List of musical works in unusual time signatures
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| - | <!--********************************************************************************************** | + | '''List of works in irregular [[time signature]]s'''. |
| - | BEFORE YOU ADD ANY NEW PIECES, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE RHYTHM YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER! | + | Some examples of [[musical composition]]s or [[piece]]s in [[Western music]] are: |
| - | Please list unsourced material on the talk list linked on the Talk Page. It is a good resource for people who are confident enough to count for themselves. | + | == 5/4 or 5/8 == |
| + | ''also known as "quintuple meter", grouped as either (3+2) or (2+3) '' | ||
| + | * (1893) "[[Symphony No. 6 (Tchaikovsky)|Pathetique Symphony]]" by [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]] (second movement) | ||
| + | * (1909) "[[Isle of the Dead]]" by [[Sergei Rachmaninoff]] | ||
| + | * (1916) "Mars" by [[Gustav Holst]] (from ''[[The Planets]]'') | ||
| + | * (1916) "Neptune" by [[Gustav Holst]] (from ''[[The Planets]]'') | ||
| + | * (1939) "Sonata Mexicana" by [[Manuel Ponce]] (the slow movement) | ||
| + | * (1959) "[[Take Five]]" by [[Dave Brubeck|The Dave Brubeck Quartet]] (from [[Time Out (album)|Time Out]] | ||
| + | * (1966) "[[Mission: Impossible|Mission: Impossible Theme Song]]" by [[Lalo Schifrin]] <sup>1</sup> | ||
| + | * (1972) "Living in the Past" by [[Jethro Tull (band)|Jethro Tull]] | ||
| + | * (1981) "[[YYZ]]" by [[Rush (band)|Rush]] (the intro only) | ||
| + | * (1981) "Face Dances Part Two" by [[Pete Townshend]] | ||
| + | * (1981) "Five, five, five" by [[Frank Zappa]] | ||
| + | * (1993) "Seven Days" by [[Sting (musician)|Sting]] | ||
| + | * (1990s) "Kagura's Theme" from ''[[InuYasha]]'' by [[Kaoru Wada]]. | ||
| + | * (2001) "The Grudge" by [[Tool (band)|Tool]] | ||
| + | * (2002) "Harbor" by [[Vienna Teng]] (It also moves into 7/8 at times) | ||
| - | *************************************************************************************************--> | + | <small> |
| + | <sup>1</sup> The theme songs from the M:I feature films (1996 and 2000) use 4/4 by repeating the first three beats of the bass line twice, holding melody notes during that period, and halving each note's duration. | ||
| + | </small> | ||
| - | Listed here are [[musical composition]]s or [[piece]]s in Western music that have [[Time signature#Complex time signatures|unusual time signatures]]. "Unusual" is here defined to be <blockquote>''any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.''<ref name="musictechmag">Ian Waugh first lists 2/2, 2/4, 2/8, 3/2, 3/4, 3/8, 4/2, 4/4, 4/8, 6/4, 6/8, 6/16, 9/4, 9/8, 9/16, 12/4, 12/8, and 12/16 (Waugh 2003, 76), then says "we've listed all the popular time signatures" (Waugh 2003, 77).</ref></blockquote> | + | == 7/4 == |
| + | ''septuple meter'' | ||
| + | * (1973) "[[Money (song)|Money]]" by [[Pink Floyd]] | ||
| + | * (1974) "Lion Tamer" by [[Stephen Schwartz (composer)|Stephen Schwartz]] (from the musical ''[[The Magic Show]]'') | ||
| + | * (1976) "[[Solsbury Hill]]" by [[Peter Gabriel]] | ||
| + | * (2002) "The Sound of Muzak" by "[[Porcupine Tree]]" | ||
| - | The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to signify visually tempo for slow movements in symphonies, sonatas, and concerti. The Piano Sonata No. 14 in C-sharp minor "Quasi una fantasia", Op. 27, No. 2, by Ludwig van Beethoven, popularly known as the [[Moonlight Sonata]], is an example of this: although the first movement is relatively slow, the predominant rhythm is that of triplet [[eighth notes]] (quavers), whereas in the second movement the basic tempo is faster but Beethoven notates the music in [[quarter notes]] (crotchets) and [[half notes]] (minims), giving a visual clue to the nature of the phrasing. A reworking of the first movement could place the meter as 12/8 and still convey the same rhythm, phrasing, and tempo. Similarly, a reworking of the 2nd movement could place it in 3/8 instead of 3/4 without destroying the phrasing.<ref>Ted Ross, ''The Art of Music Engraving and Processing: A Complete Manual, Reference and Text Book on Preparing Music for Reproduction and Print'', 3rd edition, revised (Miami: Hansen Books; Santa Rosa, CA: NPC Imaging/Shattinger International Music Corporation, 2001),{{Page needed|date=December 2008}}<!--Book has 278 pages, plus 10 pages of prefatory material.-->.</ref> More to the point of the present article, a perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from [[Benjamin Britten|Britten's]] opera ''[[Peter Grimes]]'' consists of variations over a recurring bass line eleven beats in length, but is notated in ordinary 4/4 time, with each variation lasting 2¾ bars, and therefore commencing each time one crotchet earlier than the preceding one.<ref>Britten 1945b.</ref> | + | == 7/8 == |
| + | ''septuple meter, usually 2+2+3 '' | ||
| + | * (1959) "Unsquare Dance" by [[Dave Brubeck]] | ||
| + | * (1967) "[[All You Need Is Love]]" by [[John Lennon]] (features a changing meter, 7/4 and 4/4 for the verses, 4/4 for the choruses) | ||
| + | * (1974) "Yellow Snow" by [[Frank Zappa]] | ||
| + | * (1977) "Xanadu" by [[Rush (band)|Rush]] (constantly changing from 7/8 to 4/4] | ||
| + | * (1984) "AC/DC" from [[Andrew Lloyd Webber]]'s musical [[Starlight Express]] | ||
| + | * (1984) "The Attitude Song" by [[Steve Vai]] | ||
| + | Steve's heavy guitar riff is in 7/8 while the band plays a solid 4/4 beat underneath | ||
| + | * (1984) ''[[The Bill|Theme Music from The Bill]]'' (featured theme music in 7/4 for many years until it was remixed. Another mix has subsequently been produced which again uses 7/4) | ||
| + | * (1986) "Hello Radio" by [[They Might Be Giants]] | ||
| + | * (1993) "The Munificent Seven" by [[Sting (musician)|Sting]] | ||
| + | * (1993) "Saint Augustine in Hell" by [[Sting (musician)|Sting]] | ||
| + | * (1996) "I Was Brought to My Senses" by [[Sting (musician)|Sting]] | ||
| + | * (1998) "Dreaming Tree" by [[Dave Matthews Band]] | ||
| + | * (1999) "Rendez-vous 6:02" by [[UK (band)|UK]] | ||
| + | * (2003) ''Einstein-Rosen Bridge'' and ''Abomination Street'' by [[Venetian Snares]] | ||
| + | * (2003) "Gravity" by [[A Perfect Circle]] (verses and choruses in 3+3+1/8, changes to 5/4 in the bridge, and finally to 4/4 for the final chorus) | ||
| - | These examples are grouped by time signature, and listed alphabetically by title. | + | == 10/4 == |
| + | * (1965) [[Chichester Psalms]]'s final movement by [[Leonard Bernstein]] (3+2+3+2, written with a dotted barline in the middle) | ||
| + | * (1969) "River Man" by [[Nick Drake]] | ||
| - | ==⅔/2 and ⅔/4== | + | == 10/8 == |
| - | ===Partially in ⅔/2 or ⅔/4=== | + | '' (expressed as 3+3+2+2) '' |
| - | * "L'Artisanat furieux", third movement of ''[[Le Marteau sans maître]]'', by [[Pierre Boulez]]. Bars 24, 35, and 43 are in ⅔/4 time.<ref>Boulez 1957, 19–20.</ref> | + | * (1972) "[[Thick as a Brick]]" (excerpts) by [[Jethro Tull (band)|Jethro Tull]] |
| - | * ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 102 is in ⅔/2; bar 123 is in ⅔/4 time.<ref>Nilsson 1958, 10 & 12; Read 1964, 172.</ref> | + | * (2001) "The Patient" by [[Tool (band)|Tool]] |
| + | * (1973) "[[The Dance of Maya]]" by [[Mahavishnu Orchestra]] | ||
| - | ==⅗/4== | + | == 11/8 == |
| - | ===Partially in ⅗/4=== | + | * (1977) "Cygnus X-1" by [[Rush]] (parts, written in 3+3+3+2) |
| - | * ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 97 is in ⅗/4 time.<ref>Nilsson 1958, 10; Read 1964, 172.</ref> | + | * (1983) "Tink Walks Amok" by [[Frank Zappa]] (bass part is 4+4+3) |
| - | ==⅘/4== | + | == 11/4 == |
| - | ===Partially in ⅘/4=== | + | * (2003) "[[Hey Ya!]]" by [[OutKast]] [http://www.rollingstone.com/news/story/_/id/6596025/sort/rank?pageid=rs.RS500&pageregion=blob]] |
| - | * ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 112 is in ⅘/4 time.<ref>Nilsson 1958, 11; Read 1964, 172.</ref> | + | |
| - | ==<small><sup>4</sup>/<sub>3</sub></small>/2 or <small><sup>4</sup>/<sub>3</sub></small>/4== | + | == 13/8 == |
| - | ===Partially in <small><sup>4</sup>/<sub>3</sub></small>/2 or <small><sup>4</sup>/<sub>3</sub></small>/4=== | + | * (1981) "Skimbleshanks" from [[Andrew Lloyd Webber|Andrews Lloyd Webber's]] musical [[Cats (Musical)|Cats]] |
| - | * "L'Artisanat furieux", third movement of ''[[Le Marteau sans maître]]'', by [[Pierre Boulez]]. Bar 3 is in <small><sup>4</sup>/<sub>3</sub></small>/2 time.<ref>Boulez 1957, 18.</ref> | + | * (1982) "[[Golden Brown]]" by The Stranglers. This piece shifts between a compound duple or compound triple (6/8 or 12/8) and a 13/8 signature. |
| - | * ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 83 is in <small><sup>4</sup>/<sub>3</sub></small>/4 time.<ref>Nilsson 1958, 8; Read 1964, 172.</ref> | + | * (1992) "Thirteen" by [[Frank Zappa]]. Played as 4/4 & 5/8. |
| - | ==1/1, 1/2, 1/4, 1/8, or 1/16== | + | == 13/16 == |
| - | ===Partially in 1/1, 1/2, 1/4, 1/8, or 1/16=== | + | * (2002) "Interlude In Milan" by [[Planet X]] |
| - | * ''Appalachian Spring'', by [[Aaron Copland]]. Third bar of rehearsal 46 and third bar of rehearsal 48 are in 1/2.<ref>Copland 1945, 56–59.</ref> | + | |
| - | * "Improvisation sur Mallarmé 2", from ''Pli selon pli'' by [[Pierre Boulez]].<ref>Read 1964, 158.</ref> | + | |
| - | * ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 11 is in 1/16 time, bar 53 is in 1/8 time, bars 20, 22–27, 33–36, 38–40, 43, 49, 51, 54, 57, 65, 76–77, 80–81, 86, 90–93, 95, 99, 103–7, 115–16, 118, 120, 122, 124, 126, 130, 134–42, 145, 153, and 158 are in 1/4 time.<ref>Nilsson 1958, 3–15.</ref> | + | |
| - | * "Scherzo" (2nd Movement) from [[Alexander Borodin]]'s [[Symphony No. 2 (Borodin)|Symphony No. 2]] is in Prestissimo 1/1, except for the [[ternary form|trio]] section, which is in Allegretto 6/4.<ref>Borodin [n.d., ca. 1920], 51–94. [http://imslp.org/wiki/Symphony_No.2_%28Borodin%2C_Alexander_Porfirevich%29 IMSLP scans available.]</ref> | + | |
| - | ==2/1== | + | == 14/4 == |
| - | * "Gique"<!--NB: this is Bach's spelling, not a typo. See the cited source.-->, last movement of [[Partitas, BWV 825-830|6th Partita in E minor, BWV 830]], by [[Johann Sebastian Bach]].<ref>{{Cite book|author= Johann Bach |editor= Hans Bischoff |year= 1985 |publisher= Alfred Music Publishing |isbn= 9780769286044 |title= Six Partitas and Overture in French Style |url= http://books.google.com/?id=_M8RUaKmwYAC&pg=PT84 |page= 92}}</ref> | + | * (1959) "Three To Get Ready" by [[Dave Brubeck Quartet]] from [[Time Out (album)}Time Out]] (two bars of 3/4 followed by two bars of 4/4, consistently through the piece) |
| - | ===Partially in 2/1=== | + | == 15/4 == |
| - | * "Improvisation sur Mallarmé 2", from ''Pli selon pli'' by [[Pierre Boulez]].<ref>Read 1964, 158.</ref> | + | * (1980) "The Wait" by [[The Pretenders]] |
| - | * ''Five Pieces for Piano'', op. 23, by [[Arnold Schoenberg]].<ref>Read 1964, 158.</ref> | + | * (1973) "Dawn" by [[Mahavishnu Orchestra]] |
| + | Modulates to 15/8 & 15/16 as well | ||
| - | ==2½/4== | + | == 9/8 == |
| - | ===Partially in 2½/4=== | + | ''expressed as 3+3+3'' |
| - | * ''Study in Sonority'' by [[Wallingford Riegger]] contains several 2½/4 bars.<ref>Read 1964, 170.</ref> | + | * (1878) [[Symphony No. 4 (Tchaikovsky)|Symphony No. 4 in F Minor, Op. 36]] (First movement, central section), by [[Pyotr Tchaikovsky|Tchaikovsky]] |
| + | * (1897) "[[The Sorcerer's Apprentice]]" by French composer [[Paul Dukas]] | ||
| + | ''expressed as 3+2+4'' | ||
| + | * (1972) "Supper's Ready" by [[Genesis (band)|Genesis]] (from [[Foxtrot (album)|Foxtrot]], the "Apocalypse in 9/8" section) | ||
| + | * (1996) "I Hung My Head" by [[Sting (musician)|Sting]] from [[Mercury Falling]] | ||
| + | ''expressed as 2+2+2+3'' (used in the Turkish rhythm ''[[Karsilama|karşılama]]'') | ||
| + | * (1959) "Blue Rondo a la Turk" by [[Dave Brubeck|The Dave Brubeck Quartet]] (from [[Time Out (album)|Time Out]]) | ||
| - | ==3/32== | + | == 14/16 == |
| - | * "Lilliputsche Chaconne", from ''Intrada, nebst burlesquer Suite'', for two violins (the so-called "Gulliver Suite") by [[Georg Philipp Telemann]].<ref>Telemann 1728, 32; Telemann 1970, 13; Zohn 2004, 247: "The ‘Lilliputsche Chaconne’ is anything but stately as it flashes by (at least on the page) in a blur of demisemiquavers in 3/32 time. . . ."</ref> | + | * (1979) "Mad Rush" by [[Philip Glass]] |
| - | ==3½/4== | + | == 18/8 == |
| - | ===Partially in 3½/4=== | + | * (1973) "Birds of Fire" by [[Mahavishnu Orchestra]] |
| - | * ''Driftwood Suite'', for piano, by [[Gardner Read]] uses 3½/4 time.<ref>Read 1964, 170.</ref> | + | expressed on guitar as 5+5+5+3 while drums play a steady 6+6+6 |
| - | * ''Touch Piece'', for piano, by [[Gardner Read]] uses 3½/4 time.<ref>Read 1964, 170.</ref> | + | |
| - | ==<small>3<sup>2</sup>/<sub>2</sub></small>/4== | + | == 19/16 == |
| - | * "Reverie der Laputier, nebst ihren Aufweckern", from ''Intrada, nebst burlesquer Suite'', for two violins (the so-called "Gulliver Suite") by [[Georg Philipp Telemann]].<ref>Telemann 1728, 40; Zohn 2004, 247: "The ‘Reverie der Laputier, nebst ihren Aufweckern’ . . . teases the reader with a nonsensical time signature, <small>3<sup>2</sup>/<sub>2</sub></small>/4, in an apparent allusion to the Laputians’ love for, and incompetence in, mathematics." Dietz Degan, the editor of Telemann 1970, transcribes this piece simply in 2/2.</ref> | + | * (1979) "Keep It Greasy" by [[Frank Zappa]] |
| - | + | Expressed as a measure of 4/4 with three 16ths tacked on the end, or 4+4+4+4+3 | |
| - | ==3⅔/4== | + | |
| - | * "Upstart" by [[Don Ellis]] (originally written in 11/8).<ref>Strait 2000, 56.</ref> | + | |
| - | + | ||
| - | ==4½/4== | + | |
| - | ===Partially in 4½/4=== | + | |
| - | * ''Driftwood Suite'', for piano, by [[Gardner Read]] uses 4½/4 time.<ref>Read 1964, 170.</ref> | + | |
| - | * ''Touch Piece'', for piano, by [[Gardner Read]] uses 4½/4 time.<ref>Read 1964, 170.</ref> | + | |
| - | + | ||
| - | ==5/1, 5/2, 5/4, or 5/8== | + | |
| - | + | ||
| - | See [[Quintuple meter]] | + | |
| - | + | ||
| - | ==5½/4== | + | |
| - | ===Partially in 5½/4=== | + | |
| - | * ''Driftwood Suite'', for piano, by [[Gardner Read]] uses 5½/4 time.<ref>Read 1964, 170.</ref> | + | |
| - | * ''Touch Piece'', for piano, by [[Gardner Read]] uses 5½/4 time.<ref>Read 1964, 170.</ref> | + | |
| - | + | ||
| - | ==6/2== | + | |
| - | ===Partially in 6/2=== | + | |
| - | *"In the First Pentatonic Major Mode (En el 1er modo pentáfono mayor)", no. 12 from ''12 American Preludes'' for piano (1944) by [[Alberto Ginastera]] (bar 23 in 6/2).<ref>Ginastera 1946, 1:12–13.</ref> | + | |
| - | *"Molto adagio" (Adagio for Strings), second movement of Samuel Barber’s String Quartet, op. 11, bars 15 and 26 are in 6/2.<ref>Barber 1943, 11–12.</ref> | + | |
| - | + | ||
| - | ==7/4, 7/8, or 7/16== | + | |
| - | See [[Septuple meter]] | + | |
| - | + | ||
| - | ==8/8 (unevenly grouped)== | + | |
| - | * "Six Dances in Bulgarian Rhythm" 4, from Béla Bartók's ''Mikrokosmos'' (no. 151), is in 3 + 2 + 3.<ref>Bartók 1940, 6:45–48.</ref> | + | |
| - | * "Six Dances in Bulgarian Rhythm" 6, from Béla Bartók's ''Mikrokosmos'' (no. 153), is in 3 + 3 + 2.<ref>Bartók 1940, 6:51–55.</ref> | + | |
| - | + | ||
| - | ==8/4== | + | |
| - | ===Partially in 8/4=== | + | |
| - | * "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 36 (1945), by Benjamin Britten. Bars 3 and 12 after rehearsal '''K''' are in 8/4.<ref>Britten 1946, 14–15.</ref> | + | |
| - | * ''A Choral Fantasia'', op. 51, by [[Gustav Holst]]. Bars 36–69, 142–48, 173–78, and 191–98 are in 8/4.<ref>Holst 1977, 4–6, 18–19, 23–24, 27–30.</ref> | + | |
| - | + | ||
| - | ==9/8 (not ordinary triple-compound)== | + | |
| - | <!--********************************************************************************************** | + | |
| - | + | ||
| - | BEFORE YOU ADD ANY NEW SONGS, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE TIMING YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER! | + | |
| - | + | ||
| - | *************************************************************************************************--> | + | |
| - | * "Six Dances in Bulgarian Rhythm" 1, from Béla Bartók's ''Mikrokosmos'' (no. 148), is in 4 + 2 + 3.<ref>Bartók 1940, 6:35–38.</ref> | + | |
| - | * "Six Dances in Bulgarian Rhythm" 5, from Béla Bartók's ''Mikrokosmos'' (no. 152), is in 2 + 2 + 2 + 3.<ref>Bartók 1940, 6:48–50.</ref> | + | |
| - | + | ||
| - | ===Partially in 9/8, 9/4, or 9/2=== | + | |
| - | <!--********************************************************************************************** | + | |
| - | + | ||
| - | BEFORE YOU ADD ANY NEW SONGS, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE TIMING YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER! | + | |
| - | + | ||
| - | *************************************************************************************************--> | + | |
| - | * "Apocalypse in 9/8" by [[Genesis (band)|Genesis]]. Penultimate movement of the "[[Supper's Ready]]" suite, rhythm section plays a 9/8 riff as 3+2+4, organ solo plays polymetrically over this (sometimes 4/4, sometimes 7/4.)<ref>Seconds Out Songbook 1978 Wise Publications</ref> | + | |
| - | * "[[Blue Rondo à la Turk]]" (1958) by [[Dave Brubeck|the Dave Brubeck Quartet]], from the album ''[[Time Out (album)|Time Out]]'' - Played as 2+2+2+3 and 3+3+3, with some alternating sections of 4/4<ref>Dryden, Ken. "[{{Allmusic|class=song|id=t803311|pure_url=yes}} Blue Rondo a la Turk]", Allmusic: "unusual time signature of 9/8".</ref> | + | |
| - | * "[[Under the Iron Sea#Broken Toy|Broken Toy]]" (2006) by [[Keane (band)|Keane]], from the album ''[[Under the Iron Sea]]''. First and second verses are marked 9/8 (although choruses use 6/8 or either 3/4).<ref>''Under the Iron Sea'' Songbook 2006 Wise Publication, p.52</ref> | + | |
| - | * "[[Happiness Is A Warm Gun]]" by John Lennon and Paul McCartney, as transcribed by Fujita et al.<ref>Fujita et al. 1993{{Citation needed|date=March 2008}}<!--Page numbers needed-->.</ref> | + | |
| - | * "Los peones de hacienda", from the ballet ''Estancia'' by [[Alberto Ginastera]]. The refrain, at rehearsal numbers 62, 65, 67, 68, 69+3, and 70 is marked "9/8 (3/4 - 3/8)"; the remainder is variously in 6/8, 3/4, 5/8, and 7/8.<ref>Ginastera 1955, 17–20.</ref> | + | |
| - | * "Voices" by [[Dream Theater]]. Opening riff in 9/8 broken down as 4/4 + 1/8.<ref name="dtrefs">[http://video.aol.com/video-detail/mike-portnoy-odd-time-signatures-demonstration/1272405019 Odd time signatures demonstration by Mike Portnoy]</ref> | + | |
| - | + | ||
| - | ==10/4, 10/8 or 10/16== | + | |
| - | <!--********************************************************************************************** | + | |
| - | + | ||
| - | BEFORE YOU ADD ANY NEW SONGS, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE TIMING YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER! | + | |
| - | + | ||
| - | *************************************************************************************************--> | + | |
| - | * "Alpha Beta Gaga" by [[Air (French band)|Air]]. (10/4)<ref name="pandora_meters">[http://blog.pandora.com/archives/podcast/2007/09/meters_time_sig.html Pandora presents Meters & Time Signatures].</ref> | + | |
| - | * Etude, op. 35, no. 12, for piano, by Charles Valentin Alkan. (10/16)<ref>Eddie 2007, 62.</ref> | + | |
| - | * "[[Everything in Its Right Place]]" by [[Radiohead]]. (10/4)<ref name="pandora_meters" /> | + | |
| - | * "[[Go to Sleep]]" by [[Radiohead]]. (10/4)<ref name="pandora_meters" /> | + | |
| - | * "[[Just Like You Imagined]]" by [[Nine Inch Nails]]. (10/4)<ref>Evan Banks, "[http://inews6.americanobserver.net/content/humming-bassline-just-you-imagined Humming the Bassline: Just Like You Imagined]. ''American Observer'' (29 September 2009).</ref> | + | |
| - | * "Looks Good (But You Looked Away)", by the [[Helio Sequence]]. (10/4)<ref name="pandora_meters"/> | + | |
| - | * "Nostalgia" by [[Yanni]]. (10/8)<ref name="yanni">{{Cite book| last =| first =Yanni| authorlink =| coauthors =| title =The Best of Yanni; 11 selections from his top recordings| publisher =[[Hal Leonard Publishing]]| year = 1993| page = 16}}</ref> | + | |
| - | * "[[Playing in the Band]]" by the [[Grateful Dead]] (notated as 4/4 + 4/4 + 2/4). (10/4)<ref>John J. Wood, Eric Nay and Ihor Slabicky, "[http://stason.org/TULARC/music-bands/grateful-dead/30-The-Eleven-and-Other-Rhythmic-Oddities-Grateful-Dead.html The Eleven and Other Rhythmic Oddities (Grateful Dead)]", from the ''Grateful Dead FAQ''; Kevin Seal and Adam Blum, "[http://blog.pandora.com/archives/podcast/2007/09/meters_time_sig.html Pandora Presents . . . Meters & Time Signatures]"</ref> | + | |
| - | * "Wanderlove" by [[Mason Williams]]. (10/4)<ref>Liner notes to ''The Mason Williams Phonograph Record'' Warner Brothers LP, WS 1729. Burbank: Warner Brothers-Seven Arts Records, 1968.</ref> | + | |
| - | + | ||
| - | ===Partially in 10/4, 10/8 or 10/16=== | + | |
| - | * "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 35 (1945), by [[Benjamin Britten]]. Fourth bar after rehearsal '''K''' ("tranquillo, ''lusingando''") is in 10/4.<ref>Britten 1946, 14.</ref> | + | |
| - | * "Solacium", part 3 of "De Elegia Tertia" from [[Threni (Stravinsky)|''Threni, id est Lamentationes Jeremiae Prophetae'']], by [[Igor Stravinsky]].<ref>Bars 2–5 are in 10/8 time (Stravinsky 1958, 52).</ref> | + | |
| - | * "[[Thick As A Brick]]" by [[Jethro Tull (band)|Jethro Tull]]. The second section of the first part of the song is in 10/4<ref>Uncommon Time - Television Tropes & Idioms, "[http://tvtropes.org/pmwiki/pmwiki.php/Main/UncommonTime]"; David Kaplowitz's Odd Time Page, "[http://dkap.info/oddtime.php]"</ref> | + | |
| - | + | ||
| - | ==11/4 or 11/8== | + | |
| - | * "Cigne je suis", from ''Airs a III. IIII. V. et VI. parties'' (première livre, 1608) by [[Claude Le Jeune]] (barred as 11/4).<ref>Le Jeune 1951–59, 2:85–88.</ref> | + | |
| - | * "The Eleven", by the [[Grateful Dead]]. (11/8)<ref>Lindsay Planer, "[{{Allmusic|class=album|id=r39326|pure_url=yes}} Live/Dead]", Allmusic: "instrumental rhythmic excursion titled "The Eleven" after the jam's tricky time signature".{{Citation needed|date=March 2008}}<!--A "tricky time signature" could be anything—11/4, 33/16, etc. This is certainly in eleven, and more likely 11/8 than 11/4 or 11/16, but a better source needs to be found.--></ref> | + | |
| - | * ''Eleven Four'', by [[Paul Desmond]] and recorded by the [[Dave Brubeck Quartet]].<ref>Howard Brubeck (ed.), ''Dave Brubeck Deluxe Piano Album'', (San Francisco: Derry Music Co., 1965), pp. 22-28.</ref> | + | |
| - | * "Fugue", second movement of ''Bachianas brasileiras no. 9'', by [[Heitor Villa-Lobos]]. (11/8)<ref>Villa-Lobos 1969, 3–18.</ref> | + | |
| - | * ''In Nomine IX'', for harpsichord, by [[John Bull (composer)|John Bull]]. (11/4)<ref>J. A. Fuller Maitland and W. Barclay Squire (eds.), ''The Fitzwilliam Virginal Book'', vol. 2 (Leipzig: Breitkopf und Härtel, 1899; reprinted New York: Dover Publications, Inc., 1963), 34–39.</ref> | + | |
| - | * "Presto", second movement of [[Alexei Stanchinsky]]'s Piano Sonata No.2 in G major (11/8)<ref>http://imslp.info/files/imglnks/usimg/9/9d/IMSLP15483-Stanchinksy_-_Piano_Sonata_No.2.pdf Piano Sonata No. 2 by [http://imslp.org/wiki/Category:Stanchinsky,_Alexei Alexei Stanchinsky] at the [[International Music Score Library Project]]</ref> | + | |
| - | + | ||
| - | ===Partially in 11/4 or 11/8=== | + | |
| - | * ''Blockhead'', by [[Devo]]. Verses are in 11/8 time, choruses in 4/4.<ref>[http://dailyvault.com/toc.php5?review=1171 Mark Feldman 2000].</ref> | + | |
| - | * ''Eleven'', by [[Primus (band)|Primus]]. Song is mainly in 11/8, the chorus has one bar in 9/8, and after two bars of 11/8 a bar in 12/8.<ref>''Primus Anthology: A thru N: For guitar and bass / Primus'', transcribed by Jeff Jacobsen (New York: Cherry Lane, 2000), 17–20.</ref> | + | |
| - | * ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 74 is in 11/4 time.<ref>Nilsson 1958, 7.</ref> | + | |
| - | * "Serenade" by [[Derek Bourgeois]]. The beginning and ending sections are in 11/8.<ref name=reynish>{{Cite web| url=http://www.timreynish.com/repcompbourgeois1.html| title=Derek Bourgeois: An Assessment of his music in Two Parts| author=Reynish, Tim| accessdate=November 8, 2009}}</ref> <ref name=howardpac>{{Cite web| url=http://www.howard.andrews.edu/news/113/| title=Pops Concert Program Notes| publisher=Howard Performing Arts Center, Andrews University| date=March 8, 2008| accessdate=November 8, 2009}}</ref> | + | |
| - | + | ||
| - | ==13/4 or 13/8== | + | |
| - | * "The Great Divide" by [[Don Ellis]] (13/4).<ref>Perkins 2000, 1:18.</ref> | + | |
| - | * "[[13th August(instrumental)|13th August]]" by [[FromUz]] (13/8)<ref>[http://www.kenwestphal.com/CDart/Overlook8-9.html FROMUZ - "Overlook" booklet], 8–9.</ref> | + | |
| - | * "The Façade" by [[Wavequation]] (13/8).<ref>[http://music.wavequation.com/track/the-fa-ade Wavequation track page]</ref> | + | |
| - | ===Partially in 13/4 or 13/8=== | + | |
| - | * "[[Metropolis Pt. 1: The Miracle and the Sleeper]]" by [[Dream Theater]]. Beginning of instrumental section in 13/8, broken down as 6/8 + 7/8, and later as 4/4 + 5/8.<ref name="dtrefs" /> | + | |
| - | * "Serenade" by [[Derek Bourgeois]]. The middle section is in 13/8.<ref name=reynish/> <ref name=howardpac/> | + | |
| - | * "Skimbleshanks" from [[Andrew Lloyd Webber]]'s musical ''[[Cats (musical)|Cats]]''. Introduction and chorus are in 13/8 (3+3+3+4). Verses in 4/4.<ref>Andrew Lloyd Webber, T. S. Eliot - "Cats" ''Hal Leonard'' (HL00359466), ISBN 0881884472</ref> | + | |
| - | * "[[Turn It on Again]]" by [[Genesis (band)|Genesis]]. The verses and choruses are in 13/8. Other parts are in 8/8, and 5/8.<ref>Genesis 2001, {{Page needed|date=June 2010}}.</ref> | + | |
| - | + | ||
| - | ==15/8 or 15/16== | + | |
| - | See also: See [[Quintuple meter]] | + | |
| - | * "Chionoblepharou pater Aous" [Father of the bright-eyed Dawn], Hymn to the Sun, by [[Mesomedes|Mesomedes of Crete]] (15/8, grouped 2+2+2+2+2+3+2)<ref>Davison and Apel 1974, 9; Pöhlmann and West 2001, 96–99.</ref> | + | |
| - | * "Malibu Shuffle" for jazz band, by Wayne L. Perkins (15/8).<ref>Perkins 2000, 2:18–40 (score).</ref> | + | |
| - | * "Perpetuum Mobile" by the [[Penguin Cafe Orchestra]] (15/8)<ref>{{cite |first=Arthur |last=Jeffes |title=BBC Proms programme notes, 2010 season concert 73 |date=2010-09-08 |publisher=BBC}}</ref> | + | |
| - | + | ||
| - | ===Partially in 15/4, 15/8, or 15/16=== | + | |
| - | * "Andante grazioso", third movement of Trio No. 3 for Piano, Violin, and Violoncello, op. 101, by [[Johannes Brahms]]. Central section in 15/8 with 9/8 turnarounds, main (outer) sections in 7/4 (notated as a recurring 3/4 + 2/4 + 2/4), concluding eight-bar coda in 9/8.<ref>Brahms 1972, 134–37 of the score (= piano part).</ref> | + | |
| - | * "[[A Change of Seasons (song)|A Change of Seasons]]" by [[Dream Theater]]. First verse in 15/8 broken down as 3/4 + 9/8, second verse in 15/8 broken down as 6/8 + 6/8 + 3/8.<ref name="dtrefs" /> | + | |
| - | * "Fêtes", no. 2 from ''Nocturnes'', by [[Claude Debussy]].<ref>Claude Debussy, ''Trois nocturnes: (original version, 1899)'', edited by Robert Grossman and Clinton F. Nieweg (Boca Raton, Fla.: Edwin F. Kalmus, 1990):19–71. Passage "Un peu plus animé", beginning at rehearsal 2 (pp. 24–26), has pairs of bars of 15/8, interspersed with bars in 9/8 time.</ref> | + | |
| - | * ''Frontispice'', for two pianos (five hands), by [[Maurice Ravel]].<ref name="ReferenceA">"In the published score, five staves, ‘progressing’ vertically from flats through naturals to sharps, are played by five hands (three players) in metres of 15/8 (i.e., 3 × 5; 3 + 5) and 5/4" (Mawer 2000, 53); Ravel 1975.</ref> | + | |
| - | * ''Robert Browning Overture'', by [[Charles Ives]] includes measures in 15/16 time.<ref>Read 1964, 157.</ref> | + | |
| - | * String Quartet No. 1 (1950–51), by [[Elliott Carter]] includes measures in 15/16 time.<ref>Read 1964, 157.</ref> | + | |
| - | * String Quartet No. 1 (1949), by [[Leon Kirchner]] includes measures in 15/16 time.<ref>Read 1964, 157.</ref> | + | |
| - | * String Quartet No. 2 (1959), by [[Elliott Carter]] includes measures in 15/16 time.<ref>Read 1964, 157.</ref> | + | |
| - | * "[[Tubular Bells]]" by [[Mike Oldfield]]. The first riff in 15/8 is made of two bars. The first bar is in 7/8, the second bar is in 8/8.<ref>{{Cite book| last = Oldfield| first = Mike| title = Changeling - Autobiography of Mike Oldfield| publisher = Virgin Books| isbn = 978-1852273811| year = 2007| page = 111}}</ref> | + | |
| - | + | ||
| - | ==17/4 or 17/8== | + | |
| - | * "[[(Theme from) Valley of the Dolls]]" by [[Andre Previn]] and [[Dory Previn]]. Verse changes every measure 4/4 + 3/4 + 2/4 + 4/4 + 4/4 <ref>http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0035333#</ref> | + | |
| - | ===Partially in 17/4 or 17/8=== | + | |
| - | * "Seconds" by [[Burt Bacharach]] and [[Neil Simon]] ends in 17/8.<ref>http://www.youtube.com/watch?v=jAl6vvjEA_w {{Verify credibility|date=September 2010}}<!--Video advertisement and a Youtube posting as well. Is this a credible source?--></ref> | + | |
| - | + | ||
| - | ==18/8 or 18/16== | + | |
| - | * "Only 18" by [Peter Boyd] on "Time to Gather Seeds" by The Limelighters 1968. www.yangna.org under "More Songs" | + | |
| - | * "Birds of Fire" by [[Mahavishnu Orchestra]]. Guitar plays 5+5+5+3 while drums play 6+6+6. Violin from time to time plays 3+3+2+3+3+2+2.<ref name="mahavishnu">John McLaughlin, ''John McLaughlin and the Mahavishnu Orchestra: John McLaughlin's Scores to 28 Classic Recordings'' (Van Nuys: Alfred Publishing, 2006).{{Citation needed|date=March 2008}}<!--This book has got 152 pages in it—surely this one song or the documentation of its meter doesn't occupy all of them!--> ISBN 0739042556</ref>. | + | |
| - | * "Moderato", no. 2 (1909) from ''Four Etudes'', op. 2, by [[Sergei Prokofiev]] (18/8 in one hand against 4/4 in the other).<ref>Prokofiev 1955, 1:9–14.</ref> | + | |
| - | * "Variatio 26, a 2 Clav.", from the ''Clavierübung'', Vierter Theil, ''Aria mit 30 Veränderungen'' ["[[Goldberg_Variations#Variatio_26._a_2_Clav.|Goldberg Variations]]"], by [[Johann Sebastian Bach]]. (18/16 in one hand against 3/4 in the other, exchanging hands at intervals until the last five bars where both hands are in 18/16).<ref>Bach 1968, 98–99.</ref> | + | |
| - | + | ||
| - | ==19/4, 19/8, or 19/16== | + | |
| - | * "Celestial Terrestrial Commuters" by [[Mahavishnu Orchestra]].<ref name="mahavishnu" />{{Page needed|date=March 2008}}<!--Like the other ref(s) to this book, this needs a page number or numbers--> | + | |
| - | * ''Consort for Piano and Strings'' by [[John Vincent (composer)|John Vincent]].<ref>Read 1964, 159.</ref> | + | |
| - | * "19 Days" by [[Gavin Harrison]].<ref>Bernhard Castiglioni ''[http://www.drummerworld.com/Videos/gavinharrison2.html Gavin Harrison Part II (video)]''. Videos and Pictures from the Musikmesse Frankfurt 2007. www.drummerworld.com (Accessed 6 June 2010).</ref> | + | |
| - | * "She's Only 19" by Wayne L. Perkins (19/4).<ref>Perkins 2000, 2:1–17 (score).</ref> | + | |
| - | * "33 222 1 222" by [[Don Ellis]] (19/4).<ref>Fenlon 2002, 112–13.</ref> | + | |
| - | + | ||
| - | ==20/4 or 20/8== | + | |
| - | ===Partially in 20/4 or 20/8=== | + | |
| - | * "Deux moulins", from ''Airs a III. IIII. V. et VI. parties'' (première livre, 1608) by [[Claude Le Jeune]] (third section, Chant à 3, is barred as 20/4; the rest of the piece is in 21/4).<ref name="Le Jeune 1951–59, 1:32–33">Le Jeune 1951–59, 1:32–33.</ref> | + | |
| - | * "Sensus spei", part 2 of "De Elegia Tertia" from ''Threni, id est Lamentationes Jeremiae Prophetae'', by [[Igor Stravinsky]] (bar 4 is in 20/8 time).<ref>Read 1964, 160; Stravinsky 1958, 29.</ref> | + | |
| - | + | ||
| - | ==21/4, 21/16, or 21/32== | + | |
| - | See also: [[Septuple meter]] | + | |
| - | ===Partially in 21/4, 21/16, or 21/32=== | + | |
| - | * "Deux moulins", from ''Airs a III. IIII. V. et VI. parties'' (première livre, 1608) by [[Claude Le Jeune]] (first two sections, Rechant à 3 and Réprise à 5, are barred as 21/4; the last section of the piece is in 20/4).<ref name="Le Jeune 1951–59, 1:32–33"/> | + | |
| - | * "Keep It Greasy" by [[Frank Zappa]] (On the studio album, first verse and guitar solo are counted in 19/16 and another part is in 21/16).<ref name="colaiuta">[[Vinnie Colaiuta]], interviewed by Robyn Flans. ''Modern Drummer'' (November 1982). http://www.vinniecolaiuta.com/articles/moderndrummer82.aspx.</ref> | + | |
| - | * ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. Bars 6, 17, 120, and 149 are in 21/8 time.<ref>Stockhausen 1967, 1, 6, and 7.</ref> | + | |
| - | * Sonata for Cello and Piano (1948), by [[Elliott Carter]], includes 21/32 time.<ref>Read 1964, 156.</ref> | + | |
| - | + | ||
| - | ==22/8== | + | |
| - | * "The First Circle" from the album ''[[First Circle (album)|First Circle]]'' by the [[Pat Metheny Group]]. Composed by [[Pat Metheny]] and [[Lyle Mays]].<ref>[http://www.allaboutjazz.com/iviews/lmays2.htm Interview with Lyle Mays] by Mike Brannon for allaboutjazz.com, May 2001. "'First Circle' does have a little different kind of time signature. We called it 22/8…You could think of it as a bar of 12 and a bar of 10."</ref> | + | |
| - | + | ||
| - | ==24/1 or 24/16== | + | |
| - | * "Brobdingnagische Gigue", from ''Intrada, nebst burlesquer Suite'', for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann.<ref>Telemann 1728, 37; Telemann 1970, 14–15; Zohn 2004, 247: "the ‘Brobdingnagische Gigue’—no doubt inspired | + | |
| - | by the English jig Gulliver plays with great effort on a sixty-foot spinet—is danced in giant steps, trudging along in twenty-four semibreves to the bar."</ref> | + | |
| - | * "Prelude no. 15" from the ''[[Well-Tempered Clavier]]'' by [[Johann Sebastian Bach]] is in 24/16<ref>Read 1964, 158.</ref> | + | |
| - | + | ||
| - | ==25/8== | + | |
| - | * "How's This for Openers?" by [[Don Ellis]] (25/8).<ref>Fenlon 2002, 90 & 102–106.</ref> | + | |
| - | + | ||
| - | ==32/8== | + | |
| - | ===Partially in 32/8=== | + | |
| - | * "Variations for Trumpet" by [[Don Ellis]] has one section in 32/8.<ref>Fenlon 2002, 40.</ref> | + | |
| - | + | ||
| - | ==33/8== | + | |
| - | *"Bulgarian Bulge" by [[Don Ellis]] (33/8).<ref>Fenlon 2002, 41; Fienberg 2004, 228–29 & 231–32.</ref> | + | |
| - | + | ||
| - | ==34/8== | + | |
| - | ===Partially in 34/8=== | + | |
| - | * ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. The last two bars are in 34/8 time.<ref>Stockhausen 1967, 7.</ref> | + | |
| - | + | ||
| - | ==42/8== | + | |
| - | ===Partially in 42/8=== | + | |
| - | * ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. Bar 3 is in 42/8 time.<ref name="stockhausen1">Stockhausen 1967, 1.</ref> | + | |
| - | + | ||
| - | ==59/48== | + | |
| - | ===Partially in 59/48=== | + | |
| - | *''Evol'' by [[Damian LeGassick]] alternates a rhythm notated as five beats in the time of seven with another in 59/48 time.<ref>Gilmore 1994, 4.</ref> | + | |
| - | + | ||
| - | ==87/8== | + | |
| - | ===Partially in 87/8=== | + | |
| - | * ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. Bar 2 is in 87/8 time.<ref name="stockhausen1" /> | + | |
| - | + | ||
| - | ==142/8== | + | |
| - | ===Partially in 142/8=== | + | |
| - | * ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. Bar 1 is in 142/8 time.<ref name="stockhausen1" /> | + | |
| - | + | ||
| - | ==Unusual time signature combinations== | + | |
| - | * "Autopsy," from [[Fairport Convention]]'s album ''[[Unhalfbricking]]'', switches between 5/4, 3/4 and 4/4.<ref> Pamela Winters, "[http://www.pastemagazine.com/articles/2003/06/richard-thompson.html Richard Thompson: Plunging the Knife in Deeper]", ''Paste Magazine'' (9 June 2003).</ref> | + | |
| - | * "Bastard" by [[Ben Folds]]. A combination of the time signatures 4/4, 3/2, 7/4, 6/4, 3/4, and 5/4.<ref>Ben Folds-"Songs for Silverman, piano/vocal transcriptions [[Hal Leonard Corporation]]{{Citation needed|date=March 2008}}<!--Place, year, page numbers?-->.</ref> | + | |
| - | * "Diary of a Madman" by [[Ozzy Osbourne]]. After an intro in 4/4, there's a theme in 9/8 and 8/8, ending in 6/8. The verse is in 7/4. the chorus in 6/8. See also [[#Partially_in_7.2F4_or_7.2F8]]. <ref>Guitar April 1998, ""Diary of a madman"". Transcribed by Jeff Jacobson.{{Full|date=June 2010}}<!--Presumably this is a magazine citation to something called ''Guitar'', published in April 1998. If so, at least the inclusive page numbers are needed. If it is a book, then the place and publisher are also needed.--></ref> | + | |
| - | * "Fish On" by [[Primus (band)|Primus]]. The intro has a free time feel, but is transcribed as: 4/4, 2/4, 4/4, 3/4, 4/4, 2/4, 4/4, 2/4, 7/8, 12/8, 14/8, 4/4, 4/4, 12/8 (7 times) and 6/8.<ref>Primus Anthology:A thru N: For guitar and bass / Primus; transcr. by Jeff Jacobsen. - New York: Cherry Lane; , pag. 21. 2000.</ref> | + | |
| - | * "A Headache And A Sixty-Fourth", from [[Ron Jarzombek]]'s album [[Solitarily Speaking Of Theoretical Confinement|Solitarily Speaking of Theoretical Confinement]], has a constant time signature pattern of 4/4 and 1/64.<ref>{{Cite web| url = http://www.ronjarzombek.com/headache.html| title = A Headache And A Sixty-Fourth| accessdate = 2010-08-21}}</ref> | + | |
| - | * "Here Comes the Sun", by The Beatles. The bridge can be transcribed as 11/8 + 4/4 + 7/8<ref>"The meters of these three measures are 11/8, 4/4, and 7/8, respectively. The special effect of running even eighth notes accented as if triplets against the grain of the underlying backbeat is carried to a point more reminiscent of Stravinsky than of the Beatles" (Alan Pollack's 'Notes On' series, [http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/hcts.shtml no. 183]).</ref> or 3/8 + 3/8 + 5/8 + 4/4 + 2/4 + 3/8<ref>As transcribed by Andy Adelort in Guitar World, January 1996 (Harris Publications, inc.){{Full|date=June 2010}}<!--Presumably this is a magazine citation to something called ''Guitar World''. If so, at least the inclusive page numbers are needed, and the author's (transcriber's) name should come first, then the title, then the magazine name and date. If it is a book, then the place and publisher are also needed.--></ref> | + | |
| - | * "[[Hey Ya!]]" by [[OutKast]]. Emulates 11/4<ref>{{Cite web| url = http://www.rollingstone.com/news/story/6596025/hey_ya| title = Hey Ya! - Outkast| work = [[Rolling Stone]]| date = 2004-12-09| accessdate = 2008-03-23}}</ref> by using a cadential six-[[bar (music)|measure]] [[phrase (music)|phrase]] consisting of three 4/4 measures, a 2/4 measure, and two 4/4 measures.<ref name="sheet">Sheet music for "Hey Ya!" [[Hal Leonard Corporation]], 2003.{{Citation needed|date=March 2008}}<!--Author, place of publication? Not only that, but 3× 4 + 2 + 2 × 4 = 22, not 11.--></ref> | + | |
| - | * "Limelight" by '[[Rush (band)|Rush]]. Intro is 4/4 and 3/4 alternating (can be transcribed as 7/4 therefore), verse is 3/4, 3/4, 4/4, 2/4, 4/4, 2/4, 3/4, 3/4, 4/4 (3 times). The chorus is 7 times 3/4, 3 times 4/4.<ref>Guitar School March 1994, ""Geddy Lee Bass Clinic""{{Full|date=June 2010}}<!--Presumably this is a magazine citation to something called ''Guitar School March'', published in 1994. If so, at least the inclusive page numbers are needed. If it is a book, then, the place and publisher are also needed. In either case, the author's name should come first, then the title, etc.--></ref> | + | |
| - | * "On the Floor" by [[Maartin Allcock]]. A tune where passages of mixed time signatures (5/4, 4/4, 3/4, 6/8, 6/4, 7/4 - with no more than two consecutive bars in the same time) alternate with longer passages in 4/4.<ref>{{Cite book|title=Fairport Convention Songbook 2 |editor-last=Allcock |editor-first=Maartin |publisher=Woodworm Music |year=1998 |page=81 }}</ref> | + | |
| - | * "Physical Cities" by [[The Bad Plus]]. Alternates between 5/16, 3/4 and 10/8.<ref>{{Cite web| url = http://oddtimeobsessed.blogspot.com/2008/01/bad-plus-prog-cd-review.html| title = The Bad Plus – Prog CD Review| work = Odd Time Obsessed| date = 2008-01-27| accessdate = 2009-01-18}}</ref> | + | |
| - | * "[[The Dance of Eternity]]" by [[Dream Theater]]. This instrumental contains mixtures of faster and slower beat groupings in 8, 7, 6, 5, and 4. It goes through 104 time signature changes in just over six minutes.<ref>{{Cite web| url = http://www.youtube.com/watch?v=H7jikeIyKaE| title = Mike Portnoy - The dance of eternity time signature & solo 1| accessdate = 2009-02-28}}</ref> | + | |
| - | * "The Eynsham Poacher", a traditional song; in the arrangement by [[Dave Pegg]], most of the tune is in 12/8, but there are five other time signatures: several single bars at 9/8 occur in the refrain and elsewhere; the bridge has a six-bar phrase of three bars at 2/4, one at 6/8 then two more at 2/4; whilst the 9/8 finale includes one bar each of 1/4 and 4/4.<ref>{{Cite book|title=Fairport Convention Songbook 2 |editor-last=Allcock |editor-first=Maartin |publisher=Woodworm Music |year=1998 |pages=56–59 }}</ref> | + | |
| - | * "[[Jesus Christ Superstar (album)|Trial Before Pilate (Including the Thirty-Nine Lashes)]]", from the musical ''[[Jesus Christ Superstar]]'' by [[Andrew Lloyd Webber]], includes 4/4, 3/4, 5/8, 2/4, 6/8, 6/4, 5/4, 7/4, 7/8, and 2/8, and the time signature in the piece varies a total of 41 times.<ref>Lloyd Webber and Rice 1970.</ref> | + | |
| - | * "[[Schism (song)|Schism]]" by [[Tool (band)|Tool]] begins in six, moves to six-and-a-half, then, according to bassist [[Justin Chancellor]] "goes into all kinds of other times."<ref name="bassplayer052001">{{Cite journal| first = Scott| last = Shiraki| coauthors = Bradman, E.E.| year = 2001| month = May| title = Handy Man: How Justin Chancellor Frames Tool's Metal Madness| journal = Bass Player| url = http://www.basswriter.com/journalism/bpstories/Web-Chancellor.doc| accessdate=2007-05-02| pages = 6}}</ref> | + | |
| - | * "[[I Say a Little Prayer]]" by [[Dionne Warwick]] uses 10/4 for verses and 11/4 for its chorus.<ref>Sheet music, published by New Hidden Valley Music and Casa David, copyright 1966</ref> | + | |
| - | + | ||
| - | ==Unspecified time signatures== | + | |
| - | <!--********************************************************************************************** | + | |
| - | + | ||
| - | BEFORE YOU ADD ANY NEW SONGS, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE TIMING YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER! | + | |
| - | + | ||
| - | This section should only contain works that reliable sources identify as having an unusual time signature, but which do not mention exactly which time signature is used. | + | |
| - | + | ||
| - | *************************************************************************************************--> | + | |
| - | * "My Human Gets Me Blues" by [[Captain Beefheart & the Magic Band]] features a "complex time signature."<ref>{{Cite web| url = {{Allmusic|class=song|id=t2006601|pure_url=yes}}| title = My Human Gets Me Blues| work = [[Allmusic]]| last = Planer| first = Lindsay| quote = complex time signature| accessdate = 2008-03-23}}</ref> | + | |
| - | * "Prize" by [[Wanderlust (band)|Wanderlust]] features a "distinctive, unconventional time signature."<ref>{{Cite web| url = {{Allmusic|class=album|id=r212815|pure_url=yes}}| title = Prize| work = [[Allmusic]]| last = Parisien| first = Roch| quote = unconventional time signature| accessdate = 2008-03-23}}</ref> | + | |
| - | * "Wandering Child" by [[Gov't Mule]] features an "oddball time signature."<ref>{{Cite web| url = {{Allmusic|class=album|id=r464933|pure_url=yes}}| title = Life Before Insanity| work = [[Allmusic]]| last = Smith| first = Michael B.| quote = oddball time signature| accessdate = 2008-03-23}}</ref> | + | |
| - | + | ||
| - | ==See also== | + | |
| - | *[[Bulgarian dances]] | + | |
| - | *[[Greek dances]] | + | |
| - | **[[Ai Georgis]] | + | |
| - | **[[Kalamatianos]] | + | |
| - | **[[Karşılama|Karsilamas]] | + | |
| - | **[[Tsakonikos]] | + | |
| - | **[[Zeibekiko]] | + | |
| - | *[[Math rock]] | + | |
| - | *[[Meter (music)]] | + | |
| - | *[[Progressive rock]] | + | |
| - | *[[Time signature]] | + | |
| - | + | ||
| - | ==Notes and references== | + | |
| - | {{Reflist|2}} | + | |
| - | + | ||
| - | ==Bibliography== | + | |
| - | * Bach, Johann Sebastian. 1968. ''The Musical Offering [and] The "Goldberg Variations"''. Kalmus Study Scores no. 720. [N.p.]: Edwin F. Kalmus, Publisher of Music. Reprinted Melville, NY: Belwin Mills Publishing Corp. | + | |
| - | * Barber, Samuel. 1943. String Quartet, op. 11. G. Schirmer’s Edition of Study Scores of Orchestral Worls and Chamber Music 28. New York: G. Schirmer. | + | |
| - | * Bartók, Béla. 1940. ''Mikrokosmos: Progressive Piano Pieces = Pièces de piano progressives = Zongoramuzsika a kezdet legkezdetétöl'', 6 vols. New York and London: Boosey & Hawkes. | + | |
| - | *Bernstein, Leonard. 1993. ''The Age of Anxiety: Symphony No. 2'', for piano and orchestra, after W. H. Auden, revised version, full score, corrected edition. [New York]: Jalni Publications, Inc., Boosey & Hawkes. | + | |
| - | * Bernstein, Leonard. 1994. ''Candide: A Comic Operetta in Two Acts'', Scottish Opera edition of the opera-house version (1989). Book by Hugh Wheeler, based on the satire by Voltaire; lyrics by Richard Wilbur, with additional lyrics by Stephen Sondheim, John Latouche, Dorothy Parker, Lillian Hellman, and Leonard Bernstein; edited by Charles Harmon. [New York]: Jalni Publications, Inc.; Boosey & Hawkes. | + | |
| - | * Bois, Rob du. 1979. ''Concert voor twee violen en orkest''. Amsterdam: Donemus. | + | |
| - | * Borodin, Alexander Porfirevich. [n.d., ca. 1920]. ''Symphony No. 2'', revised and edited by Alexander Glazunov and Nikolai Rimsky-Korsakov. Leipzig: Ernst Eulenburg. [http://imslp.org/wiki/Symphony_No.2_%28Borodin%2C_Alexander_Porfirevich%29 IMSLP scans]. | + | |
| - | * Boulez, Pierre. 1957. ''Le marteau sans maître. Pour voix d'alto et 6 instruments. Poèmes de René Char''. Philharmonia Partituren/Scores/Partitions no. 398. Vienna and London: Universal Edition. | + | |
| - | * Brahms, Johannes. 1972. ''Trios, für Klavier, Violine und Violoncello'', nach Eigenschriften, Erstausgaben und Handexemplaren des Komponisten hrsg. von Ernst Herttrich; Fingersatz der Klavierstimme von Hans-Martin Theopold. Munich: G. Henle Verlag. | + | |
| - | * Britten, Benjamin. 1945a. ''Old Joe Has Gone Fishing''. London: Boosey & Hawkes. ISMN 9790060014864 | + | |
| - | * Britten, Benjamin. 1945b. ''Passacaglia'', opus 33b, frm the opera ''Peter Grimes''. London: Boosey & Hawkes. | + | |
| - | * Britten, Benjamin. 1946. ''Quartet No. 2 in C'', op. 36. London: Boosey & Hawkes. | + | |
| - | * Britten, Benjamin. 1956. ''Canticle III ('Still Falls the Rain')'', op. 55, for tenor, horn, and piano. Words by Edith Sitwell. London, Paris, Bonn, Cape Town, Sydney, Toronto, Buenos Aires, New York: Boosey & Co., Ltd. | + | |
| - | * Copland, Aaron. 1945. ''Appalachian Spring (Ballet for Martha)''. Hawkes Pocket Scores 8. London: Boosey & Hawkes. | + | |
| - | * Davison, Archibald T., and Willi Apel (eds.). 1974. ''Historical Anthology of Music'', vol. 1: Oriental, Medieval and Renaissance Music. Revised edition. Cambridge: Harvard University Press. ISBN 0-674-39300-7 | + | |
| - | * Doe, Paul (ed.). 1988. ''Elizabethan Consort Music: II''. Musica Britannica 45. London: Stainer and Bell, published for the Musica Britannica Trust. | + | |
| - | * Eddie, William Alexander. 2007. ''Charles Valentin Alkan: His Life and His Music''. Aldershot, England; Burlington, Vermont: Ashgate. ISBN 184014260X | + | |
| - | * Fenlon, Sean. 2002. "The Exotic Rhythms of Don Ellis". DMA diss. Baltimore: Johns Hopkins University, Peabody Institute. ISBN 0-493-60448-0. | + | |
| - | * Fienberg, Gary Andrew. 2004. "It Doesn't Have to Be Sanctified to Swing: A Musical Biography of Don Ellis". PhD diss. Pittsburgh: Carnegie Mellon University. ISBN 0-496-86817-9. | + | |
| - | * Fujita, Tetsuya, Yuji Hagino, Hajime Kubo, and Goro Sato (transcribers). 1993. ''The Beatles Complete Scores''. London: Hal Leonard Publishing Corporation. ISBN 0-7935-1832-6 | + | |
| - | * Genesis (musical group). 2001. ''Anthology''. Milwaukee: Hal Leonard. ISBN 0-634-02063-3. | + | |
| - | * Genesis (musical group). 2002. ''Genesis Guitar Anthology''. Hal Leonard Guitar Recorded Version. [United States]: EMI Music Pub.; Milwaukee: Hal Leonard Corporation. ISBN 0-634-02067-6. | + | |
| - | * Gilmore, Bob. 1994. "Icebreaker". Liner notes to ''Icebreaker: Terminal Velocity''. Argo 443 214-2. CD recording. London: The Decca Record Company Limited. | + | |
| - | * Ginastera, Alberto. 1946. ''12 American Preludes (Doce Preludios Americanos)'', 2 vols. New York: Carl Fischer. | + | |
| - | * Ginastera, Alberto. 1955. ''Estancia: Ballet in One Act and Five Scenes''. Reduction for piano. Buenos Aires: Barry Editorial, Com., Ind., S. R. L.; [n.p.]: Boosey & Hawkes. | + | |
| - | * Ginastera, Alberto. 1974. ''Harp Concerto'', opus 25. Hawkes Pocket Scores 1185. London: Boosey & Hawkes. | + | |
| - | * Gutmann, Peter. 2003. "[http://www.classicalnotes.net/classics/pathetique.html Peter Ilyich Tchaikovsky: Symphony #6 ("Pathetique")]" ''Classical Notes'' (accessed 2008-03-23). | + | |
| - | * Hansell, Sven, and Carlida Steffan. 2001. "Adolfati, Andrea". ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan. | + | |
| - | * Helmore, Rev. Thomas. 1879. "Accent". ''[http://books.google.com/books?id=Y0sPAAAAYAAJ A Dictionary of Music and Musicians (A.D. 1450-1889) by Eminent Writers, English and Foreign]'', 2 vols, edited by George Grove, 1:12–18. London: Macmillan. | + | |
| - | * Hiley, David. 2001. “Quintuple Metre”. ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell, vol. 20:682–83. London: Macmillan. | + | |
| - | * Holst, Gustav. 1973. ''Double Concerto'', op. 49, for two violins and orchestra. Revised edition by Imogen Holst. London: Curwen Edition, Faber Music Ltd.; New York: G. Schirmer Inc. First published in 1930 by J Curwen & Sons Ltd. | + | |
| - | * Holst, Gustav. 1977. ''A Choral Fantasia'', op. 51, edited by Imogen Holst. London, Zürich, Mainz, and New York: Ernst Eulenburg Ltd. | + | |
| - | * Holst, Gustav. 1979. ''The Planets: Suite for Large Orchestra'', op. 32. New edition prepared by Imogen Holst and Colin Matthews. Hawkes Pocket Scores 22. London: Boosey & Hawkes. | + | |
| - | * Howard, Patricia. 1969. ''The Operas of Benjamin Britten: An Introduction''. New York and Washington: Frederick A. Praeger, Publishers. | + | |
| - | * Le Jeune, Claude. 1951–59. ''Airs (1608)'', edited by D. P. Walker, with an introduction by Francois Lesure and D. P. Walker, 4 vols. in 3. Publications of the American Institute of Musicology: Miscellanea 1. Rome: American Institute of Musicology. | + | |
| - | * Ligeti, György. 1973. ''Sechs Bagatellen für Bläserquintett'' (Five parts: flute, oboe, clarinet in B-flat, horn in F, bassoon). Mainz and New York: Schott. | + | |
| - | * Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1970. ''Jesus Christ Superstar'', vocal score, selections. New York: Universal—MCA Music Pub.; Miami: Warner Bros. Publications. ISBN 088188541X | + | |
| - | * Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1979. ''Evita'', vocal score, selections. Melville, N.Y.: Leeds Music Corp—sole selling agent, MCA Music. | + | |
| - | * [[Hugh Macdonald|Macdonald, Hugh]]. 2001. "Alkan [Morhange], (Charles-)Valentin". ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan. | + | |
| - | * Mawer, Deborah. 2000. “Musical Objects and Machines”. In ''The Cambridge Companion to Ravel'', edited by Deborah Mawer, 47–70. Cambridge: Cambridge University Press. ISBN 0-521-64026-1 (cloth) ISBN 0-521-64856-4 (pbk) | + | |
| - | * Mussorgsky, Modest Petrovich. 1914. ''Tableaux d'une exposition (Pictures at an Exhibition): 10 Pieces for Piano'', edited by O. Thümer. [N.p.]: Augener; London: Stainer and Bell Ltd; New York: Galaxy Music Corporation. | + | |
| - | * Nice, David. 2003. ''Prokofiev: From Russia to the West, 1891–1935''. New Haven and London: Yale University Press. ISBN 0-300-09914-2 | + | |
| - | * Nilsson, Bo. 1958. ''Mädchentotenlieder'', Faksimilepartitur. Vienna, Zürich, and London: Universal Edition. | + | |
| - | * Perkins, Wayne L. 2000. "Don Ellis' Use of 'New Rhythms' in His Compositions : ''The Great Divide'' (1969), ''Final Analysis'' (1969) and ''Strawberry Soup'' (1971)" (vol. 1); "Original Compositions: ''She's Only 19'' (1999), ''Malibu Shuffle'' (1999) and ''Cruisin' P.C.H.'' (1999)" (vol. 2). Ph.D. diss. Los Angeles: University of California Los Angeles. | + | |
| - | * Pöhlmann, Egert, and Martin L. West. 2001. ''Documents of Ancient Greek Music: The Extant Melodies and Fragments Edited and Transcribed with Commentary''. Oxford: Clarendon Press. ISBN 9780198152231 | + | |
| - | * Pope, Isabel, and Tess Knighton. 2001. "Fernández, Diego". ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan. | + | |
| - | * Prokofiev, Sergei. 1926. ''Сказка, Шутка, Марш, Призрак [Skazka, Shutka, Marsh, Prizrak]. (Conte, Badinage, Marche, Fantôme), op. 3'', для фортепяно. Moscow: Gos. izd-vo, Muzykal’nyi sektor. | + | |
| - | * Prokofiev, Sergei. 1955. ''Sobranie sochinenii'' [Собрание сочинений, "Collected Works"], 20 vols. Moscow: Gos. Muzykalnoe Izd-vo. | + | |
| - | * Ravel, Maurice. 1934. ''Don Quichotte a Dulcinée''. Paris: Editions Durand. | + | |
| - | * Ravel, Maurice. 1975. ''Frontispice: [pour S. P. 503 (poème du Vardar) de R. Canudo]: deux pianos [cinq mains]''. Paris and New York: Éditions Salabert. | + | |
| - | * Read, Gardner. 1964. ''Music Notation: A Manual of Modern Practice''. Boston: Alleyn and Bacon, Inc. | + | |
| - | * Richards, Paul. 1987. “Africa in the Music of Samuel Coleridge-Taylor”. ''Africa: Journal of the International African Institute'' 57, no. 4 (“Sierra Leone, 1787-1987”): 566–71. | + | |
| - | * Shostakovich, Dmitri. 1983. ''Sobranie sochinenii tom 13'' [Собрание сочинений том 13, Collected works volume 13], Izdatelstvo "Muzyka" Moskva. | + | |
| - | * Stockhausen, Karlheinz. 1967. ''Nr. 4: Klavierstück IX''. London: Universal Edition. (UE 13675e) | + | |
| - | * Strait, Thomas John. 2000. "The Rhythmic Innovations of Don Ellis: An Examination of Their Origins as Found in His Early Works". DMA diss. Greeley: University of Northern Colorado. ISBN 978-0-599-79347-7. | + | |
| - | * Stravinsky, Igor. 1958. [[Threni (Stravinsky)|''Threni, id est Lamentationes Jeremiae Prophetæ'']]. Hawkes Pocket Scores 709. London: Boosey & Hawkes. | + | |
| - | * Telemann, Georg Philipp (ed.). 1728. ''Der getreue Music-Meister''. Hamburg: [Telemann]. Facsimile reprint, Basel: Musica Musica, [n.d.]. | + | |
| - | * Telemann, Georg Philipp. 1970. ''Drei Duette für zwei Melodie-Instrumente''. Hortus Musicus 11, edited by Dietz Degen. Kassel: Bärenreiter. | + | |
| - | * Tschaikowsky, Peter Ilich. [n.d.]. ''Symphony No. 6 (Pathétique) in B Minor, Op. 74''. New York: M. Baron Co. | + | |
| - | * Tye, Christopher. 1967. ''The Instrumental Music'', edited by Robert W. Weidner. Recent Researches in the Music of the Renaissance 3. New Haven: A-R Editions. | + | |
| - | * Villa-Lobos, Heitor. 1969. ''Bachianas brasileiras no. 9, pour orchestre à cordes''. Paris: Editions Max Eschig. | + | |
| - | * Waugh, Ian. 2003. "[http://www.musictechmag.co.uk/mtm/download/time-signatures Ten Minute Master No. 6: Time Signatures]". ''Music Tech Magazine'' (May): 76–77. | + | |
| - | * Wiehmayer, Theodor. 1917. ''Musikalische Rhythmik und Metrik''. Magdeburg: Heinrichshofen’s Verlag. | + | |
| - | * Zohn, Steven. 2004. "The ''Sonate auf Concertenart'' and Conceptions of Genre in the Late Baroque". ''Eighteenth-Century Music'' 1, no. 2:205–47. | + | |
| + | == Other == | ||
| + | * (1957) [[Overture to Candide]] by [[Leonard Bernstein]]. This piece changes time signatures so rapidly that there is not a consensus as to what time signature it is actually in. | ||
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Current revision
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Featured: |
List of works in irregular time signatures.
Some examples of musical compositions or pieces in Western music are:
Contents |
[edit]
5/4 or 5/8
also known as "quintuple meter", grouped as either (3+2) or (2+3)
- (1893) "Pathetique Symphony" by Tchaikovsky (second movement)
- (1909) "Isle of the Dead" by Sergei Rachmaninoff
- (1916) "Mars" by Gustav Holst (from The Planets)
- (1916) "Neptune" by Gustav Holst (from The Planets)
- (1939) "Sonata Mexicana" by Manuel Ponce (the slow movement)
- (1959) "Take Five" by The Dave Brubeck Quartet (from Time Out
- (1966) "Mission: Impossible Theme Song" by Lalo Schifrin 1
- (1972) "Living in the Past" by Jethro Tull
- (1981) "YYZ" by Rush (the intro only)
- (1981) "Face Dances Part Two" by Pete Townshend
- (1981) "Five, five, five" by Frank Zappa
- (1993) "Seven Days" by Sting
- (1990s) "Kagura's Theme" from InuYasha by Kaoru Wada.
- (2001) "The Grudge" by Tool
- (2002) "Harbor" by Vienna Teng (It also moves into 7/8 at times)
1 The theme songs from the M:I feature films (1996 and 2000) use 4/4 by repeating the first three beats of the bass line twice, holding melody notes during that period, and halving each note's duration.
[edit]
7/4
septuple meter
- (1973) "Money" by Pink Floyd
- (1974) "Lion Tamer" by Stephen Schwartz (from the musical The Magic Show)
- (1976) "Solsbury Hill" by Peter Gabriel
- (2002) "The Sound of Muzak" by "Porcupine Tree"
[edit]
7/8
septuple meter, usually 2+2+3
- (1959) "Unsquare Dance" by Dave Brubeck
- (1967) "All You Need Is Love" by John Lennon (features a changing meter, 7/4 and 4/4 for the verses, 4/4 for the choruses)
- (1974) "Yellow Snow" by Frank Zappa
- (1977) "Xanadu" by Rush (constantly changing from 7/8 to 4/4]
- (1984) "AC/DC" from Andrew Lloyd Webber's musical Starlight Express
- (1984) "The Attitude Song" by Steve Vai
Steve's heavy guitar riff is in 7/8 while the band plays a solid 4/4 beat underneath
- (1984) Theme Music from The Bill (featured theme music in 7/4 for many years until it was remixed. Another mix has subsequently been produced which again uses 7/4)
- (1986) "Hello Radio" by They Might Be Giants
- (1993) "The Munificent Seven" by Sting
- (1993) "Saint Augustine in Hell" by Sting
- (1996) "I Was Brought to My Senses" by Sting
- (1998) "Dreaming Tree" by Dave Matthews Band
- (1999) "Rendez-vous 6:02" by UK
- (2003) Einstein-Rosen Bridge and Abomination Street by Venetian Snares
- (2003) "Gravity" by A Perfect Circle (verses and choruses in 3+3+1/8, changes to 5/4 in the bridge, and finally to 4/4 for the final chorus)
[edit]
10/4
- (1965) Chichester Psalms's final movement by Leonard Bernstein (3+2+3+2, written with a dotted barline in the middle)
- (1969) "River Man" by Nick Drake
[edit]
10/8
(expressed as 3+3+2+2)
- (1972) "Thick as a Brick" (excerpts) by Jethro Tull
- (2001) "The Patient" by Tool
- (1973) "The Dance of Maya" by Mahavishnu Orchestra
[edit]
11/8
- (1977) "Cygnus X-1" by Rush (parts, written in 3+3+3+2)
- (1983) "Tink Walks Amok" by Frank Zappa (bass part is 4+4+3)
[edit]
11/4
[edit]
13/8
- (1981) "Skimbleshanks" from Andrews Lloyd Webber's musical Cats
- (1982) "Golden Brown" by The Stranglers. This piece shifts between a compound duple or compound triple (6/8 or 12/8) and a 13/8 signature.
- (1992) "Thirteen" by Frank Zappa. Played as 4/4 & 5/8.
[edit]
13/16
- (2002) "Interlude In Milan" by Planet X
[edit]
14/4
- (1959) "Three To Get Ready" by Dave Brubeck Quartet from [[Time Out (album)}Time Out]] (two bars of 3/4 followed by two bars of 4/4, consistently through the piece)
[edit]
15/4
- (1980) "The Wait" by The Pretenders
- (1973) "Dawn" by Mahavishnu Orchestra
Modulates to 15/8 & 15/16 as well
[edit]
9/8
expressed as 3+3+3
- (1878) Symphony No. 4 in F Minor, Op. 36 (First movement, central section), by Tchaikovsky
- (1897) "The Sorcerer's Apprentice" by French composer Paul Dukas
expressed as 3+2+4
- (1972) "Supper's Ready" by Genesis (from Foxtrot, the "Apocalypse in 9/8" section)
- (1996) "I Hung My Head" by Sting from Mercury Falling
expressed as 2+2+2+3 (used in the Turkish rhythm karşılama)
- (1959) "Blue Rondo a la Turk" by The Dave Brubeck Quartet (from Time Out)
[edit]
14/16
- (1979) "Mad Rush" by Philip Glass
[edit]
18/8
- (1973) "Birds of Fire" by Mahavishnu Orchestra
expressed on guitar as 5+5+5+3 while drums play a steady 6+6+6
[edit]
19/16
- (1979) "Keep It Greasy" by Frank Zappa
Expressed as a measure of 4/4 with three 16ths tacked on the end, or 4+4+4+4+3
[edit]
Other
- (1957) Overture to Candide by Leonard Bernstein. This piece changes time signatures so rapidly that there is not a consensus as to what time signature it is actually in.
Unless indicated otherwise, the text in this article is either based on Wikipedia article "List of musical works in unusual time signatures" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
