Disquiet Junto Project 0327: Time Zoned

Disquiet Junto Project 0327: Time Zoned
Create a piece of music that is simultaneously in 3/4, 2/4, and 7/4 time.

Step 1: This week’s Disquiet Junto project, the 327th consecutive weekly Junto project, running since January 2012, will engage with the number 327. Compose a piece of music with three separate and distinct through-lines. Think of each of the three lines as an individual voice. The important thing is that the three through-lines occur in your composition simultaneously. One voice should be in 3/4 time. One should be in 2/4 time. And one should be in 7/4 time.

Major thanks to Ethan Hein and Nate Trier for helping develop the project.

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0327” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0327” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Please consider posting your track in the following discussion thread at llllllll.co.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is 11:59pm (that is, just before midnight) wherever you are on Monday, April 9, 2018. This project was posted in the morning, California time, on Thursday, April 5, 2018.

Length: The length is up to you. Making it 3:27 would be perfect.

Title/Tag: When posting your track, please include “disquiet0327” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 327th weekly Disquiet Junto project (Time Zoned: Create a piece of music that is simultaneously in 3/4, 2/4, and 7/4 time) at:


Major thanks to Ethan Hein and Nate Trier for helping develop the project.

More on the Disquiet Junto at:


Subscribe to project announcements here:


Project discussion takes place on llllllll.co:


There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

The image associated with this project was made by Nate Trier for the project.


The project is now live.

All my gear were already fired up when this weeks mail popped in. So I think this is the fastest I have ever made a track for the Junto.

This one was made entirely on the octatrack with the drums in 7/4 on one track, the bass on another in 3/4 (2 bar loop) and the pad/synth sample in 2/4 (8 bar loop). The drums are samples from an Alesis HR-16, the bass is a sample of my fender bass and the pad is a sample from a Yamaha DX200. Every sample was originally done for other projects but has been repurposed for this one. Variations are done using the octatracks fill and scenes features.


After thinking I’d be stumped, this one came remarkably easily, thanks to Logic. I used midi piano, synth strings, bass, percussion, guitar and drums.

The pic is By Karl Gruber, of Saint Urban of Langres, born in, yes, the year 327.





For 3/4, I used a sample of “Contemplation” by McCoy Tyner. For 2/4, I used “God Made Me Funky” by the Headhunters, which is technically in 4/4, but whatever. For 7/4 I used “Solsbury Hill” by Peter Gabriel. The loops all align every 21 measures.

I had originally planned to subdivide each measure evenly into three, two and seven parts, so the loops aligned on every downbeat. But then the interior of each bar was unmanageable chaos. I didn’t want to abandon the idea entirely though, so I did a bridge section using the even subdivision technique. It’s all on a single guitar strum from the Peter Gabriel song so as to not have it be too overwhelming.

Finally, I adjusted the tempo to make the track exactly three minutes and twenty-seven seconds long.

By the way, big shoutout to the folks at Ableton for adding the ability to arbitrarily stretch audio clips in Arrange View. That made this project a piece of cake to complete.


The playlist is now rolling:

Nice touch with the patron saint. That is genius. Thanks.

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hullo! here’s mine (personal speed record):


Built three loops in the different time signatures. I used a generative process using a randomizer and scale midi effect in Ableton. This resulted in 3 loops
A. cello in 3/4
B. violin in 2/4
C. string ensemble in 7/4

Added effects and washed out sounds.


Thanks Marc, Ethan and Nate for an excellent, inspiring challenge.

I created 3 grooves:

Upright basses(x3 bowed) playing a 2/4 tango groove
DX7 playing my favourite 7/4 gimmick (I used it all over the place since 1988)
Lead Saw synth playing in ¾

Each accompanied by a drum loop using the same sounds but in the matching time signature.

I played separately over a click track you can hear (a string sample and an arpeggiator)

Then I did a mash up of the 3 to create polyphony. It is complex, progressive and a bit chaotic but was a lot of fun.

It goes like this:

3/4 + 2/4
3/4 + 7/4
7/4 + 4/4
7/4 + 4/4 + 3/4



Created Friday 6th April 2018 in Paris, France



Here’s mine. Really enjoyed this one, I found it a bit challenging initially to get my 3 lines to fit together, oddly enough less in a timing way but in a overlapping melodies and textures way, if that makes sense. Anyhow, was really pleased with the results in the end. The sequences also helped me explore the Grid/Ansible combination a bit more too; otherwise it’s Just Friends, Rings, Shapeshifter, Morphagene etc. There are three simultaneous parts in 3/4, 2/4 and 7/4, with the Morphagene playing a reversed loop of all three underneath and filtered.



I recently released Fragment Of A Dream, where I looped the lines in the instruments in such a way that they never repeated. I decided to use that same idea here, repeating each line. The three primary instruments, flute, clarinet and violin play their melodies in 7/4, 2/4 and 3/4 respectively (the score is in 7/4 for ease of reading). Each melody is featured in turn (the volume is increased) and when each instrument is ready to be featured it first completes the melody it is currently playing before being featured. While waiting for a melody to complete so that it can be featured, a cello breaks into the drone of the string bass. Wood blocks mark the 7, 2 and 3 counts. Reading the score makes more sense than the explanation I have attempted here.

327 was written for six solo instruments, Flute, Clarinet, Violin, Wood Blocks, Cello, and String Bass.

The score is available at http://bit.ly/2q9REK2


updated the dynamics and articulation

I worked in MuseScore, with a flute part singing in 3/4, a clarinet babbling away in 2/4, and a bassoon providing a bass line in 7/4. The lowest common multiple of 3, 2, and 7 is 42 (the meaning of life!) so to make things easier I wrote in measures of 42/4, but always keeping in mind the beat structure of each line.

To me the piece is like listening to a bird singing in a spring garden.

BirdsongInASpringGarden.pdf (62.7 KB)


Love the tango feel, very cool track.


Wonderfully simple sounding, given the complexity that underlies the composition!


This one was so fun! I can’t believe I did it that fast!
My contribution to the disquiet junto project, for this piece I utilized the different time signatures and created the length of the track to be multiples of 7 for the looping process. This was my attempt at keeping in time the different time signatures. I then duplicated the voices, EQ and hard compression. I also slowed it down and then picked a section of the piece that sounded most like me, added fades, then bounced.


Hi Everyone!

Really simple/minimal 3/4 against 2/4 against 7/4 on the beat with notes also using intervals of 3, 2 and 7 semitones … a spot of automated reverb … reversed …

Have a great week!

h u :slight_smile:


I like the sounds and the shape of the overall wave. The middle has a safe feeling, before having to leave. Just like when you only get to visit home for that small space.

1 Like

The Junto this week reminded me how good it is to use a 3/4 time signature for basslines.

I also enjoy using unlikely time signatures when making soundtracks for my toasted sandwich videos.

So I took the opportunity to make both a 3/4 bassline and a sandwich.

The Latin percussion follows 7/4 and an 808 beats 2/4, as well as an organ and cello both in 4/4.

This is my 140th Disquiet Junto video and my 27th Remarkable Sandwich.