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Take 5 in 3/4 time
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Your content is so good man.
Nice experiment! 5/4 only feels wonky if you grew up in the western classical tradition
It is 100% in the Western classic tradition.
It is in a minor key using standard 12 semitone format.
The beat is a little more complex/compound than most pieces, but it is a Western form of Jazz.
Please explain.
I’ve noticed that children I teach from a different country move easier to 5/4 than most adults I know-just an observation
@@eatlocalhoney because kids are naturally better at absorbing info. If you think about it, most information about everything is thrown at you at young age. From basics like reading or counting to 10 years of school stuff packed with everything at once (in my country kids are going at school at 7 and graduate from school at 17 to apply for higher education)
@@cmikesmith664in other cultures’ musical traditions 5/4 is more wodely used
Take 3
lol
Take 3
Take 3
5/4 is so groovy
“take 5 in 3/4 time isn’t real it can’t hurt you”
take 5 in 3/4 time:
take 5 in 10/8 time is next (mostly the same aside from beat accenting)
For even more cursed Take 5 hijinks, check out a video by Goza’s Piano Channel on youtube… Take 2, Take 3, Take 5 (2+3), Take 11…
Love it!
If the 6 flats wasn’t enough (there _are_ only 5) the limping beat creates a necessary sound picture.
I’m amazed there aren’t a lot more 5/4 pieces.
Check out Romanian “limping” rhythms Schioapa
There really are 6 flats, not 5, in the notation of this piece. It’s in E flat minor. Go and look at the sheet music and see for yourself.
@@rosiefay7283 I was looking at the six flats when I made the comment, obviously. You know what that last flat is? A C flat called a B in any other scale.
@@angrytedtalksC Flat is still the proper notation. A key with both Bb and B in the notation just gets muddy because then you have to cover the sheet in accidentals. It still has 6 flats, it only has 5 *black notes* on a piano.
@@bmac4 I am well aware of musical notation and piano key topography, as I have been since the 1960s.
The point I was making _was_ this notational quirk and the decision for the composer of Take 5 to use it and the unusual time signature to demonstrate a piece which defies conventional patterns.
Ah now David stop teasing it! We don’t just want a snippet we want the whole thing in 3/4 – drum solo and all. Great stuff as usual….
Classic David whenever he changes the time signature of a song:
It sounds natural, but it loses that feel
Like no matter what song and which time signature, a line like this is going to be spoken every single time
Now we need the Kenny G version of Take 5 in 4/4
Brilliant, David! Please keep thinking out of the box, you’re doing great work here.
Learned about this odd time signature after writing a song in 7/8 and could only find one example of a song in 7/8. Maybe someone else knows of an example of a song and 7/8? 🙂 Best explanation I’ve seen yet of this song.
Going the other way, I think “Beautiful Dreamer” in some ways sits better in a (9+6)/8 (essentially (3+2)/4, but with dotted-quarter-note beats). Since every two-bar phrase ends with at least two dotted quarters tied together, omitting the last dotted quarter would leave a piece that flows quite nicely. As a slight variation, instead of cutting beat 3 of bar 12, one could change the last two notes of bar 11 to eighth notes and pull the first three eighth notes from bar 12 into bar 11.
I wonder if Stephen Foster ever conceptualized the piece that way, but was rebuffed by a publisher that didn’t want such a “confusing” rhythm?
“Alright, folks, instead of taking 3 lets take 5 instead”
I was amazed how quickly the weird feeling of it being fully in 3/4 time went away.
There’s a busker on sax in my city who habitually plays Take 5 in 3/4. I hope he’s doing it on purpose…
3/4 reduces the piece to elevator music xD
I LOVE THIS SONG
omg, my jazz group was planning on playing this (but we didnt) and I ended up learning by memory on my euphonium
What feels really weird is the drumming. Because the accents seem to be too heavy handed for something that flows this naturally. I hadn’t really noticed just how much the groove works on selling that 5/4 feel, but yes I think as 3/4 it might need a slighly subtler feel from the drummer otherwise its basically 6/4 with nothing meaty give to the second part of the dual 3/4 figure… Maybe thats why it sounds like that? Not enought payoff for such a strongly delineated 3/4 (which is used to serve that 2/4 originally)
I had to play Take 5 in Jazz in high school, it was my favorite song to play. Loved playing the groove on the drums!