Weeklybeats is a 52 week long music project in which artists compose and publicly release 1 song a week for the entire year.
Starting January 1st 2024 GMT each participant will have one week to upload one finished composition. Any style of music or selection of instruments are welcomed and encouraged.
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WeeklyBeats.com / Forums / Posts by Devieus
Hi! I just signed up and really like the concept
Who is actually responsible for the site?
Trash80 (or Tim), but Phil Harmonic seems to be doing most of the day-to-day operations, NekoTheory does the Discord group, and we'll see who'll be doing the torrents.
FYI: I am now seeding the torrent, should be available for 18 hours a day, every day (the server turns itself off to save the disks once per day). If anyone is having trouble with bit torrent and wants to get the file via FTP then let me know. Thanks Devius.
If you want, I can give you the python program that downloads the whole week and zips it up, saves the both of us time.
kineticturtle wrote:neeeeeeerrrrrrrrrrrrrds
I feel no shame.
Anyway, the point I'm making is that the notation of the meter and the resulting aural experience are not as strongly tied together in practice. So, the notation is an inadequate definition of meter. Subversion in an artistic sense is irrelevant here. Subverting the notation does nothing to music in this case. Notation ≠ music.
It's still important to know the rules and why they exist before you can go break them.
I also noticed the flaw in my argument, I should've said 6/4 is closer to 6/8, instead of going to 3/8. I'll just keep it at that, I admit my wrong. 6/4 is only sometimes 3/4, sometimes it's 2/4, sometimes it's 4/4 and 2/4, but it is practically identical to 6/8, just with notes being twice as long and tempo twice as fast.
I didn't care much for him or his music; though I loved his eccentricness. I'll probably miss him for being a walking source of inspiration.
No it's not.
3/8 has ONE impulse (it's the same as 1/4 time with a triplet instead of a duplet), 6/8 has TWO impulses (the same as 2/4 with triplets instead of duplets), 9/8 has THREE, 12/8 has FOUR, etc.
1/4 has ONE impulse, 2/4 has TWO impulses, 3/4 has THREE impulses, and so on.
The technicality is that you can subvert those all you want, but that doesn't make a single bar of 6/8 the same as two bars of 3/8 or 3/4.
I see what you're saying, it took me a while until someone pointed out this song, one inherently in 6/8 for very specific reasons, mixing the 2 and 3 pulses into one, making transcribing into 3/4 impossible; I feel this is only a thing if you do combine them, unless you specifically want the second pulse to be less strong than the first.
Literally everything, waltz, bolero, heavy metal, rock, beatbox; although this year I don't even know myself because it's procedurally generated. Then again, I didn't know at the start last time because the time before that I also did all the genres.
But the most prevalent genre is definitely electronic something or another.
Just a minor addendum to some of the above posts: there is a BIG difference between 6/8 and 3/4. 3/4 has 3x evenly spaced crotchet beats (and is thus a TRIPLE metre), 6/8 has TWO evenly spaced DOTTED CROTCHET beats, making it a DUPLE metre.
You count them like this (the capitals are the emphasis or "down" beat):
3/4 | ONE two three | ONE two three | ONE two three | ...
6/8 | ONE two three FOUR five six | ONE two three FOUR five six | ...
So from that perspective, 3/4 is actually more closely related to 9/8 than to 6/8, because 9/8 has THREE groups of (three) quavers per bar.
9/8 | ONE two three FOUR five six SEVEN eight nine | ONE two three FOUR five six SEVEN eight nine | ...
That's just a technicality. Imagine splitting the bar in half and pretend it's 3/8, then double the note length and half the tempo, you get 3/4. There might be some arcane reason why things don't work that way, but in practice things tend to fall into place either way. One example of which would be a waltz, where every other bar is tapped differently, but still in 3/4.
It's my first time here toooooo. This website is such a good idea for real, shout out to whoever put this together. That lil countdown on the main page works for good motivation
It's also there because the next week starts at 12AM UTC and some people are extremely bad at timezones, which is a problem 3 times a year, the start, when DST starts, and when DST ends.
This is really neat! I'm new to music theory; just started studying it, so most of this is beyond me.
Hopefully by the end of 2016, I will have understood and incorporated this into my work!
Well, all but the chord tables are pretty self-explanatory, a scale is either major or minor, which in practice means that if you're in C, a minor scale has the third note (E) flattened.
Scale type is always heptatonic, which means there's always 7 notes in an octave used.
The transposition is a list of numbers that say how many keys the next note is away, 1 is the next key, from black to white (e.g. C# to D), white to black (e.g. C to Db, unless there's no black e.g. E to F); 2 is two keys over (e.g. C to D) and 3 is the third key over (e.g. C to D#).
As for the chords, it's probably easier to focus on the triads first. It's in roman numerals that count the note from the tonic; capital letters indicate a major chord, small letters indicate a minor. Say you're in C, I would be C major, vii would be B minor (7th note on the C scale is B).
A little O next to it means diminutive chord, it's always after a minor chord, it basically means the third note of triad is also flattened (e.g. Cm would be [C,Eb,G], Cdim would be [C,Eb,Gb]). A little + next to it means an augmented chord and is always next to a major chord, it basically means the third note of the triad is sharpened (e.g. C would be [C,E,G], Caug would be [C,E,G#]).
Now reading the chord table, it indicates the chord you're playing when you're using this scale (in C), which is the note, two notes after that, and two notes after that, which means in all the major scales, the first chord is most always major, but since these are rather unusual scales, there's going to be exceptions, like Ib5, or 026, which is basically just giving up on notation.
It literally means what it is. 4/4, or four quarters, means a bar is comprised of four quarter notes, or at least the notes in the bar have to fill up to that number; it can also be filled by eight eighths, because two eights make one quarter and 8/2=4 quarters in the bar.
That's only half the story, 4/x specifically means that the bar has 4 beats, but x/4 means that a beat is a quarter note, so a 4/8 means a bar is made of four eighths, because an eighth is a beat and there's four beats in a bar. Naturally this means 6/8 means that a bar would need six eighths (there's also very little difference between a 3/4 and a 6/8).
By that token it's also possible to compose in 1/1, a bar has one beat, one beat is one whole note; it's uncommon to use it though, because for timekeeping sake it's easier to tap four times with your feet to make a bar as you play.
Finally, you'll possibly come across 5/4, 7/4 and my favorite, 3,5/4 (which some heathens call 7/8 because they claim you can't have fractures in the signature), these mean that there are 5 quarters in a bar, 7 quarters in a bar, and 3,5 quarters in a bar (3 quarters and an eighth) respectively; one example of 7/4 is 1.75 in C major, tap your feet to the beat and you'll notice it isn't 4/4, the bar seems to alternate between 3 beats and 4 beats; an example of 5/4 is the Gorillaz song 5/4, where it alternates between 2 beats and 3 beats
I doubt the administration of this place should be the one managing the channel, Trash80 in particular seems to vanish by around week 5. So welcome to the staff, I suppose.
Thanks, I'm glad you all like it. Let me know if you use one of these scales - I'd love to hear it.
I'm currently planning to release another volume March 1.
I'm thinking I'll be using it all of February.
Arggghh! I also never archived my final versions before WB2014 went offline-- a stupid mistake. I do still have the source files, however downloading this torrent would be convenient.
I have an 'always-on' NAS box that I used to deal with torrent files, which has been trying to download this torrent since the 2nd January. Unfortunately there seem to be no working seeds.
Does anyone have any ideas, have other people had success with the torrent? Once I have the data I will be happy to seed the torrent for the foreseeable future!
Good luck with 2016 (I'm sitting it out this time)
Joe
No one picked up the download, so the torrent is just me, which means I have to manually start the seeding process. One is definitely related to the other, I'm not seeding because no one leeches, but no one leeches because I'm not seeding.
Plus, the torrent doesn't have all songs, only those which aren't copyrighted.
I'm Dutch, last time there were a few other Dutch folks (men of mega, xyce, dreikelvin, among others). I believe there's one Swiss artist here as well, and there was also a German/Australian couple IIRC.
My other hobbies.
i just want to actually get all 52 weeks done. ideally, i want to be able to play most of it live without a laptop and with vocals. but being on team 52 is the main goal for me this year!
As a member of team 52, it's well worth it. Time to go for team 104, and I reckon some people go for team 156.
Maybe I can make a second account and get one team ahead in one year.
