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Different time signatures for the same lyric

You’ll need to understand rhythmic notation for this post. if you’re not sure about this, check out this post on sixteenth notes…


…and another on quarter notes and eighth notes.


How to make chord progressions a pro would love, Part 14: Rhythm


Take this line:


“I walked through the doorway and saw you standing there.”


I’ll set this line in 4/4, in 5/5, and in 3/4.

For all of these examples, I use triplets at the beginning of the bar for two reasons:


  • they fits naturally with the words
  • they have a sense of forward movement, supporting the idea of walking


The end of the bar changes in each example to illustrate how extending or compressing the length of the bar affects the lyric.



4:4 lyric

In 4/4, we get 4 eighth notes at the end of the bar. This feels plodding and unnatural, like you feel nothing. If you came through a door and saw someone standing there, you would have more of a reaction, whether you were surprised or not.



5:4 lyric

With 5/4, the eighth notes on “saw you” are extended to quarter notes. This is better. There’s a sense of hesitation, communicating surprise. But it still feels kind of stiff.



3:4 lyric

The sixteenth notes carrying the words “saw you standing” convey a sense of tension. It’s as if you’re so surprised that you stumble.


It could always be better

I’m not sold on any of these. I would need to tweak the rhythm in each one to get it to flow better. Triplets may not be the best idea. Introducing syncopation would probably help.

Endless choices…

The point is that by changing the length of the bar, you’re able to communicate in ways that you weren’t able to before. You get a chance to consider the lyrics and what the mean to you, and to your audience.

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Communicating with different time signatures

4 + 3

It’s safe to say that most songs in the singer-songwriter category are either in 4/4 or 3/4. Tasteful use of these two time signatures gives you an expressive way of extending a line, creating tension, and communicating feeling.

For instance, what happens when you’ve been playing in 4/4 for the entire verse, and then switch to 3/4 for the chorus? What does that communicate? Is there a sense of tension, surprise? Or try the verse in 3/4 and the chorus in 4/4.

How about using a single bar of 3/4 in the chorus, just before going back to the verse? How about extending the chorus by adding one more bar of 3/4?

Sometimes this type of thing works really well. Other times, not so much. Sometimes it’s just a matter of getting used to something new.



These kinds of moves are always unexpected, and add interest even if that’s the only reason you use them. But they’re always more interesting if you use them in support of the lyrics.

For instance, if the line at the end of a verse expresses a feeling of uncertainty or tension, then a time signature different than the one you’re already using might support that feeling. If the end of the verse expressed confidence, then continuing with the existing time signature makes sense.


Living, breathing music

Using time signatures in this way means that you wouldn’t be repeating the same thing every verse. There would be a sense of organic change in the music as the feelings in the lyrics change.

These are really broad ideas. In the next post, I’ll get more specific, and use different time signatures on the same lyric to show how they affect the meaning of the words.

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Time signatures: what they are and why they’re cool

The time signature lives right at the beginning of every song.

You know. That thing that looks like a fraction.

As it turns out, there’s a lot to say about this thing. Check out the Wikipedia article.

Or not.


What’s it for?

In the simplest terms, the time signature tells you two things:


  • how many beats are in a bar, and
  • what those beats are worth


By “worth”, I mean quarter-notes, eighth notes, sixteenth notes, etc.

So a time signature of 4/4 means that there are 4 beats in the bar (the first number) and each beat is worth a quarter note (the second number). 3/8 means that there are three beats in the bar, and each beat is worth an eighth note.


The second number

The first number can be anything (though it doesn’t usually go above 11). The second number points to a note value. The possibilities for this number and what it corresponds to are:


  • 1 – whole-note (rare)
  • 2 – half-note
  • 4 – quarter-note
  • 8 – eighth-note
  • 16 – sixteenth-note
  • 32 – thirty-second-note (rare)


Getting interesting

But all that is just background.

Time signatures get interesting when you realize that there’s more to life than 4/4 and ¾ These get the most use by far, but there’s a lot more to consider.

I’ve defined the possibilities for the second number. You’ll notice they’re all multiples of two. Except for the whole note.

The first number can combine twos and threes. This can produce crazy looking time signatures, but that’s not what makes a song interesting.

What makes a song interesting, what creates its unique feel, is how you put the twos and threes together.


4/4 can get boring

Let me explain.

If you play in 4/4 all the time, it probably means you’re emphasizing the same beats every song.: the first beat and the third beat, or the second beat and the fourth beat.

Now take a simple time signature like 5/4. 5/4 is a combination of two and three. It’s either 2 + 3, or 3 + 2.

So what, you say?



Well, strum a chord in 5/4 and emphasize beat 1 and beat 3.

Screen Shot 2016-02-06 at 6.30.47 AM


Now strum a chord and 5/4 and emphasize beat 1 and beat 4.

Screen Shot 2016-02-06 at 6.32.26 AM


Two completely different feels in one time signature.


Possibilities. Lots.

Imagine emphasizing beat 1 and beat 3 in the verse, and beat 1 and beat 4 in the chorus. Or 4/4 in the verse, and 5/4 in the chorus. Or maybe just use 5/4 in the bridge…

The point is, with one simple time signature, a whole bunch of possibilities open up. Why not take advantage of that?



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Becoming a better rhythm player: triplets and strumming

Two years ago, I started this blog with a series on songwriting. I finished fifteen posts, and then went careening off into other areas of personal interest. Some of it, I hope, was of interest to readers. Some of it was me clarifying my own process of music-making.



I ended the series with posts about rhythm, but I didn’t get past quarter-notes and eighth-notes. Here’s the last post in that series.

How to make chord progressions a pro would love, Part 15: Rhythm III – Strumming


So I didn’t get to triplets. Too bad, because they’re kind of awesome.


Here’s what they look like, and how to count them.



As with eighth-notes, you need to keep a steady beat and distribute the notes evenly over that beat.

Use a metronome to get this right. Most metronomes can play eighth-notes and triplets while accenting the downbeat. This is really useful for hearing what I mean by “distribute the notes evenly over that beat.”


Eighth-note strumming

Strumming triplets turns out to be more challenging than strumming quarter-notes and eighth-notes. Here’s why.

With eighth-notes, you naturally use an up-and-down strumming motion, hitting the downbeat on the down-stroke (square bracket symbol) and the upbeat on the upstroke (wedge symbol).

eighth notes strum


It feels pretty natural. After all, you have to bring your arm up after the down-stroke in preparation for the next down-stroke. Might as well hit the strings as you do.


Triplet strumming

But with triplets, everything changes. If you use an up-and-down strumming motion, you wind up using an upstroke on every second down-beat. In the following example, that means on beats 2 and 4. Like this:

triplets strum


This means that you don’t get to use gravity to emphasize those downbeats where you use an upstroke. This feels weird, and it’s why some people use down-strokes exclusively when strumming triplets.

But practice it anyway. If you do, you’ll make your upstrokes as strong as your down-strokes. This will make you a more flexible and interesting rhythm player. It will also make people want to play with you more.

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Songwriting and sonic texture

I’ve been talking a lot about ambient/textural music and sound in the last number of weeks, but how does all this fit into song-writing?

Song-writing isn’t just about chords, melody, and words. Conceptually, it starts there, usually with words that seem to work only if music is supporting them. And that music usually has some relation to the words. Or it should, even if it’s only minor key for sad song, major key for happy song.



Here’s some other conventional material that can be used to support words:


  • A guitar solo (with or without the rest of the band) to illustrate loneliness
  • Arpeggiated chords to illustrate a lighter mood
  • Power chords to illustrate confidence or aggression
  • Silence to build tension


This list can get pretty long, and of course any of these can illustrate something other than what I’ve indicated here. But each choice should have some sort of reason for being there. Music should support the story of the words somehow, otherwise what’s the point of including it?

(At this point, it’s not a bad idea to list all the musical ideas, techniques, etc. that you can think of, and then try to relate them to lyrics that you’ve written).


Ambient experiment

Ambient sound can function as support for lyrics, too. Using the guitar, you can create sound that illustrates thunder, wind, industrial sound, etc.

But can you sing over these kinds of sounds? Of course, you don’t have to; they can just be used for effect.

But it’s fun to try.

As an experiment, take a melody from a song you know (or one you’ve written), create and loop an ambient sound, and sing that melody with the sound. Here’s a couple of ideas for ambient sound:


  • Delay pedal – set a delay of .5 second with maximum feedback; play long, single notes in the same key as the melody until you get a dense weave of notes.
  • Distortion – maximum distortion; rub or scrape the strings; don’t try to get any sort of conventional harmonic sound; just think noise.


These sounds can be disorienting to sing over. But give it a try. It usually sparks ideas, and it’s not like you have to use it as part of a song. Although you might want to.


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Guitar preparations and digital effects

Here’s one of the preparations that I use to get unconventional sounds from the guitar.


guitar prep

Guitar preparation allows me to create sound that doesn’t suggest the sound of the guitar. Eliminating the associations that the guitar brings to mind allows listeners to experience the sound itself.

The plastic stencil muffles the sound to a certain extent when the strings are activated; the knife produces a sustained ringing sound when struck with wood or metal; the stone cube with the metal stems muffles the sound, but in a different way than the stencil. It can also be used to scrape the strings.


Digital processing 

The great thing about digital effects software (I’m using Guitar Rig 5) is that you can experiment with effects by “piling on.” This means using multiple iterations of the same effect just to see what happens.

Here’s one of my favourites.

guitar rig reso


Resochord is a pitch modifier and harmonizer. It uses single pitches or chords and can pitch shift them and sustain them. Stacking a number of them like this creates a preset with a ton of harmonic possibilities. I’ve added a pitch pedal for more control, and a fuzz pedal when I want a grittier sound.


Preparation and effects

With the recipe of preparations and effects preset that I’ve outlined here, I’m able to produce the following sounds:


  • Scraping the strings with stone

This reminds me of an animal sound (a roar of some kind?) slowed down. It’s difficult to hear it as a guitar sound.


  • Knife strike (weaving a knife between the strings and striking it with metal)

A bell-like sound with something that sounds like a distorted organ.


  • Flicking stencil (weaving a plastic stencil between the strings, pulling it upwards and letting it go)

Similiar to the knife strike, but with a different attack sound.


Playing straight (no preparations)

In this example, you can clearly hear the guitar.


These are examples of what can be done with one preset and guitar preparations. Preset creation is not limitless, but it’s extremely extensive. Mixed with the huge variety of guitar preparations, the guitar becomes an instrument capable of tremendous sonic possibility.



And it can be used this way for songwriting. More on that in the next post…


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