Charan Ranganath

I was playing in a band and I was struggling with writing music because I would try to write whatever was popular at the time or whatever sounded like other bands that I was listening to. Somehow I morphed into just grabbing a guitar and just doing stuff. And I realized a part of my problem with doing music before was I didn't enjoy trying to play stuff that other people played.

I just enjoyed music just dripping out of me and just, you know, spilling out and just doing stuff. And so then I started to say, well, what if I don't play a chord? What if I just play like notes that shouldn't go together and just mess around with stuff? And I said, well, what if I don't do four beats going, nah, nah, nah, nah, one, two, three, four, one, two, three, four, one, two, three, four.

I just enjoyed music just dripping out of me and just, you know, spilling out and just doing stuff. And so then I started to say, well, what if I don't play a chord? What if I just play like notes that shouldn't go together and just mess around with stuff? And I said, well, what if I don't do four beats going, nah, nah, nah, nah, one, two, three, four, one, two, three, four, one, two, three, four.

I just enjoyed music just dripping out of me and just, you know, spilling out and just doing stuff. And so then I started to say, well, what if I don't play a chord? What if I just play like notes that shouldn't go together and just mess around with stuff? And I said, well, what if I don't do four beats going, nah, nah, nah, nah, one, two, three, four, one, two, three, four, one, two, three, four.

Whatever I go, one, two, three, four, five, one, two, three, four, five, and started messing around time signatures. Then I was playing in this band with a great musician who was really Brent Ritzel, who was in this band with me, and he taught me about arranging songs. And it was like, what if we take this part and instead of make it go like back and forth, we make it like a circle?

Whatever I go, one, two, three, four, five, one, two, three, four, five, and started messing around time signatures. Then I was playing in this band with a great musician who was really Brent Ritzel, who was in this band with me, and he taught me about arranging songs. And it was like, what if we take this part and instead of make it go like back and forth, we make it like a circle?

Whatever I go, one, two, three, four, five, one, two, three, four, five, and started messing around time signatures. Then I was playing in this band with a great musician who was really Brent Ritzel, who was in this band with me, and he taught me about arranging songs. And it was like, what if we take this part and instead of make it go like back and forth, we make it like a circle?

Or what if we make it like a straight line? you know, or zigzag, you know, just make it like nonlinear in these interesting ways. And then next thing you know, it's like the whole world sort of opens up as like the, and then what I started to realize, especially, so you could appreciate this as a musician, I think. So time signatures, right? So we are so brainwashed to think in four, four, right?

Or what if we make it like a straight line? you know, or zigzag, you know, just make it like nonlinear in these interesting ways. And then next thing you know, it's like the whole world sort of opens up as like the, and then what I started to realize, especially, so you could appreciate this as a musician, I think. So time signatures, right? So we are so brainwashed to think in four, four, right?

Or what if we make it like a straight line? you know, or zigzag, you know, just make it like nonlinear in these interesting ways. And then next thing you know, it's like the whole world sort of opens up as like the, and then what I started to realize, especially, so you could appreciate this as a musician, I think. So time signatures, right? So we are so brainwashed to think in four, four, right?

Every rock song you can think of almost is in four, four. I know you're a Floyd fan. So think of money by Pink Floyd, right? Yeah. Boom. You feel like it's in 4-4 because it resolves itself, but it resolves on the last note. Basically, it resolves on the first note of the next measure. So it's got seven beats instead of eight where the riff is actually happening.

Every rock song you can think of almost is in four, four. I know you're a Floyd fan. So think of money by Pink Floyd, right? Yeah. Boom. You feel like it's in 4-4 because it resolves itself, but it resolves on the last note. Basically, it resolves on the first note of the next measure. So it's got seven beats instead of eight where the riff is actually happening.

Every rock song you can think of almost is in four, four. I know you're a Floyd fan. So think of money by Pink Floyd, right? Yeah. Boom. You feel like it's in 4-4 because it resolves itself, but it resolves on the last note. Basically, it resolves on the first note of the next measure. So it's got seven beats instead of eight where the riff is actually happening.

But you're thinking in 4 because that's how we're used to thinking. So the music flows a little bit faster than it's supposed to. And you're getting a little bit of prediction error every time this is happening. And once I got used to that, I was like, I hate writing in 4-4 because I was like, everything just feels better if I do it in 7-4, if I alternate between 4 and 3 and doing all this stuff.

But you're thinking in 4 because that's how we're used to thinking. So the music flows a little bit faster than it's supposed to. And you're getting a little bit of prediction error every time this is happening. And once I got used to that, I was like, I hate writing in 4-4 because I was like, everything just feels better if I do it in 7-4, if I alternate between 4 and 3 and doing all this stuff.

But you're thinking in 4 because that's how we're used to thinking. So the music flows a little bit faster than it's supposed to. And you're getting a little bit of prediction error every time this is happening. And once I got used to that, I was like, I hate writing in 4-4 because I was like, everything just feels better if I do it in 7-4, if I alternate between 4 and 3 and doing all this stuff.

And then it's like, jazz music is like that. They just do so much interesting stuff with this.

And then it's like, jazz music is like that. They just do so much interesting stuff with this.

And then it's like, jazz music is like that. They just do so much interesting stuff with this.

Yeah, yeah. And it's like, so I'm actually like a very, one of the genres we used to play in was math rock, is what they called it.