In the previous two articles, we’ve concentrated on executing written exercises which have been designed to facilitate the playing of odd time. Another effective approach to learning is through listening and transcription. The following songs have one thing in common: They deal, in some way, with seven. However, the application of odd time can vary from one song to the next. For example, a song may be in 7/8 or 7/4 from beginning to end with one dominant feel throughout. This is evident in “Spectrum,” the title cut from Billy Cobham’s first solo album. Here, the musicians sound as comfortable playing in 7/8 as they do in 4/4. The melodic syncopations are further heightened by the way they are phrased to tailor fit the 7/8 context. Billy Cobham: “Spectrum” “Get Closer,” from the Linda Ronstadt album of the same name, is also in seven throughout, with the exception of one […]

March 1984 Issue