Please, stop talking like you know something when you obviously don't. I thought you might want to know how it really is in actual musucal terms, but I might be mistaken. If you all are determined to ignore the truth in this matter of time signatures please let me know and I'll leave off pointing this stuff out and just let you go to town with your foolishness. There can be no true meter or time signature where there is no repetition. That is the way the DT piece should be written if its written out at all. The music has bar lines (though some composers don't even use them), but no time signature. hindemith simply designates that the 8th note should be counted at 60 Beats per minute. One of Paul Hindemith's String quartets from the 1940s is written in this same manner, but without the ever changing time signatures (he knew better). In a piece like the DT example THERE IS NO METER there is only a pulse, so there can be no time signature. The correct name should have been The Apocalypse in 3+2+4/8, though it doesn't sound as 'snappy'. A true 9/8 is a triple meter with the beats grouped in threes (again, according to the Harvard). The Apocalypse in 9/8 is a good example, being a recurring grouping of 3+2+4/8, although, 9/8 is still technically incorrect. The only possible way to justify these types of time sigs is with recurring beat grouping patterns. The DT example given has no recurring beat groupings. According the The Harvard Dictionary of Music a time signature is: 'The pattern in which a steady succession of rhythmic pulses is organized', and it is 'characterized by the regular recurrence of such patterns. While some of these songs crossed over to the pop charts, others remained favorites of real rap heads and connoisseurs. or Biggie contrast beautifully with the frenetic energy of the track and let the production speak for itself. Other times, calmly delivered rhymes by T.I.

or DMX chorus helps amplify a beatвЂ™s intensity. The handclap from Lil JonвЂ™s 808 can cut through the air just as sharply as a snare that DJ Premier lifted from a вЂ™70s funk record. The NeptunesвЂ™ minimalism can be just as hard as The Bomb SquadвЂ™s noisy wall of samples. TheyвЂ™ve done so in part by showing us new ways to make a looped rhythm track sound like a solid, immovable object, or more likely, a steadily pounding mechanical piston.ДЇrom Rick RubinвЂ™s rock-rap anthems of the вЂ80s to the Swizz Beatz synth bangers of the вЂ™90s to the bombastic Just Blaze soul beats of the 2000s to the Lex Luger trap tracks of the 2010s, the most aggressive hip-hop hits of each era have their own unique texture.

Dre to RZA to Just Blaze, have pushed the genre forward. Through the aforementioned techniques, and more, hip-hopвЂ™s greatest beatmakers, from Dr. Or maybe an obscure sample with a piercing, high-pitched tone takes the energy of the track to another level. Maybe the bass feels like itвЂ™s going to shake you out of your chair.

Maybe the drums sound like theyвЂ™re going to punch through the speakers. But rap production has a somewhat abstract set of criteria for judging how hard a beat can be, and how a track can make the MC on it sound like an unstoppable Man of Steel. Every genre has its own way of going to loud and heavy extremes.

Most complicated song ever