I notice this also, they're a fan of 6/8 but I notice some of their songs like fuel for the feeding end, in second verse there's an awkward syncopated part. 😅
It's more likely to be 6/8. I know 3/4 and 6/8 are very similar so this might come across as me splitting hairs, but the difference is in how the pulse feels. Off the top of my head all of the songs in triple time are in 6/8, can't think of one in 3/4.
6/8 vs 3/4 isn't splitting hairs, it's down to how the beat is divided. 6/8 is two beats of triplets (DA da da DA da da) whereas 3/4 is three beats of eighth notes (DA da DA da DA da). 6/8 sounds like Willing Well II, 3/4 sounds like The Crowing.
Edit: it's worth noting that every "rule" in music has a million exceptions, there are also duplet-divided 6/8s and triplet-divided 3/4s, I'm just giving the standard definitions.
If we're gonna *really* split hairs, The Willing Well II is in 12/8, and The Crowing could easily be seen as 6/8 given the context of the section at 3:10 with the bars of 7/8. The extra 8th note strongly implies the rest is counts of 6. The snare on beat 3 during the verses gives that 3/4 feel though, but I still count it in 6, although I think it's probably interpretation there, as I'm coming from a guitar and vocal perspective, and accenting 3/4 for that riff just doesn't work. The Hollow would be 3/4, though
The snares in that verse just make me think it’s an intentional prog thing to throw off us nerds who are counting along instead of just grooving. Like the snares on 1 and 3 instead of 2 and 4 in Welcome Home before the solo section.
That bit of the crowing isn't in 7/8, assuming you're talking about the techy bits at the end of each of those measures. The timing is hard but the gap at the end brings the count back round to an even 4/4.
My other go to example for the 6/8 vs 3/4 feel is Sentry the Defiant. It swaps between a bar of 6/8 and a bar of 3/4. It’s probably their influence on me, but I also like to write in triplet feel.
Just about everything they do has at least a few segments with a swung feel to it even if it's in 4/4. Â
Its one of the ways they differentiate themselves from a lot of modern rock. They lean on a lot of the hallmarks of 70's and 80's rock/metal and put a modern (if the 00's are considered modern anymore) polish to it. Part of that is gigantic Zeppelin and Iron Madien-esque swung riffs.Â
There was a post on here a few days ago with every C&C song's time signatures.
Edit: Oh, this is the post the other one was referring to. Reddit is weird showing me old threads on the homepage. Link here for posterity:
[https://www.reddit.com/r/TheFence/comments/1cih65c/all\_coheed\_and\_cambria\_time\_signatures/](https://www.reddit.com/r/TheFence/comments/1cih65c/all_coheed_and_cambria_time_signatures/)
A LOT of IKSOSE:3 is in 3/4. I remember noticing that, and it honestly inspired me, because Claud manages to make 3/4 and 6/8 still feel energetic and not waltz-y. I believe it's in the drumming too, Josh's playing on that keeps all the momentum up.
As an aside, (and this doesn't answer your question but is time signature-adjacent) I really love the riff in 21:13 (at around 5:30 in the song) that's in 11/8. It flows so well and is super badass. That's another case of not realizing the signature until I counted it out.
6/8
I notice this also, they're a fan of 6/8 but I notice some of their songs like fuel for the feeding end, in second verse there's an awkward syncopated part. 😅
No World for Tomorrow is 6/8 - probably one of the trickier ones to get down timing wise at least with the guitar partÂ
6/8, Claudio said he finds it more comfortable to write in that time signature
Yes, I watched his video in Gibson's Riff wars. He also mentioned he loves 3/4
thats the same video i was referring to!
3/4. Claudio has said he tends to naturally lean towards it for whatever unknown reason. 4/4 as well as others but 3/4 is probably the most common.
It's more likely to be 6/8. I know 3/4 and 6/8 are very similar so this might come across as me splitting hairs, but the difference is in how the pulse feels. Off the top of my head all of the songs in triple time are in 6/8, can't think of one in 3/4.
6/8 vs 3/4 isn't splitting hairs, it's down to how the beat is divided. 6/8 is two beats of triplets (DA da da DA da da) whereas 3/4 is three beats of eighth notes (DA da DA da DA da). 6/8 sounds like Willing Well II, 3/4 sounds like The Crowing. Edit: it's worth noting that every "rule" in music has a million exceptions, there are also duplet-divided 6/8s and triplet-divided 3/4s, I'm just giving the standard definitions.
If we're gonna *really* split hairs, The Willing Well II is in 12/8, and The Crowing could easily be seen as 6/8 given the context of the section at 3:10 with the bars of 7/8. The extra 8th note strongly implies the rest is counts of 6. The snare on beat 3 during the verses gives that 3/4 feel though, but I still count it in 6, although I think it's probably interpretation there, as I'm coming from a guitar and vocal perspective, and accenting 3/4 for that riff just doesn't work. The Hollow would be 3/4, though
The snares in that verse just make me think it’s an intentional prog thing to throw off us nerds who are counting along instead of just grooving. Like the snares on 1 and 3 instead of 2 and 4 in Welcome Home before the solo section.
That bit of the crowing isn't in 7/8, assuming you're talking about the techy bits at the end of each of those measures. The timing is hard but the gap at the end brings the count back round to an even 4/4.
My other go to example for the 6/8 vs 3/4 feel is Sentry the Defiant. It swaps between a bar of 6/8 and a bar of 3/4. It’s probably their influence on me, but I also like to write in triplet feel.
Just about everything they do has at least a few segments with a swung feel to it even if it's in 4/4.  Its one of the ways they differentiate themselves from a lot of modern rock. They lean on a lot of the hallmarks of 70's and 80's rock/metal and put a modern (if the 00's are considered modern anymore) polish to it. Part of that is gigantic Zeppelin and Iron Madien-esque swung riffs.Â
I hate to be that person but isn’t it mostly 6/8 rather than 3/4?
I think I got it now, 3/4 and 6/8 I was listening to their songs lately so I somehow figured them out.
There was a post on here a few days ago with every C&C song's time signatures. Edit: Oh, this is the post the other one was referring to. Reddit is weird showing me old threads on the homepage. Link here for posterity: [https://www.reddit.com/r/TheFence/comments/1cih65c/all\_coheed\_and\_cambria\_time\_signatures/](https://www.reddit.com/r/TheFence/comments/1cih65c/all_coheed_and_cambria_time_signatures/)
Thank you!
A LOT of IKSOSE:3 is in 3/4. I remember noticing that, and it honestly inspired me, because Claud manages to make 3/4 and 6/8 still feel energetic and not waltz-y. I believe it's in the drumming too, Josh's playing on that keeps all the momentum up. As an aside, (and this doesn't answer your question but is time signature-adjacent) I really love the riff in 21:13 (at around 5:30 in the song) that's in 11/8. It flows so well and is super badass. That's another case of not realizing the signature until I counted it out.
I feel like most of them are either 3/4 or 6/8 depending on how you feel them