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A time signature of 21 8 , however, does not necessarily mean that the bar is a compound septuple meter with seven beats, each divided into three. This signature may, for example, be used to indicate a bar of triple meter in which each beat is subdivided into seven parts.
Most time signatures consist of two numerals, one stacked above the other: The lower numeral indicates the note value that the signature is counting. This number is always a power of 2 (unless the time signature is irrational), usually 2, 4 or 8, but less often 16 is also used, usually in Baroque music. 2 corresponds to the half note (minim), 4 to the quarter note (crotchet), 8 to the eighth ...
Distinctive elements of the song include its unusual 7 4 time signature, and the tape loop of money-related sound effects (such as a ringing cash register and a jingle of coins). These effects are timed right on the beats, and act as a count-in at the beginning to set the tempo and are heard periodically throughout the song.
The song has a dissonant atmosphere and is also notable for its changing time signatures. For much of the song, there is a cycle of one measure of 7/4, then two of 4/4. [ 3 ] Guitarist Kim Thayil has said that Soundgarden usually did not consider the time signature of a song until after the band had written it, and said that the use of odd ...
8 time Additive rhythm 3+3+2 8 time. 1 whole note = 8 eighth notes = 3 + 3 + 2. The term additive rhythm is also often used to refer to what are also incorrectly called asymmetric rhythms and even irregular rhythms [citation needed] – that is, meters which have a regular pattern of beats of uneven length. For example, the time signature 4
4 time, an unorthodox meter which the band would also later use in "Spoonman". [3] Guitarist Kim Thayil has said that Soundgarden usually did not consider the time signature of a song until after the band had written it, and said that the use of odd meters was "a total accident."
The composition features a number of time signature changes. The intro and outro are performed in 6 8 time, led by Shaw's acoustic guitar tracks and Dennis DeYoung's synthesizer melodies. The vocal sections of the song are in 4 4. The instrumental features a synthesizer solo in 7 4 time, before returning to 4 4 for the final chorus.
Usually, such time signatures are mutually prime, e.g., 4 4 and 3 8, and so have no common divisors. Thus the change of the basic metre decisively alters the numerical content of the beat, but the minimal denominator (1 8 when 4 4 changes to 3 8; 1 16 when, e.g., 5 8 changes to 7 16, etc.) remains constant in duration. [5]