Odd time phrasing, how does it really sound?

isn't the slow movement of Tchaikowsky's serenade for strings in 5/4?

there are lots of pieces in "unusual" time signatures, both fast and slow tempo.

isn't the slow movement of Tchaikowsky's serenade for strings in 5/4?

there are lots of pieces in "unusual" time signatures, both fast and slow tempo.

well, yes, but I think we are talking about how the "non-trained" people will hear that...also....if you make a very, very slow passage, the time signature may be any kind.

The creation of fluid natural rhythms in 5/4 7/4 etc is the question... without creating those "hiccups"

I'm not sure why you are distinguishing this rather subjective idea of "natural fluid" rhythms?

From experience, most people with little to no training, are indifferent to the effect of "unusual" time signatures, most of them being completely unaware of their very existance.

Most non-musicians are completely oblivious to the fact that Lalo Schiffrin's Mission Impossible theme is in 6/8+2/4.

Most of these same people don't even realize that the rhythm was altered to a straight 4/4 for the recent films.

"Fluidity" in 7/4 rhythm.

Slow.pdf

Moderate.pdf

Slow.mid

Moderate.mid

I think the entire career of Rush can show that people can and will accept odd meters. Tom Sawyer, YYZ, The Trees, Freewill, etc. all have great examples of multi-meter. I know that on this forum rock music may not be everyone's cup of tea, but I'm a huge nerd when it comes to prog-rock and the like. Neil Pert is a percussion genius!

I read the original post again, and I realized that we're a little aside of the real issue,

The thing is not if a "natural" beats can be made in 7/8 or 5/4, the answer for that is of course yes.....The real matter is how to handle the changes between common beats to not so common beats.....let's say a song..

A song with the verses in 4/4 and the chorus in 7/8.... how do you do it to avoid sound like a mistake ? (after all that 4/4 is a 8/8 and the 7/8 could be indeed a hiccup in all terms if is wrong applied)

I insist the attention must be set in the accents, perhaps a 3, 2, 2, division would be better that 3, 3, 1, ....what do you say ?

Maybe I should have been a little more clear with my post...listen to Rush and you can completely hear how one can transition from duple or triple meter to a multi-meter without missing a beat. I have a little trouble doing it myself, but by listening to how it's done seamlessly I can sort of figure out an idea on how to do it myself.

I just heard "Rush - Freewill" and yes, it has those changes we're talking about, (I didn't know that band until now, that's why I did not quite follow you in your other post)

But I also heard that the changes are managed in some kind of abrupt fashion, (of course, in a Rock band the drummer must be very good or they all will lose the track)

I just heard "Rush - Freewill" and yes, it has those changes we're talking about, (I didn't know that band until now, that's why I did not quite follow you in your other post)

But I also heard that the changes are managed in some kind of abrupt fashion, (of course, in a Rock band the drummer must be very good or they all will lose the track)

And that is one reason why their drummer (Neil Pert) is considered a master in rock circles. Coincidentally, he is also their main lyricist, so he has the added bonus of being able to tailor the words to fit the music and vice versa. Listen to the chorus into the bridge into the guitar solo in "Tom Sawyer"...you can here the meter changes slightly... but it's overall pretty seamless moving from 4 to 4+3 and back.