping up everywhere :3
Odd and interesting time signatures aren't that difficult to deal with if you only organize the sub-beats in a somewhat organized manner. For 5/4 that is typically 3/4 2/4 or 2/4 3/4. I've played a lot of different time signatures in wind orcestra (like 10/8 and 7/4), but the things that are most difficult to deal with is always when the composer has mixed several different time signatures along different sections of the orcestra simoultaneously. That's more about using one time signature to "emulate" a different time signature, and it can be seriously confusing at times.
Odd and interesting time signatures aren't that difficult to deal with if you only organize the sub-beats in a somewhat organized manner. For 5/4 that is typically 3/4 2/4 or 2/4 3/4. I've played a lot of different time signatures in wind orcestra (like 10/8 and 7/4), but the things that are most difficult to deal with is always when the composer has mixed several different time signatures along different sections of the orcestra simoultaneously. That's more about using one time signature to "emulate" a different time signature, and it can be seriously confusing at times.
Yes, it can be a bit of a tricky one. I was tearing my fur out in my early composing years, trying to figure out how it was possible to make a 7-beat melody work, until someone told me that exact same thing - split down the bars into mini-bars (ooh, minibar!) of 3/4 and 4/4 and it sounds a lot better, and simpler.
I haven't even considered setting different parts of the orchestra different time signatures, but damn that sounds like fun! Might look into working on that! Anyway, I'm by no means a pro, so it might just sound like that warming-up bit they do. xD But thanks for checking out the track. ^^
I haven't even considered setting different parts of the orchestra different time signatures, but damn that sounds like fun! Might look into working on that! Anyway, I'm by no means a pro, so it might just sound like that warming-up bit they do. xD But thanks for checking out the track. ^^
The most common example is typically to mix 3/4 into a main beat of 2/4 or 4/4. The best example I can think of will be the middle section of Bugler's Holiday by Leroy Anderson, but it is also done in some extent in Overture to Candide by Leonard Bernstein (but there it isn't pronounced as clearly when it happens). It's a very funky and syncopated effect when it works, without going too far out on a limb.
Lovely stuff as always! I was wondering about what the time signature was until I read your description, and as you have put it, sounds very quirky, which to me is a plus!
Love the ending sequence in particular, it's like a new dandelion taking shape! Very well done once again :)
Love the ending sequence in particular, it's like a new dandelion taking shape! Very well done once again :)
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