There are multiple rhythms going on in lots of Tool songs, but basing 4/4 on the bells doesn't make much sense when the guitars that are leading the rhythm are in 5 or 10.Ĭorrect me if I'm wrong. But I can't figure any way that the intro is anything but 5 or 10. You're using a lot of money-phrases in there so you either know what you're talking about or you're a good bullshitter. Which one is the pulse and which one is the beat differs depending on who you ask. Otherwise it's makeing something that can quite easily be conducted as 3/4 sound much more complex than it actually is. dividing meters in such a way is reserved for like 10:7/8 where the hypermetre of the phrase is a prime #. As for schism, I would definately call it 3/4 with a syncopation as opposed to 5:7/8. though there have certainly been works written in 6/8 that have 3 pulses and works in 3/4 that have 2 pulses. there is one bar of 6/4 in the verses though.Īnd Oberon, its a bit petty, but technically its two pulses and 6 beats (not two beats and 6 pulses) for 6/8. everything else is definately in 5/4 except for the chorus which i am currnetly counting in 7/4, but it could also be thought of as a 4/4 with odd phrasing. The last chorus is in 4 though, and i counted the ending in 4, ending on an upbeat as opposed to 7 ending on a downbeat, but i suppose either way would technically be correct. The intro of the song is in 4/4 with accents placed in awkward places (a la stravinsky - the second movement is written in 2/2 with accents) if you tap the pulse of the music in the music leading up to it and continue that tempo when the intro comes for the second time back you will find that when counting it as four, the bells will come in on one every time, and the new section (in 5/4) will come in.
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