Wikipedia

List of musical works in unusual time signatures

This is an old revision of this page, as edited by 75.73.235.231 (talk) at 06:31, 9 October 2007. The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

This is a dynamic list of songs and may never be able to satisfy particular standards for completeness. You can help by expanding it with reliably sourced entries.

This list of musical compositions or pieces in Western music that have unusual time signatures is necessarily incomplete, and often subject to disagreement concerning the nature of time signatures.

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.

Some examples, listed by signature and year released, are:


5/4 or 5/8

Main article: List of musical works in 5/4 or 5/8 time

7/4 or 7/8

Main article: List of musical works in 7/4 or 7/8 time

9/4 or 9/8

(not simply compound triple meter)

Partially in 9/2

Partially in 9/4 or 9/8

  • (1958) "Blue Rondo à la Turk" by the Dave Brubeck Quartet, from the album Time Out - Played as 2+2+2+3 and 3+3+3, with some alternating sections of 4/4)[1]
  • (1970) "Now More than Ever" by Chicago - near the end of the song, the brass plays a march-like melody with alternating bars of 5/4 then 4/4.
  • (1971) "In Nomine Patris", 6th movement of Mass by Leonard Bernstein
  • (1972) "Dancing Madly Backwards (On A Sea Of Air)" by Captain Beyond - outro in 9/8
  • (1973) "Birds of Fire" by Mahavishnu Orchestra - theme and solos in 9/8 (subdivided 4+5 except for the drums, which have a 3+3+3 pattern)
  • (1974) "Day of The Eagle" by Robin Trower, certain sections in 4/4 but phrased as 9/8 + 7/8
  • (1975) "Scatterbrain" by Jeff Beck - intro and main riff are in 9/8
  • (1975) "Song for America" by Kansas - instrumental section in second half.
  • (1980) "Machine Messiah" by Yes - the middle instrumental break is in 9/4
  • (1982) "Grendel" by Marillion - penultimate movement of this 17:15 long song (a homage to Genesis' Supper's Ready section "Apocalypse in 9/8").
  • (1984) "En Force" by Queensrÿche - intro in 9/4, phrased as 4+4+1.
  • (1985) "Perfect Strangers" by Deep Purple - only the outro and bridge) Played as 4/4 & 5/4.
  • (1986) "Jesus Saves" by Slayer - 0:50 into the song.
  • (1987) "It's the End of the World as We Know It (And I Feel Fine)" by R.E.M. - intro only (4/4 + 5/4).
  • (1988) "Candle" by Sonic Youth - four measures of asymmetrically divided 9/8, 0:45 into the song, after the guitar intro.
  • (1990) "9 Over Reggae" by Jack DeJohnette and Pat Metheny (9/4)
  • (1991) "Refrigerator Car" by the Spin Doctors
  • (1991) "Why Go" by Pearl Jam - intro, 1 measure only
  • (1991) "No More Tears" by Ozzy Osbourne - outro only.
  • (1991) "Paragon Belial" by Darkthrone - intro only.
  • (1994) "5 Minutes Alone" by Pantera - verse
  • (1994) "Black Hole Sun" by Soundgarden - solo and outro in 9/8.
  • (1994) "She Likes Surprises" by Soundgarden
  • (1994) "Pretty Penny" by Stone Temple Pilots
  • (1995) "One Big Mob" by Red Hot Chili Peppers - outro
  • (1995) "The Gentle Art Of Making Enemies" by Faith No More
  • (1995) "Demanufacture" by Fear Factory
  • (1996) "Wind Below" by Rage Against the Machine
  • (1996) "Napalm Brain" by DJ Shadow
  • (1996) "Knotted Twig" by Skrew
  • (1997) "It's So You" by The Dismemberment Plan- 9/8 and 4/4 alternating.
  • (1997) "The Accolade" by Symphony X - intro in 9/8.
  • (1998) "Smoke And Mirrors" by Symphony X - pre-choruses contain pattern of three bars of 9/8 and one bar of 4/4.
  • (1998) "Roses in Water" by Sunny Day Real Estate - most of the verses
  • (1999) "Somewhat Damaged" by Nine Inch Nails - entire song except the outro which is in 4/4.
  • (2000) "The Face in the Embryo" by The Blood Brothers - parts in 9/4
  • (2001) "Fall" by American Head Charge - choruses in 9/4, the rest is in 4/4.
  • (2001) "Citizen Erased" by Muse band
  • (2001) "The One" by Shakira
  • (2002) "Gasoline" by Audioslave - end.
  • (2003) "The Crowing" by Coheed and Cambria - during the breakdown in the middle is in 9/4. Most of the song is 4/4 with the exception of 4/4, 4/4, 2/4 alternation just before 9/4 section.
  • (2003) "The Passage by Ephel Duath
  • (2003) "Oh Detroit, Lift Up Your Weary Head! (Rebuild! Restore! Reconsider!)" by Sufjan Stevens
  • (2003) "The Kids Are Going To Love It" by Million Dead - intro and verses.
  • (2003) "Panic Attack" by Finger Eleven - pre-Chorus.
  • (2004) "Open Your Eyes" by Brianna Cara
  • (2004) "Just Like the Movies" by Regina Spektor - most bars of verse in 9/8, some in 12/8.
  • (2004) "Paper Champion" by Oceansize - intro in 4/4.
  • (2004) "Some Sweet Nothingness" by Gruvis Malt - 1st verse in 6/8.
  • (2004) "A Bid Farewell" by Killswitch Engage
  • (2005) "Beast and the Harlot" by Avenged Sevenfold - intro and outro.
  • (2005) "Sister Jack" by Spoon - final 30 seconds.
  • (2005) "The Start of Something Beautiful" by Porcupine Tree [2]
  • (2006) "Colony of Birchmen" by Mastodon
  • (2006) "Jambi" by Tool - except guitar solo, which is in 6/4.
  • (2006) "10,000 Days (Wings Pt 2)" by Tool
  • (2006) "This Mute Tide" by Paper Champion - chorus.
  • (2006) "Everything" by Dawn Xiana Moon - bridge.
  • (2006) "Ocean in the Sky" by Flux - bridge.
  • (2006) "Assassin (Grand Omega Bosses) by Muse Band
  • (2006) "Tetragrammaton" by The Mars Volta - chorus.
  • (2007) "Imram" by Era Vulgaris- contains repeated theme which is altered from 4/4 base into 9/4 and subsequently 5/4 variations.
  • (2007) "Straight Lines" by Silverchair
  • (2007) "Humuhumunukunukuapua'a" by High School Musical 2
  • (2007) "Maria's Song" by Joy Mover

10/4

Partially in 10/4

  • (1971) "Perpetual Change" by Yes – the intro riff
  • (1981) "Camera Eye" by Rush
  • (1992) "Post Mortal Ejaculation" by Cannibal Corpse – One quite prominent, more higher pitched section is in 10/4
  • (1993) "Die Like Someone" by Eve's Plum (verse)
  • (1996) "Volcano" by The Presidents of the United States of America
  • (1998) "Skin" by Madonna
  • (2000) "Sparks Are Gonna Fly" by Catherine Wheel (4 + 4 + 2 through most of the song, small breaks of 4/4 and 6/4)
  • (2002) "Crying at the Aquarium" by The Octopus Project (all in 10/4 except for middle break in 4/4)
  • (2004) "Turn It Up" by Ashanti (some parts of the verse)
  • (2004) "Safety Train" by Gruvis Malt
  • (2004) "Alpha Beta Gaga" by Air. (whistle part only).
  • (2005) "Speak Easy" by 311 (verse only)
  • (2005) "Cygnus...Vismund Cygnus" by The Mars Volta. The last parts of the song ("Con Safo") with drums are in 10/4.

10/8

(sometimes written as 5/4, but expressed as 3+3+2+2 or 2+2+3+3)

Partially in 10/8

  • (1972) "Thick as a Brick" by Jethro Tull - excerpts.
  • (1980) "Touch and Go" by The Cars
  • (1981) "YYZ" by Rush - Morse Code intro in 10/8, phrased as (1st bar) 3/16 + 7/16 and (2nd bar) 4/16 + 4/16 + 2/16.
  • (1991) "No Pain For Cakes" by The Lounge Lizards - the middle of the song is in 10/8 (2-2-3-3)
  • (1992) "Split Open and Melt" by Phish - the chorus and Jam are in 10/8
  • (1994) "Endless Dream: Silent Spring" by Yes - piano intro in 10/8, 5/4 after band kicks in
  • (1996) "Time and Motion" by Rush - parts of the song follow a 10/8 section of 3-3-2-2 (though it is shown as 5/4)
  • (1997) "Running" by 311
  • (1999) "Just Like You Imagined" by Nine Inch Nails - entire song except intro (before the bass line begins), which is 4/4.
  • (2002) "Lies, Lies, Lies" by Toni Braxton - final part of the song.
  • (2003) "Childhood Dreams" by Nelly Furtado - alternates with 12/8.
  • (2003) "She's My Rushmore" by Every Time I Die - alternates with 9/8 and 4/4.
  • (2002) "Gravity Eyelids" by Porcupine Tree - the second half of the instrumental part starting at 5:12 is partially in 10/8 timing as well as a few other time signatures.
  • (2005) "Music for a Nurse" by Oceansize

Partially in 10/16

11/4

  • (1962) "Eleven Four" by the Dave Brubeck Quartet
  • (1982) "Dirt" by Mission of Burma. Can also be heard as a measure of 4/4, a measure of 3/4 and two measures of 2/4.
  • (2004) "Huge Chrome Peach" by Venetian Snares
  • (2005) "Happy Jammy" by Dave Holland Big Band
  • (2006) "Right In Two" by Tool (expressed as 3+3+3+2 in verses, 3+2+2+4 in chorus, and 3+2+3+3 in a section of the breakdown, where it could be said the song changes to 11/8))

Partially in 11/4

  • (1874) "Promenade" from Pictures at an Exhibition by Modest Mussorgsky. The first portion of the piece is written as an alternation of 5/4 and 6/4 bars. The Promenade is used many times in the suite in different forms. This rhythm applies to the first Promenade at the very beginning of the piece. The somewhat 'unsteady' rhythm has been interpreted as a musical interpretation of Mussorgsky's own unsteady gait.
  • (1967) "I Say A Little Prayer" by Burt Bacharach and Hal David, sung by Dionne Warwick - the chorus repeats 4+4+3.
  • (1968) "Spanish Caravan" by the Doors - opening part of electric guitar is 3+3+5
  • (1971) "Man Erg" by Van der Graaf Generator - the riff which comes after the first two verses is in 11/4 (5 + 6)
  • (1972) "Awakening" by Mahavishnu Orchestra - unison lick (4/4 + 7/8 + 7/8)
  • (1974) "The Gates of Delirium" by Yes - victory march theme, starting at 12'51" (4/4 + 4/4 + 3/4).
  • (1976) "Herandnu" (midsection and outro) by Weather Report
  • (1978) "Shadow Dancing" by Andy Gibb (break 6/4 + 5/4)
  • (1978) "Incantations part 1" by Mike Oldfield - opening and closing theme is 6+5
  • (1980) "Does it Really Happen" by Yes chorus is 3+3+5, rest of the song is in 4/4.
  • (1987) "I'm Running" by Yes
  • (1989) "Nothingface" by Voivod
  • (1995) "Titanic" by Tidal Wave - main riff
  • (1998) "Freedom Of Speech" by Liquid Tension Experiment
  • (1998) "Paradigm Shift" by Liquid Tension Experiment - middle section and ending
  • (2001) "City of Angels" by the Flower Kings. The first half of the song is in 11/4, the remainder is in 3/4.
  • (2001) "Jove malle de Mone / Feed Your Mama's Meter (Remix 2001)" by Estradasphere (5/4 + 6/4)
  • (2003) "Stream of Consciousness" by Dream Theater
  • (2004) "A Great Work of Fiction" by Gruvis Malt
  • (2004) "There will be no morning copy" by Clann Zu The first half of the song is in 11/4
  • (2004) "You Should Be Ashamed, Seamus" by McLusky The ending only which has a bar in 5/4 followed by a bar in 6/4
  • (2005) "Take, Take, Take" The White Stripes (chorus only)
  • (2006) "Mudlark" by Kill Your Ex has a part grouped in 5/4 + 6/4
  • (2007) "Guys Like Me" by Eric Church - intro and verse
  • (2007) "High Maintenance Woman" by Toby Keith - verse
  • (2007) "Constant Motion" by Dream Theater

11/8

Partially in 11/8

  • (1969) "Whipping Post" by The Allman Brothers Band - intro and post-choruses in 11/8, rest of song in 12/8.
  • (1972) "Words (Between the Lines of Age)" by Neil Young - arpeggio/guitar solo sections in 11/8, verses and choruses in 4/4 (or 8/8, relative to the 11/8)
  • (1974) "Vision is a Naked Sword" by Mahavishnu Orchestra - mostly 11/8, with sections in 8/8.
  • (1975) "Lonely Street" by Kansas - mostly 11/8 (6/8 + 5/8) with some measures of 12/8.
  • (1976) "Nuclear Burn" by Brand X
  • (1976) "Life & Times" by Billy Cobham - midsection
  • (1976) "Black Napkins" by Frank Zappa - towards the end of the song, measure of 4/8, followed by a measure of 3/8, followed by a measure of 11/8, then into free time for the rest of the song.
  • (1977) "Awaken" by Yes - phrased as 4/4 + 3/8.
  • (1978) "Circumstances" by Rush - instrumental bridge partially in 11/8 (5/8 + 3/4)
  • (1997) "Losing a Whole Year" by Third Eye Blind - coda starting at 3'03" (5/8 + 6/8).
  • (1982) "Losing It" by Rush - electric violin solo section in 11/8 (6/8 + 5/8).
  • (1991) "Love Is a Fist" by Mr Bungle
  • (1993) "You" by Radiohead - second half of the chorus riff (6/8 + 5/8)
  • (1993) "Intolerance" by Tool - introduction is 11/8 and 4/4
  • (1997) "Puedo Escribir" by Sixpence None the Richer - first two-thirds of the song in 11/8.
  • (1997) "The Eyes of Medusa" by Symphony X - main riff in 11/8.
  • (2000) "Cut Self Not" by Faraquet from the album The View From This Tower
  • (2002) "Breathe" by Disturbed
  • (2002) "Solitary Shell" by Dream Theater (beginning of instrumental section)
  • (2002) "Aggression then Silence" by Gruvis Malt - the first half, "Aggression", is in 11/8.
  • (2003) Bridge to "Happy with What You Have to Be Happy With" by King Crimson. The third and sixth lines are in 12/8.
  • (2004) "Blood and Thunder" by Mastodon - the instrumental section.
  • (2005) "Sacrifice unto Sebek" by Nile (The riff alternates between 11/8 and 7/8. Although the song has several different changes in time signature, this alternating time is what comprises most of the song).
  • (2006) "Falling In Between" by Toto
  • (2006) "Epiphany of a Mushroom Man" by Pomme De Chien - 1 bar near the drum solo is in 11/8.
  • (2006) "Your Retrospective..." by Minus Won
  • (2006) "Variation On Commemorative Transfiguration and Communion At Magruder Park" by Sufjan Stevens - right before the vocals come in.
  • (2006) "Sawblades and Shotglasses" by Silent Epidemic - intro and revenge of intro.
  • (2006) "A Revelation Part 2" by Flux - after 7 measures of 6/8 in each bar.
  • (2006) "Rosetta Stoned" by Tool
  • (2006) "Skeletons at the feast" by Spock's beard - Mostly 11/8, Some parts in 6/8 and 4/4.

11/16

Partially in 11/16

  • (1979) "Dancin' Fool" by Frank Zappa - the "I may be totally wrong but..." sections at 1:55, 1:58, 2:56, 3:00, and 3:04)
  • (2001) "Dapper Bandits" by Estradasphere has a few measures of 11/16 mixed in with 4/4 after "meanwhile, inside, the joint was jumping", the rest of the song is 3/4 and 4/4
  • (2002) "Jubella" by Alexisonfire (part of a riff that is partially in 11/16, partially in 2/4, and partially in 4/4)

13/4

Partially in 13/4

  • (1977) "Beltane" by Jethro Tull - lyrics of song are sung in 4, but 7/4 + 6/4 section is featured throughout the song.
  • (1980) "Turn It On Again" by Genesis - most of song follows 6/4 + 7/4 pattern.
  • (1980) "Freewill" by Rush- main riff before vocals (6/4 + 7/4), verse sections incorporate shifting 6/4, 7/4 and 8/4 patterns.
  • (1986) "Norfair" by Hirokazu Tanaka composed for the NES game Metroid- 5 phrases in 13/4 (3/4 + 3/4 + 3/4 + 4/4), then 12 measures of 3/4 time.
  • (1994) "The Becoming" by Nine Inch Nails- alternates 7/4 and 6/4. The bridge switches to 3/4.
  • (1994) "Quiet" by Smashing Pumpkins
  • (2001) "Just So You Know" by American Head Charge from their album The War Of Art - Song alternates between 6/4 and 7/4 throughout verses, establishes 4/4 during chorus.
  • (2002) "March of the Fire Ants" by Mastodon - the intro is played in alternating measures of 7/4 and 6/4
  • (2002) "The Great Debate" by Dream Theater - 2nd verse (4:18-4:47)
  • (2005) "The Collector" by Nine Inch Nails- alternates 6/4 and 7/4. The chorus alternates two measures of 4/4 and a measure of 6/4 twice, then adds two 4/4 measures before resuming the (6/4 + 7/4) pattern.
  • (2007) "Shortlist" by Craig Mattingley - verses consist of three lines of 13/4 followed by one of 16/4.

13/8


Partially in 13/8

  • (1973) "I Wonder" by Mahavishnu Orchestra - released 1999.
  • (1974) "Starless" by King Crimson - the fast sax solo part around the nine minute mark as well as the bass riff.
  • (1976) "Robbery, Assault And Battery" by Genesis - the keyboard solo, a vocal section, and the guitar solo.
  • (1976) "Childlike Faith in Childhood's End" by Van der Graaf Generator - most of the verses (eg. "As anti-matter sucks and pulses periodically").
  • (1980) "Jacob's Ladder" by Rush - guitar riff to climax of song (3/4 + 7/8).
  • (1981) "Elektrik" by King Crimson - the rest of the song switches between two other meters, 4/8 and 7/8.
  • (1981) "Skimbleshanks" from Andrew Lloyd Webber's musical Cats - the introduction and chorus.
  • (1983) "Blinded" by Queensrÿche - the opening/closing riff, phrased as 3+3+3+2+2.
  • (1992) "Into The Everflow" by Psychotic Waltz
  • (1993) "Trapped in a Corner" by Death - the verse alternates between 7/8 and 6/8, forming an overall 13/8 feel.
  • (1994) "SS-3" by Slayer - intro.
  • (1997) "Jóga" by Björk - chorus, played as 4+4+4+1.
  • (1999) "Will Bleed Amen" by Cardiacs - opening riff prior to the vocals (recurs throughout the piece).
  • (1999) "Ars Moriendi" by Mr. Bungle
  • (1999) "Vanity Fair" by Mr. Bungle - The middle synthesizer break alternates 12/8 and 13/8.
  • (2000) "Sleeping Beauty" by A Perfect Circle - one bar of 6/8, then one bar of 7/8. The song shifts into 4/4 later and then back into 6/8.
  • (2000) "Communion and The Oracle" by Symphony X - variation on instrumental pre-chorus at 4:12-4:15, phrased as 7/8 + 6/8
  • (2001) "The American Seasons" by Mark O'Connor, recorded on the album The American Seasons
  • (2002) "Wicked" by Symphony X - intro & first half of verses.
  • (2002) "The Glass Prison" by Dream Theater - the first guitar part after the intro.
  • (2003) "Super Happy Contest Wish Show" by Thee Armada from the album Why Can't I Remember Your Name - last instrumental bridge before outro.
  • (2003) "Mommy's At The Grocery Store" by The Sick Lipstick - first part of song in 3/8 + 3/8 + 3/8 + 4/8, the rest is in 4/4.
  • (2004) "Pistola" by Incubus
  • (2004) "The Man With 100 Cells" by Stereolab - first half.
  • (2005) "Good Day" by Tally Hall - verses.
  • (2006) "Nocturnal House" by Pretty Girls Make Graves
  • (2007) "Brittle" by Era Vulgaris bridge section only
  • (2007) "Never Forget" by Tchoupchupacabra - A section in 13/8, the B sections are in 6/8 over 4/4 and the C section is in 4/4

13/16

  • (1979) "Vlastar: An Encounter" by Billy Cobham
  • (2002) "Interlude in Milan" by Planet X
  • (2007) "Tide" by Dustveil

14/4

Partially in 14/4

  • (2007) "Just Might Have Her Radio On" by Trent Tomlinson - verses are consistently 4/4 + 2/4 + 4/4 + 4/4.

14/8

  • (1983) "Midnight Sun" by Asia - intro and verses in 14/8 (phrased as 12/8 + 2/8), rest of song in 4/4.
  • "The Sound of Muzak by Porcupine Tree - verses in 14/8, rest of song in 4/4.

15/4

Partially in 15/4

15/8


Partially in 15/8

  • (1973) "The Ocean" by Led Zeppelin
  • (1973) "Tubular Bells" by Mike Oldfield - intro in various patterns of 7/8 + 4/4.
  • (1974) "Fracture" by King Crimson - sections with melody of 5+5+5 over rhythm of 7+8.
  • (1975) "Marching Powder" by Tommy Bolin - guitar solo
  • (1986) "We're Ready" by Boston
  • (1992) "Track 23" by Sublime
  • (1992) "Learning to Live" by Dream Theater
  • (1993) "Parry The Wind High, Low" by Frank Black - the chord progression at the end is in 15/8 while the drums are in 4/4.
  • (1996) "(And again) Hamsterdam" by Fire Merchants - intro and first part in 15/8, middle 16/8.
  • (1998) "Soil" by System of a Down - groupings of 7/8 and 8/8, intro, solo, and post-solo is in 4/4, outro is in 7/8.
  • (1998) "Moral Eclipse" by Cave In
  • (1998) "Praha In Spring" by Ruins
  • (1999) "Gyroscope" by The Dismemberment Plan- album: Emergency & I - alternates between common and 15/8.
  • (2000) "Communion and The Oracle" by Symphony X - second half of first verse phrased 4/4 + 7/8 (2+3+2)
  • (2000) "I Think I Lost My Headache" by Queens of the Stone Age
  • (2005) "Never Fall Asleep On a Sunbed" by Captain Wow - verses and instrumental break.
  • (2005) "Between the End and Where We Lie" by Thrice - played as 7/8 + 7/8 + 7/8 + 9/8
  • (2005) "Cygnus...Vismund Cygnus" by The Mars Volta - part of the bridge. 5/8 + 6/8 + 4/8

(chorus only).

  • (2006) "Not the Sun" by Brand New - verses and choruses.
  • (2006) "Twilight" by Kill Your Ex - instrumental part in the middle is grouped 7/8 + 8/8.
  • (2006) "And I Ran" by Flux (bridge)
  • (2006) "Dry Tongue" by The Tunguska Event - intro.
  • (2006) "New Blues Old Bruise" by John McLaughlin - main song separated by synth programming on the intro and outro.
  • (2007) "I Still Believe" by Hayden Panettiere - pre-chorus.
  • (2007) "Never Stop" by Hilary Duff - verses.

15/16

Partially in 15/16

  • (1983) "It's A Lovely Day" by Cardiacs - intro and middle eight in 15/16, verses in 4/4.
  • (1986) "I Will Remember" by Queensrÿche - intro.
  • (1987) "Perpetuum Mobile" by Penguin Cafe Orchestra - intro in 4/4, rest of the song in 15/16.
  • (1990) "Silent Lucidity" by Queensrÿche - intro (plus a couple of bars early in the first verse), rest of the song is in 4/4.
  • (1990) "Lucretia" by Megadeth - mostly in 4/4, but every 2nd measure of the verse's four-measure phrases is in 15/16.
  • (2002) "Rope Ends" by Pain of Salvation - during the guitar solo in the middle of the song.
  • (2003) "That'll Be The Day" by Streetlight Manifesto - saxophone solo break at beginning of song, the rest in 4/4.
  • (2005) "Sacrificed Sons" by Dream Theater - rhythm during solos goes between 6/4, 15/16 and 4/4.
  • (2006) "And I Ran" by Flux - bridge.
  • (2006) "Eva Braun" by Canvas Pandora - instrumental

16/4

16/8

17/4

Partially in 17/4

  • (2005) "Fade Together" by Franz Ferdinand (Sections of 17/4 alternate with simple triple)
  • (2006) "No Man's Land" by Sufjan Stevens (played as 4+4+4+5, chorus in common time)

17/8

  • (2001) "Don't Put Marbles In Your Nose" by fictional band Scäb from Home Movies (7+4+6)

Partially in 17/8

  • (1983) "Changes" by Yes - instrumental intro/ending phrased (8/16 + 6/16) + (8/16 + 6/16 + 6/16).
  • (1991) "Miracle Of Life" by Yes - instrumental intro phrased 5/8 + 5/8 + 5/8 + 2/8 (or 5/8 + 5/8 + 7/8).
  • (2000) "Communion and The Oracle" by Symphony X - first half of first verse phrased 12/8 + 5/8
  • (2000) "Inferno" by Extol - Main riff
  • (2003) "Next" by Béla Fleck and the Flecktones (bridge is in 4/4)
  • (2006) "Tetragrammaton" by The Mars Volta - after first guitar solo. 8+9.

17/16

Partially in 17/16

  • (1974) "Flash Flood" by Billy Cobham - entire track except intro
  • (1983) "Garden Party" by Marillion - verses; difficult to hear at normal song tempo.
  • (1995) "A Change of Seasons: I. The Crimson Sunrise" - section which is a gesture to "Erotomania" by Dream Theater.
  • (2005) "Halo" by Porcupine Tree - after the second chorus it switches from 4/4 to 17/16, measured by the band as alternating regularly between 9/8 and 8/8.
  • (2005) "Open Car" by Porcupine Tree - verses in 17/16
  • (2005) "Freak Show Excess" by Steve Vai
  • "COILY" by "The Ozric Tentacles" from the album "Waterfall Cities" starts in 17/16 and changes to many others throughout.

18/8

  • (1973) "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. From the book: John McLaughlin and the Mahavishnu Orchestra (out of print).

19/2

19/8

19/16

  • (1973) "Celestial Terrestrial Commuters" by Mahavishnu Orchestra. From the book: John McLaughlin and the Mahavishnu Orchestra (out of print).
  • (1979) "Hell's Bells" by Bill Bruford - 7+7 + 5/16, drums play 7/8 + 5/16.
  • (1979) "Keep it Greasy" by Frank Zappa - the vamp in the end of the song is played 7+5 + 7/16.
  • (1999) "Home" by Dream Theater - The outro section with sitar is counted in 19/16 (1 + 2 + 3 + 4 + 123) as described on Mike Portnoy's Liquid Drum Theater instructional DVD
  • (2002) "330" by Actual Time
  • (2002) "Cut That City" by The Mars Volta
  • (2006) "Day of the Baphomets" by The Mars Volta contains an angular guitar passage in 19/16 punctuated by bass and drums. The passage is directly prior to a Latin percussion section in 4/4 with clave polyrhythms.

20/8

20/16

Partially in 20/16

21/08

21/16

  • (1916) "Nocturne n.3" by Joseph Guy Ropartz
  • (1974) "The Gates Of Delirium" by Yes - section between 10'23" and 12'07"
  • (1993) "Uroboric Forums" by Cynic
  • (2000) "2116" by Planet X

23/4

  • (1930) "Variations on a Hussar's Song" by Franz Schmidt (actually notated as 5 bars of 4/4 and one of 3/4)
  • (2007) "The Day After Perfection" by Twilight Reign (notated as 6+6+6+5)
  • (1993) "You" by Radiohead (notated as 3 bars of 6/4 and one of 5/4)

23/16

  • (1998) "New Millennium Cyanide Christ" by Meshuggah. The drum set beat is in 4/4 timing, but the timing of the two bass drums is in 23/16 timing, just like the guitars.
  • (2005) "Aamelotasis" by Venetian Snares. as 7/16 + 7/16 + 9/16.
  • (2006) "Weapons of the Conqueror" by Minus Won.
  • (2006) "Odd Poetry" by Dhafer Youssef, as 10/16 + 10/16 + 3/16

25/8

25/16

27/4

  • Parts of Jethro Tull's "Witches Promise" could be analysed as in 27, divided 9(3). This distinction may be dubious as there is a fine line between 27/4 and nine bars of 3/4.

27/8

27/16

28/8

  • (2005) "Octavarium" by Dream Theater; three separate "breaks" during "Full Circle" consists of once-repeated four-measure phrases of 7/8, 3/4, 7/8 again, and 4/4. One such example can be heard around 16:00 in the album version.

29/4

31/16

33/16

41/16

Partially in a single unusual time signature

(These are songs not listed in any of the "partial" sections above)

6/8

  • (2005) "Cygnus...Vismund Cygnus" by The Mars Volta. There is a riff in the song that goes from 9/16 to 6/8 to 2/4.

7/16

  • (1984) "The Attitude Song" by Steve Vai The main theme is in 7/16, with many changes between 2/8, 2/4, 3/4, and 4/4

9/16

  • (2005) "Cygnus...Vismund Cygnus" by The Mars Volta. There is a riff in the song that goes from 9/16 to 6/8 to 2/4.

14/4

  • "Santacide" by Toadies (4 + 4 + 4 + 2, 4/4 chorus)
  • (1971) "Perpetual Change" by Yes - sections played as 3+3+3+3+2.
  • (1998) "Champagne from a Paper Cup" by Death Cab for Cutie approx. half the song in 14/4, rest in common
  • (2006) "Civil Sin" by Boy Kill Boy

14/8

15/4

  • (1968) "Deserted Cities of the Heart" by Cream - verses in 4+4+3+4.
  • (1973) "Amazona" by Roxy Music middle VIII.
  • (1988) "Suite Sister Mary" by Queensrÿche - intro and Latin chant, phrased as 4+4+4+3.
  • (1995) "Possum Kingdom" by The Toadies - all but chorus.
  • (1997) "Torn" by Creed - instrumental and bridge.
  • (1998) "April Ethereal" by Opeth - instrumental section near the end of the song. The rest is in 12/8 and 4/4.
  • (2006) "This Place is Painted Red" by Deas Vail - chorus is 8/4 + 7/4.

18/4

  • (2003) "Endless Sacrifice" by Dream Theater - the two main verses and the intro interchange 4+4+4+6 and 4+4+4+7 (19/4).

18/8

  • (2003) "This Dying Soul" by Dream Theater - final two main verses are played as two measures of 15/16 and 21/16.

21/4

  • (2006) "Sound of Your Voice" by Barenaked Ladies has an intro consisting of 6+6+6+3, then a tempo change, and the rest of the song is in 4/4.

21/16

23/4

  • (2005) "Does Your Face Hurt? No? 'Cause It's Killin' Me!!!" by Bomb the Music Industry! is in 23/4 during the last verse, and synth breakdown. It is played as 12/4 + 11/4.

23/8

29/8

  • (2000) "The 29/8 Steps" by Outside (middle section is in 4/4)

29/16

  • (2000) "Death Blooms" by Mudvayne (middle breakdown)
  • (2004) "Spiraling Into Depression" by Into Eternity (breakdown part)


Unusual time signature combinations

Main article: List of musical works with unusual time signature combinations

(These songs have musical phrases that are a combination of more than one time signature)

  • (1970) "Lick My Decals Off Baby" by Captain Beefheart contains some pieces such as "Peon" that appear to have no time signature at all.

Multiple unusual time signatures

Main article: List of musical works with unusual time signature combinations

(These works have different unusual meters in different sections)

Unknown

This section should contain only cited listings.
  • (1990) "Amarok" by Mike Oldfield features a myriad of time signatures over the one hour piece.
  • (1995) "Prize" by Wanderlust features an "unconventional time signature" ([3]).
  • (2000) "Wandering Child" by Gov't Mule features "oddball time signature" ([4]).

See also

Sources

  1. ^ Dryden, Ken. "Blue Rondo a la Turk", All Music Guide: "unusual time signature of 9/8".
  2. ^ Harrison, Gavin. http://drummerworld.com/forums/showthread.php?t=698&page=6
  3. ^ Harrison, Gavin. http://drummerworld.com/forums/showthread.php?t=698&page=16%7Cwork=%7C
  4. ^ Planer, Lindsay. "Live/Dead", All Music Guide: "instrumental rhythmic excursion titled "The Eleven" after the jam's tricky time signature".
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