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My understand of 7/4 time signature, is that you should count it depending on where the accents are, and thus need to split the count up to reflect this
For example in 4/4 the accents on the bass are often on beats 1 & 3
In 7/4 you may find it better to count it 1-2-3 / 1-2-3-4 or 1-2-3-4 / 1-2-3 depending on where the accents are.
I was in the right, yes, absolutely in the right. I certainly was in the right. That geezer is cruising for a bruising.
There are two ways to play 5/4:
12-123 (2+3)
123-12 (3+2)
There are three ways to play 7/4:
12-12-123 (2+2+3)
12-123-12 (2+3+2)
123-12-12 (3+2+2)
In terms of phrasing, emphasis/accent is always on the 1.
If you play uninterrupted quarter notes, 12 is downstroke-upstroke with the pick, 123 is downstroke-upstroke-downstroke.
So playing the 2+2+3 variation of 7/4 goes: down-up-down-up-down-up-down---down-up-down-up-down-up-down---down-up-down-up-down-up-down---...
'Take Five' uses the 3+2 variant of 5/4. So you never count it 12345, you count 123-12---123-12---123-12---...
One, two, three, one, two, three, four
True story which I read somewhere
Money is a descending pattern of crotchet, dotted quaver-semiquaver, crotchet, before a four crotchet rising figure. There is a strong feeling of stopping on the third beat crotchet before the rising figure ie 3, 2, 2.
The beauty of these uneven time signatures is that they can be ambiguous, that's their thing.