Decoding Radiohead's Time Signature: Understanding 'Swung' 4/4 and 12/8

Radiohead's music is known for its complex time signatures and innovative compositions. One such example is the song that intrigued you, marking a departure from the standard 4/4 time with a 'swung' feel. Let's dive into the intricacies of this unique time signature and how it shapes the rhythm of the song.

The Basics: Swung 4/4 and 12/8

When we say the song is in 'swung' 4/4, it refers to a rhythmic feel where the first and third notes of each 4/4 beat are given slightly more emphasis, with the second and fourth notes receiving less weight. This creates a subtle swing or bounce in the rhythm. The '12/8' feel is essentially the same duration per beat, but with triplet subdivision, which can make the rhythm feel more fluid and flowing.

The easiest way to understand this is by examining the piano rhythm, which is consistent throughout the song. Each measure has four counts, with each count subdivided into triplets. This rhythmic pattern is played repeatedly, making it easier to count along with the music.

Breaking Down the Rhythm

Let's consider the first 8 measures of the song. Here, the piano rhythm is consistent, forming a two-measure phrase that repeats four times before Thom starts singing. To count this rhythm, you can use a simple approach:

Count each measure as: 1 - a 2 - a 3 - a 4 - a Where the dash is the second note of the triplet, not counted out loud.

So the piano rhythm falls on these counts:

1 - - - - a - - - 4 - -- - - 2 - - - - a - - - repeat 4x per progression

This means each repetition is 8 sets of eighth-note triplets, totaling 24 subdivisions within each measure. One chord progression will repeat this rhythm four times, but the familiar grouping underneath it is 8 counts, subdivided as triplets.

Understanding the Complexities

While the rhythmic pattern is straightforward, it can be challenging to count it exactly. This is especially true when the piano chords fall on the 1 of every other measure, which is tied to the 4 of the previous measure. This creates a less obvious starting point for the new measure. In contrast, the chord struck on count 1 of every other measure is typically played quietly, making it harder to count.

However, the chord struck on count 1 usually gets accentuated at the start of a new progression every 8 measures. This can help you find the downbeat if you lose count. But relying on this as a consistent reference point is not advisable, as it doesn't happen frequently enough to be a reliable marker.

To make it easier, you can start by highlighting the count 1 of every other measure as a potential downbeat. This can be a helpful reference point, especially for those who are new to the song or unfamiliar with the complex rhythm.

Conclusion

Understanding the time signature of Radiohead's song is more than just counting beats. It's about recognizing the subtle nuances that shape the rhythm and flow of the music. By breaking down the rhythm into manageable sections and using the piano rhythm as a guide, you can find the downbeat and keep a steady count.

The 'swung' 4/4 and 12/8 feel may seem complicated at first, but once you get the hang of it, it becomes a rewarding challenge to count along with the music. Whether you prefer counting in 4/4 or 12/8, the key is to follow the consistent rhythm of the piano and practice counting.