Divide and Conquer

Metric modulations abound in Dream Theater’s “In The Presence of Enemies Part 2.” In his soaring synth solo, Jordan Rudess navigates the rolling terrain of time signature shifts as if they weren’t even there. Odd meters usually refers to time signatures whose numerators (top numbers) are 3, 5, 7, 9, 11, 13, etc. However, it also can mean any time signature that’s not common or usual with even numerators, such as 14. The use of odd meters has seen resurgence in prog rock as well as in jazz.

Perhaps the most sensible, and common way of dealing with odd meters is to divide the number of beats into smaller units of two, three, and four. I recommend using the syllables ta-ka (2) ta-ki-ta (3) and ta-ka-di-mi (4). Try singing the syllables to a couple of familiar jazz tunes such as Paul Desmond’s “Take Five,” which is in 5/4, is divided into 3 + 2, and would thus be ta-ki-ta ta-ka. To insure you are singing the syllables evenly, use a metronome. Dave Brubeck’s “Blue Rondo a la Turk” is in 9/8, divided into 2 + 2 + 2 + 3, resulting in ta-ka ta-ka ta-ka ta-ki-ta.

Now, lets take a look at the time signatures in Jordan’s solo on “In The Presence of Enemies Part 2.” The first measure is in 9/8, so the syllables we used for “Blue Rondo” fit well. Keep in mind that there are several ways of distributing the smaller units of division in odd meters. We’ll use the transcription of Jordan’s solo as our guide to divide.

Ex. 1. The lower line from “In The Presence of Enemies Part 2” over which Jordan solos, begins with a measure of 9/8. The beams on the notes are clues as to how to divide the beats into smaller units. The formula is 2 + 2 + 2 + 3 = 9. Count 1, 2, 1, 2, 1, 2, 1, 2, 3, or say the syllables ta-ka ta-ka ta-ka ta-ki-ta. By isolating this line, and practicing it at a slow and even speed, you will begin to gain confidence and comfort in playing in unusual meters. The very next measure in “In The Presence” shifts to 5/4. But rather than worry about making the shift now, let’s isolate 5/4 the same way we did with 9/8. Look at 1b — since the eighth-note in the 9/8 measure is equal in value to the eighth-note in 5/4, we can continue to count the eighth-note as the beat, and thus our formula is 2 + 2 + 2 + 2 + 2 = 10, as there are 10 eighth-notes in a measure of 5/4. Count 1, 2, 1, 2, 1, 2, 1, 2, 1, 2, or with syllables, ta-ka ta-ka ta-ka ta-ka ta-ka. Now you’re ready to combine the first two measures in 1c. Although the beat changes from eighth-note to quarter-note, continue to count eighth-note beats, as in the previous example. Therefore, the tempo does not change. Use the count or syllables from the 9/8 and 5/4 examples. Keep repeating these two measures, slowly with a metronome, until you get secure in the metric modulation.

Ex. 2. Lest we lose sight of Jordan’s screaming synth solo over these complex rhythms, let’s see from where he draws his note choices. It happens that it’s the harmonic minor scale, in this case, the G# harmonic minor. To construct a harmonic minor scale, take a natural minor (Aeolian mode), and raise the seventh degree a half-step, as in 2a. Notice the augmented second (enharmonically minor third) that results between the sixth and seventh scale degrees. Since the tonal center for this part of the solo is D#, Jordan uses the fifth mode of the G# harmonic minor, which begins on D# and is shown in 2b. Now the augmented second occurs between the third and fourth scale degrees. When the tonal center of the solo shifts from D# to F#, Jordan shifts gears by changing scales from G# harmonic minor to B harmonic minor, shown in 2c.

These audio and MIDI files correspond to the lessons beginning on page 40 of the March 2008 issue of Keyboard. All files performed by Mike Worth.

Mike Worth is a composer for video games and progressive rock keyboardist, based out of Philadelphia. He grew up playing Genesis and Rush, and still thinks that the "Legend of Zelda" theme is one of the great melodies of all time. www.mikeworthmusic.com.