For me it’s time signatures in music. I grew up playing instruments, played in several orchestras, etc. But no matter how many times someone tries to explain time signatures to me, it makes no sense. I don’t understand why people place such importance on it. To me, notes have a pitch and a duration, maybe some dynamics. That’s it. I don’t understand why people try to needlessly complicate it. It doesn’t give you anything.
My wife will hear a song and go “Oh neat, it’s in 5/8.” And I’m like “How tf do you know that, and why does it matter?”
I understand time signatures in theory, but not in practice. I comprehend what they are and what they mean, but they don’t make sense to me. I don’t understand what they do or why they’re necessary.
Like I get it, the bottom number tells you how many beats are in a whole note. Most commonly 4, but sometimes 8 or something else.
The top number tells you how many beats are in a measure. In common time, that’s again 4.
But mathematically, wouldn’t that mean 3/4 time is the same as 6/8 time? They’re equivalent as fractions. But when I ask a musician they don’t explain it, they just tell me “No, they’re different. That’s 3/4, this is 6/8.” And usually with this undertone like “Are you stupid? This is so obvious, what part are you not getting?”
From what I gather, 6/8 time is usually done in pairs of triplets. So it does sound rhythmically different than 3/4. But no one ever tells you that, not even when the concept is introduced in textbooks on music theory. They just tell you “and this is 6/8 time,” as if you’re just supposed to know how and why that’s in any way different from 3/4 time…
I think it is too. I figured it out when I read that Jocko Homo is in 7/8 and it’s very clear because of the staccato notes, 3 by guitar 4 by synth. Another way to think of it is the first beat is accented. So 4/4 is ONE two three four ONE two three four. 5/4 is ONE two three four five ONE two three four five.
I think a lot of musicians don’t really fully understand it so they can’t explain it. Kinda like how programmers can’t really explain casting. And don’t you programmers dare tell me about cows in a pasture or a barn or whatever that analogy is. Just translate your line of code with the word “cast” into a sentence that makes sense. You can’t.
Played for over 20 years, aced my music theory final while I was still in school. Have minimal issues translating and coordinating with other musicians professionally.
Me too bud.
They say it’s about groove and feel but that’s highly subjective and falls apart the second polyrhythms get involved.
In the end, anything can technically be written in any time signature, imh It just comes down to what’s easiest (or most obnoxious/ gimmicky) to read / write.
I mean I get why you would want to use 3/4 time instead of 4/4 time. For instance if you’re composing a waltz, you would want to use 3/4 time, because the rhythmic pattern repeats every 3 beats. Or for something like “da daa, da daa, da daa, da daa”
It’s more convenient to use a time signature that aligns with the repeating rhythm. But that only requires the top number.
To me, the bottom number has always been utterly meaningless. Sure you can fit two triplets in a 6/8 measure as opposed to one triplet in 3/4, but you could compose the same thing in 3/4 and just use two measures for the motif instead of one, and make it a faster tempo, and suddenly it’s played exactly the same way…
I am not a musician and there are MANY people that know MUCH more about music theory than me.
e.g. 6/8 time. 6 is how many beats are in a bar. 8 is how many bars. Why important? So we know when the music gets back to the start of the cycle… Kinda. There must be a beginning and an end. Why is No. of beats important? So we have an idea of the feel and how many notes roughly we can play within that. Why is 6/8 different to 3/4? Accents on a 3/4 the accent is typically on the 1 ² ³ 1 ² ³ and in a 6/8 the accent is going to mildly be on the 1 but more noticeable on the 4. Think MJ’s “The Way You Make Me Feel”. 6/8 has drive and the feeling of the accent on the UP beat.
Beyond this simplicity music is maths. Do you need to know the rules? No. Do whatever you want. But if you know the rules, you can exploit them; like musicians and composers do to create complex compositions and polyrhythms.
Hope this helps in any way.
No, the top number is beats per measure. The bottom number is how many beats are in a whole note. For example, in 6/8 time a whole note has 8 beats, making an eighth note one beat. As opposed to 3/4 time in which a quarter note is one beat.
But the exact same thing can be accomplished just by changing the tempo.
As for the accents, yeah, that’s what I gather the only difference is. But it’s never explicitly taught that way, and there’s nothing hardcoded into the logic of time signatures that suggests it must be that way.
A non trivial amount of the reasoning is simplicity of reading and writing music. You could transpose everything to 4/4, but it would require a lot of weird patterns.
This is why I prefer to use trackers instead of sheet music when possible. All I want to look at is what pitch the notes are and how long they are. I don’t like key signatures either. It’s better, for me, for each pitch to have its own space.
Songs are made from repeating patterns of beats and melody. The time signature tells you what that pattern looks like. If you just memorise all the notes I suppose it matters less. But if you wanted to improvise like with a guitar solo or whatever that’s the rhythm you can use to improvise with.
It’s the rhythm equivalent of the key/chord progression for the melody. If you know the chord and when/how it changes through a song, and you know the basic rhythm building block you can just make up notes that are guaranteed to sound great with the other instruments playing.
I took piano lessons for many years and I could sight-read sheet music … sorta. As long as the notes were within the staves, I knew exactly what key to play. It was when notes were above and below the staves that I had to stop and count how many little lines were attached to each note to figure it out. Obviously that messed up my rhythm a bit lol.
I’m a programmer and I’ve spent thirty years writing music composition software and I never once even thought about incorporating traditional sheet music representation. It’s just so clunky and poorly designed for the job. And when you start getting into microtones it’s completely hopeless.