Discussion in 'Music Discussion' started by Cornfed Hick, Jul 27, 2011.
What's the difference between 6/4 and 6/8? The length of the notes?
It's all in the drums - where the "accents" (usually snare hits) fall.
Here's Wikipedia's version of it...
3/4 is a simple signature that represents three quarter notes. It has a basic feel of (Bold denotes a stressed beat):
one two three (as in a waltz)
Each quarter note might comprise two eighth-notes (quavers) giving a total of six such notes, but it still retains that three-in-a-bar feel:
one and two and three and
6/8: Theoretically, this can be thought of as the same as the six-quaver form of 3/4 above with the only difference being that the eighth note is selected as the one-beat unit. But whereas the six quavers in 3/4 had been in three groups of two, 6/8 is practically understood to mean that they are in two groups of three, with a two-in-a-bar feel (Bold denotes a stressed beat):
one and a, two and a
one two three, four five six
Essentially, it's the same amount of notes but different accents of them. For Windowpane, the beat is as follows:
o = kick
O = snare
x = cymbal
Rinse and repeat, at least for the intro riff and its reprises. I believe the rest of the song is in 4/4.
For ease of simplicity, some tabs and sheet music will not differentiate between these bars because they're primarily focused on melody instruments and not percussion. The difference between 6/8 and 3/4 is not mathematical, but rather a "feel." 6/8 is a "triplet" groove, where 3/4, much like 4/4, is a "straight" groove.
Two excellent non-Opeth songs that feature the same guitar riffs but where the drummer changes the beat underneath to make it sound like an entirely new riff (due to the accents) are the solo section in Dream Theater's "Panic Attack" and the verses of Symphony X's "Prometheus (I Am Alive)." It might give you a clearer understanding of this.
Hope it helps!
For what it is worth, the vast majority of Opeth's material is written in 6/8. Most rock and metal favors 4/4, however.
I've gained new appreciation for the Royal Albert Hall show these days. I thought Mikael sounded awful when I first heard it when it came out, but compared to how he growls today, I can tolerate this
I especially like the ending of this one and Axe's addition of blastbeats:
Yea he sounds pretty bad on Leper Affinity but it gets better as the show goes on. Now it doesn't even sound like growls anymore. More like groans.
We're probably gonna cherish how he sounds today like 5 years from now I predict he'll get someone else to do the growls. He could get someone to play guitar and growl occassionally (similarly to how Gildenlöw fills in for Transatlantic?).
If they ditch the growls altogether, they can still play Face Of Melinda, Damnation songs, A Fair Judgement, Hex Omega, Porcelain Heart etc.
Mikael's voice deteriorated really fast compared to other harsh vocalists. Johan from Amon Amarth still sounds as brutal as ever and he's 1 year older than Mikael.
Mikael drinks and smokes a shit ton, no surprises there.
What is a surprise is that his cleans are so strong.
Or explore the acoustic versions territory further than just Demon of the Fall.
His clean voice will start to decline sooner than most of us probably expect IMO. It's already starting to sound a little raspy.
It would've been cool if he got someone who growled to replace Peter. Or a keyboardist when the first guy left. I think he will have to find someone else to growl at some point. His growls on that recording of The Drapery Falls on the Sorceress bonus disc were not pretty. I was actually really shocked at how bad they were, and I saw the band live not that much earlier.
Few days ago I listened to that Storm Corrosion album for the first time. Imagine a full album made just out of the über silent parts of Heritage and you get this. I guess the first song had some OK moments but the rest is so so so so boring.
What did you expect going into a progressive folk record?
Something that has at least some structure and 1% of energy.
Yeah, I listened to about half of it before shutting it off. Somehow working together with no exterior band pressure brings out the most boring aspects of Akerfeldt and Wilson.
I knew after the first single that it wasn't something I'd be interested in. Can't remember if I tried much more than that.
I think it's more that they were desperately trying to do something unexpected. Nothing wrong with that, but I think both artists like to think of themselves as transcending prog rock more than they really do.
God, his growls are terrible live now. He used to be the master at it.
This would be incredible.
I feel like it would just sound like Ayreon but less bombastic... and I'm OK with that.
So, question is...who is he talking about in that article?
Guitar/vocals - Mikael
Guitar/vocals - Devin Townsend
"Guy from Sweden" for vocals - that dude from Katatonia, maybe?
Keyboard - ???
Drummer - ??? The article speculates Mike Portnoy, which would make me not listen to that album...
...Intricate Akerfeldt/Townsend harmony
So it'd be like Transatlantic? Everyone there sings too if I'm correct.
Also @MrKnickerbocker I think Portnoy is only bad at singing when he tries to do "tuff guy" vocals
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