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:johnsrude@peak.org wrote: > Well, I've played Balkan and I humbly disagree altho your mileage may >vary. > In Balkan the bars don't always constantly change meter, they're usually >in a > standard odd meter that continues thoughout the tune. Well I'm certainly not an expert on said subject. My experience is limited to a few late night jam sessions (and drinking contests). I didn't mean to imply that all of the time signatures I listed were in on song. But in getting shown some traditional forms, I was shown some songs that were, as you said, all in one time signature, but also some forms that went through multiple signatures (at least that's how I would notate it from a western point of view) For example: 5+7+11+7+5 Now, you could just call that a "35/16" that repeats throughout the song, but it makes more sense (to me any way) to divide it into smaller bars. 7/16+11/6 9/16 + 13/16 Also, in re-reading my original posting (and reading Rick Walker's, and others subsequent postings on the thread) I'd like to revisit my statement regarding my subjective views on the relative sophistication of hip-hop vs. Balkan rhythmic phrasing. It is possible that I never really considered hip-hop phrasing all that sophisticated, because I've lived with hip-hop all my life. It's part of a cultural landscape in which I'm immersed. Kind of the same way that "other people have accents", we never hear our own, we just sound "right". I can't recall ever hearing a hip-hop song and thinking "how the hell did that work (rhythmically speaking)". Largely, perhaps, because it is based on speech patterns, and as long as I can hear the lyric it tmakes sense. I wonder what would happen if the lyric were transcribed into musical notation and I had to play it on an instrument? Hmmm.... Cheers Joe -- _______________________________________________ Search for businesses by name, location, or phone number. -Lycos Yellow Pages http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default.asp?SRC=lycos10