5:8 and the planets
5:8 and the planets
In a message dated 96-03-20 18:22:29 EST, David Grinspoon writes:
(2) I am discussing the polyrhythm, which I mentioned above, in my book. Anyone know examples of music which is 5 against 8? I found one example, an excersize by Trey Gunn, in this month's musician magazine. Does anyone know of any others?
I don't think this would be called a polyrhythm, but a hemiola. Looking at my copy of the Harvard Brief Dictionary of Music, maybe all hemiolas would be polyrhythms, but all polyrhythms would not be hemiolas.
I'll bet Conlin Nancarrow explores 5:8 in his music. His whole musical trip is based on these kinds of rhythmic relationships. Kyle Gann wrote a book on Nancarrow. An expensive $60 book. The book was recently published by Cambridge U. Press but I haven't seen a copy at my favorite Important Music University Bookstore. But you can always get a cd of some of the player piano studies and check the liner notes.
A ratio of 5:8 would be fairly common in music since one would be cramming just one more note into a measure. Or maybe one less note in a string of tuplets. I've seen it in transcriptions of solos by Van Halen, Holdsworth and Coltrane. I've even used it in my own sequenced music buried in with all sorts of rhythmic crazyness. And if I had a well trained ear, I'm sure would I would find it in the music of Sun Ra.
Any suggestions for great Sun Ra quotes, which mention Venus, or just planets in general, or are just too beautiful not to use?
Interplanetary, Interplanetary, Interplanetary Music. Interplanetary, Interplanetary, Interplanetary Music. Interplanetary melodies. Interplanetary harmonies.
Uh...well, uh...more fun to sing then read. Sorry!
Do any other planets have any kind of relation to the earth where the relationship can be represented by whole-number ratios? I think I could have a lot of fun tuning a synthesizer to the intervals of the planets!
David Beardsley IMMP & Bink! music email@example.com Email for a copy of our catalog.. . . .. ...... .. . . . . . . . . . . . .... .. . . . ... . .