Favorite Odd Meter song/piece/recording/performance

paul

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3/4 is odd time? Not in my universe.

Mahavishnu Orchestra offers many choices.

My favorite odd time performance is this one, featuring John Pattitucci and Dave Weckl on the smoothest 7/4 groove ever.

 

BennyK

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I had to get my head around this at one time .

 

doubleroll

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Great examples here...How about Jeff Beck Led Boots, not the entire song but...
 

tempobob

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Go back to your Bacharach days and talk about the 7/8 measure at the end of “ Anyone Who Had a Heart” That one gets me every time.
 

tommykat1

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How about starting your class with Ravel's Bolero? 3/4, but that cool riff is a six beat pattern, and all on the snare drum. It's a waltz that thinks it's a march, and sneakily throws your brain off 4/4. It's easy to get hypnotized and trip up--like playing "Simon Says."
 
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Maybe a little too obvious, but unmentioned (so far...)
Very good for the Intro (beginners) aspect of your class: Led Zep "The Ocean," Genesis "Turn it On Again."
And my personal fave, (probably a little too obscure for your class though,) Genesis "Back in NYC." LOVE that synth-bass line.

MSG
 

Tornado

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Maybe a little too obvious, but unmentioned (so far...)
Very good for the Intro (beginners) aspect of your class: Led Zep "The Ocean," Genesis "Turn it On Again."
And my personal fave, (probably a little too obscure for your class though,) Genesis "Back in NYC." LOVE that synth-bass line.

MSG
The Ocean is a great example because it's so easy to follow.
 

singleordoubleheads

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3/4 is odd time? Not in my universe.

Mahavishnu Orchestra offers many choices.

My favorite odd time performance is this one, featuring John Pattitucci and Dave Weckl on the smoothest 7/4 groove ever.

ANY odd top number of a time signature equals odd time! Right or am I crazy?? 3-5-7-9-11-13 and so on... the bottom number is basically irrelevant
 

singleordoubleheads

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wow - lots of great contributions - some predictable favorites and some completely new to me suggestions - as well as a few I simply spaced on (Get Closer) and I still haven't listen to everything -

So thank you everyone... Of course, this doesn't mean stop. Please continue with anything that comes to mind.

But before heading to bed - I thought I'd do a few replies...

Yes - to everyone with the 3/4 suggestions. 3/4 isn't nearly as common these days - but IMO being pretty versed in all of the various 3/4 grooves is essential for negotiated most all odd meters - as the "3's" really put all of that 3/4 vocabulary to a work out.

Singleordoubleheads - which Star Spangled Banner - any one... all of them?

DrummerJustLikeDad - Love that Brubeck piece. And had totally forgotten about it. And for as beautiful as it is - I kept getting struck with how th melody kept paraphrasing "The Lick" (for anyone familiar with Adam Neely's channel - or any of the other college jazz student fascination with this one lick.

I loved the early (for jazz) straight 1/8th feel (that didn't sound like a classical polka like Blue Rondo) and the fact that Brubeck was taking his solo in the odd meter (something they weren't doing much of early on - except for the drum, of course). Really quite progressive for 1966. Thanks.

noreastbob - yes I'm planning on doing a bit on Bulgarian Bulge towards the tail end of the presentation... In many ways, explaining how to track within that meter isn't that hard -actually doing it... a bit more so. But the real challenge is with attempting to play expressively - to play rhythms that aren't simply mimic the basic pulse of the meter... that's challenge. And while I have suggestions as far as how to approach that... it's again with understanding and doing being to very different things. :)

gwbasley - thanks regarding Desire. I always loved that piece (written within a year of Don's passing) and was glad we were able to capture a halfway listenable performance of it at that reunion concert. Blue Rondo - I was already planning to use it to introduce the more early approach to playing "over 8" meters...5/8, 7/8. 9/8, etc. When they were typically approached like sort-of polkas or two beat cut-time feels. With Blue Rondo being the earliest example. But then later stuff like Hank Levy's "A New Kind of Country" and Don's New Horizons, Beat Me Daddy Seven To The Bar, Barnum's Revenge... those grooves that came prior to the more rock approach with 7/8 feeling like 3 and half/4.

pedro - yes the intro riff (which reoccurs thoughout) is in 11/8 - 3332

JDA - oops - just now saw that you answered that already

Anyway again - anyone who wants to ... keep 'em coming.

I really appreciate it.

David
I would say any version played in a "conventional" manner--maybe not the Hendrix version, but any "normal" version as played by a marching or concert band. Just sing it out loud and you can instantly feel the 3/4, but remember that the opening "Oh" is the 3 from the pick up measure and "Say" is on the 1 of the start of the first full measure of the song
 

PaulD

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Tool - Schism.

It has pretty much all of the odd time signatures.
 

funkypoodle

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I've done a bunch of greek, Romanian, Estonian, Hungarian, Moldavian odd-time stuff with some projects & most of the time I can wrap my rational mind around concepts pretty well. Bulgarians seem to be particularly intense with their metrics, all the while making music that sounds melodically "natural" (not "progressive for the sake of being complicated"). One that I really had to work hard on was this tune, explained by Wikipedia:

"Yove male mome (Bulgarian: Йове мале моме; Jove male mome, Jove malaj mome, "Jova, little girl"), also called Povela e Yova (Повела е Йова), is a fast Bulgarian folk dance. It is done to a 7+11
16
= 18
16
compound meter with alternating (sub-)bars of 7+11, in their turn divided into common chetvorno and kopanitsa rhythms. Some dancers count it as 3-2-2, 2-2-3-2-2 or SQQ-QQSQQ, "S" meaning "slow", and "Q" meaning "quick". It originates from the traditional dance Jove from the Sopluk region of Bulgaria.

Yove male mome is a complicated line dance performed in a curved line or open circle, with each dancer holding their neighbours by the belt. Dancers may also hold hands if belts are not available. One common version has five patterns of four bars each. Musical renditions of the song often feature the traditional Bulgarian gaida.

The dance is popular among international folk dancers around the world. Its choreography was first introduced outside of Bulgaria by US folkdance instructor Dennis Boxell in Stockton, California, 1966".

Technically it's not "odd time" in it's compound form, but since it's compounded from 2 odd time signatures i figure it counts. I really love it's haunting melody & once I got it it was hypnotic to play. I finally gave up trying to count all those @#$ 16th notes & going with the SQQ-QQSQQ instead of counting hella-fast groups of 3s & 2s & that's when I could finally start to groove on this. Here's a version I found on Youtube:


 
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