Theramin power!
I’ve concluded that a large part of the power of Metroid Prime’s main theme comes from its use of its time signature. It took a while for me to lock into what it was doing, rhythmically, as it works perfectly well when jammed into a 2/4 meter.
For those of you who’re following me out there, you probably know where I’m going next with this.
That’s right. In reality, it’s set to 6/8. This explains a large part of everything, as far as I’m concerned.
Allow me to illustrate.
Time signatures of a multiple of three (waltz time) are inherently circular. Unlike even beats (2/2, 4/4), which can be considered “square”, there is a constant, swirly, forward motion to threes. (You can ponder the logistics as to why, on your own. It can get pretty deep.)
The thing is about 6/8 — which, incidentally, is not one of the most common signatures out there (although it’s not all that odd either; it’s just underused) — is that it’s a hybrid of sorts. You’ve got the circular motion from its 3/4 element, and you’ve got an even-sided, comprehensible measure with its 2/4 qualities.
It’s the best of both worlds, to a certain extent — and if it’s used well.
The inherent possibilities of this meter are as follows.
You have a square measure which is split down the middle, into two round halves. Intuitively, in order to create forward motion, you need the halves to roll into each other in a balanced way.
One roll to set up; one roll to conclude. And it goes on like this. Pressure, release, pressure, release. Like an inchworm, or a heartbeat. The music seems to live. And it yanks the listener forward in an unusually powerful way.
And what’s more — because of the circular nature of the music, it has the potential to loop pretty seamlessly. Heh.
I have to go.