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  #41  
Old 10-13-2004, 01:07 PM
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Orenthal

don't ask me how i know these things. I actually knew that before his second career as a non-convicted felon.
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  #42  
Old 10-17-2004, 05:23 PM
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ok ok ok so is it really a 7/8 almost the entire time?

More KC....more Discipline.

"Thela Hun Ginjeet". The guitar riff that opens the song and plays behind the main bass riff. It seems like 7/8 to me, and obviously the entire song is in straight time. I hear the guitar in 7/8 almost the entire song. Am I wrong here? I sure as hell hope it was Fripp playing that part, since he doesn't sing. I don't see how you could be in 7 over straight time for so long and somehow sing simultaneously. Eeesh! Then again, I am not in KC. Nor ever will be.

Thoughts?
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  #43  
Old 10-17-2004, 05:41 PM
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I'm not a musician.....

but the riff that opens the tune plays for a few seconds before Levin enters. That's Belew. After Bill Bruford comes in, I'm not so sure that Fripp doesn't even play for awhile. I'm trying to remember in concert. It's still vivid (although 22 years ago...wow are we that old?) and I distinctly remember all Fripp did in the middle of the song was move his hand down the frets.
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  #44  
Old 10-23-2004, 02:44 PM
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I just want to second moses' comment.

It seems like much of the discussion regarding "why 4/4?" has been from a European/western perspective.

Which leads me to believe that it's more cultural than "natural", maybe having something to do with dualistic, linear, analytical thought; trying to "make sense" of everything, quantizing, categorizing, etc.

Indian music, Gamelan and I don't know what all else, are a different story and did not evolve along the supposedly "default" 4/4 path.

and yeah, organized dancing probably had something to do with it too.

Hey, if any of you have a taste for jazz, you really MUST check out this album from Don Ellis, recorded in 1966:
The Don Ellis Orchestra Live at Monterey.

There's a song on there called "33 222 1 222", and as Ellis jokes in the intro, "that's just the area code". Actually, it's the breakdown of the song's meter, 19 beats to the bar. It really rocks/swings too, shades of KC in big band jazz form. Ellis also played quarter tones. Great piece of music, and I think accesible to fans of prog rock and especially odd meters.
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