Tigran Hamasyan - The Grid [FULL TRANSCRIPTION]
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- čas přidán 5. 09. 2024
- Transcription of "The Grid" by Tigran Hamasyan!
Disclaimer! I am only doing this to showcase my ability to transcribe music. I have no intention on infringing on anyone's intellectual rights.
Made using Musescore 3 and KDenLive.
Reproduced without permission under Fair Use doctrine for educational purposes.
℗ 2015 Nonesuch Records Inc.
Drums: Arthur Hnatek
Bass: Sam Minaie
Keyboards, Piano, Synthesizer: Tigran Hamasyan
Lead Vocals: Tigran Hamasyan
Vocals: Tigran Hamasyan
Writer: Tigran Hamasyan
Somebody noticed that 17 + 15 = 32 and decided to make a whole song about it.
😂😂good one
9:58 when he put the main theme into the 4/4 groove and it fit like a glove, holy shit that blew my brains out, sounds just a metal band but on a piano, this is some next level shit
if you think about it it was in 4/4 the whole time,
17/16+15/16=32/16
but it's just easier to write as 17 followed by 15
ok purpose achieved your ability to transcribe music is amazing
This composition is brilliant, because much of it is technically in 4/4, but the 17/16 (5+5+7) + 15/16 (5+5+5) rhythmic ostinato makes it so complex and off-kilter.
Also the same bass ostinato with the metric modulation at 5:13 and 7:43 is amazing.
Tigran is a genius.
I'm in tears!
Jesus dude that's insane!
Nice job, can't imagine how long that took.
Tigran is fucking amazing. Thank you for transcribing this piece!
He's a hell of a beast
God bless Tygran's left hand and the bass. Those allowed me to get the rhythm fell on "The grid". On that shift between 17/16 to 15/16, i like to count on the first bar 1 2 3 4* (4 is shorter), and then just 1 2 3 whith a loger 3. That's a very intuitiv way to digest those rhythms.
The sections/motives at 0:37 and in the opening of Out of the Grid at 5:59 are really similar to the harmonies/voicings and the that Leo Ornstein uses in his 4th piano sonata-specifically the second movement (Semplice). The registers/textures are very similar and there's definitely some overlap in harmony (in the beginning of the movement, anyway). In any event: for those who like Hamasyan, check out Ornstein-most of the music isn't super similar, but they definitely share a love of extended harmonies (in Ornstein's earlier work esp.) and rhythmic drive (more prevalent in Ornstein's later work, but the finale movement of the 4th sonata goes pretty hard).
Yes!! Orstein is so good and I've literally never seen anyone mention him before so this brightened my day reading this!
Bars 200-211: Every three note group when combined with the rests that follow them adds up to 4 except for the three note group that starts on B which adds up to 5. So you get this repeating (4, 4, 5) (4, 4, 4) pattern that echoes the short-short-long short-short-short clave of the original groove in 17/16 (5, 5, 7) + 15/16 (5, 5, 5).
Bars 224-227: Logan correctly transcribed this section in 4/4 _however_ pay attention to Tigran's left hand... Each accented bass note when added to the rests that follows them will give you the 17/16 (5, 5, 7) + 15/16 (5, 5, 5) pattern... So Tigran, the madlad, is doing 4/4 in his RH while his LH is playing the 17/16 + 15/16 clave.
Wowww.Awesome
This is insane that you can transcribe music like this.
and thanks for sharing this
I wish i could send my Screams in the Comment section as reaction
Terrific JOB mate
... and Tigran ...GOD!
this is so dope! Awesome to see another Fami artist is into this kind of stuff :)
Wow ! good work !
Love it, Great job and thank you! I found two really minor corrections:
- in bars 180 - 187 each first note in RH in each first group of 15 or 17 is not played here
- analogically in bars 236 - 243 each first note in RH in each first group of 5,5,7 and 5,5,5 is not played as well.
Also the tempo change makes matching 5 group to 4 group which means it is change 4/5 x original tempo and after that 5/4 x original tempo
you are insanely good at transcription. like, wow.
thank you for sharing this!!
Fantastic! Thank you for transcribing and posting!
If you listen at 14:44, the rhythm he's playing is actually more of a 5-let rhythm.
Amazing Job! Thanks!
Incredible work man! Congratulations 🎉🎉🎉
Amazing!
I figured out bars 200-223 by ear on my own but that's all I could committ to since the rest goes way over my head.
_Bar 300, LH chord:_ I just checked and this is actually C# F# A# B or in other words, an F# triad in second inversion with the 4th added (F#add4/C#).
Nice job!
FYI, the entire first part of the song is in 4/4. I can understand going 17/16 + 15/16 though. The 5-5-7-5-5-5 sequence, and the accents in those patterns, can be tricky to wrap your head around. But what's weird to me is you have the part in bar 152 as 4/4, which is probably the part of this opus that I struggle with the most in terms of feeling the 4.
Epic!!!
Thanks man !❤❤❤
I had a question about one of the melodies near the end, for example measure 362, beat one. Sounds like the beat is split evenly into 2 to me? Could the first 2 notes be 8th notes?
Bar 7: LH chords go EbGAbD then BEbGAb
Bar 8: LH chords go FGAb then CEbGAb
Bar 10 & 14: The two RH chords go FAbEb and CAbEb
I'm was thinking why it's so hard to catch the picture of this one...😅
to me it's a 4/4 from start to the end
Georgeus! Can I have the sheet music?
Idk why but I've always counted the main rhythm as 7/8+6/8
Incredible transcription, thank you!
Curious if you considered bar 28 into 29 not as a 19/16 measure but him displacing the groove by a quarter note, so the pattern begins on big beat 2 of bar 29? That would eliminate the 3/4 measure at the end of this section as well as making the snare hits leading up to it into backbeats on 2 and 4
Think it's all in 4/4? Great job getting the melodies tho!
As a fellow drummer I feel like the 15 + 17 division makes way more sense though.
I guess you can see it in different ways. 4/4 can not be applied throughout the whole piece (e.g. at 1:48 that short 19/16 bar).
@@MsJantje666 Yeah, the beauty of this song though is that you can feel it both ways at different points. One of my favourite moments is at bars 224-227 since his RH and the drummer are firmly in 4/4 but his LH and the bassist are playing the 17 + 15 clave.
Is there a reason why you chose to write the pattern in 15/17-16hs in some places and in others you superimpose it on a regular 4/4?
@@loganarichey4003 im not sure if you were aware of this or just making it easier for yourself, but there is actually a workaround in musescore that makes you able to write tuplets across the barline. it would probably just make things more complicated if you did do it tho
wooow, thanks for what an amazing work. Can i find the pdf somewhere?
Any chance to get the muse score files ?? Truly Amazing Work
I think measure 222 and similar the last three notes are Ab- G- Gb . Anyway thank you for the trascription!
Just noticed that in the live version tigran plays the notes that you have trascribed, fair enough 😂
Can anybody help me with the fingering first bar with the B natural in the bass? Does the right hand play the run from the G to the high G? If so, what would a good fingering be, because it feels tricky to me!
@@loganarichey4003 Thanks for the response! That was the fingering I was going for, but I'm struggling a bit with making the crossover smooth. I should probably practice something more at "my level".
Great job! I might say though, I think it's wrong when you do a metric change. I think it's with equivalences (poly rhythms) Without doing changes of the time feeling. Correct me if I'm wrong. Sorry my English
Invredible work! Do you have this on pdf, it would be nicer to read on paper.
Amazing. I just wanna say that bar 72 is wrong. 😂 but you are amazing
Favorite part 5:27 to 5:57
Why didn't you just write the whole thing in 17/16 15/16
The bass clearly implies this rhythm throughout most of the grid
@@loganarichey4003 Nah, you did it perfectly in my opinion.
meshuggah in classics :)
Planet X concept...
this song is so good, but its physically impossible to vibe to it because of the wacky time scale
Bru..no way.