Jump to content

List of musical works in unusual time signatures

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by 64.231.33.95 (talk) at 16:18, 20 August 2006 (→‎Partially in 5/4 or 5/8). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

File:Take Five-piano intro.png
"Take Five" piano intro.

Some examples of musical compositions or pieces in Western music which have unusual time signatures, listed by signature and year released, are:

5/4 or 5/8

also known as "quintuple meter"

  • (c.138 BC) First Delphic Hymn, Ancient Greek (anonymous); earliest significant notated example of Western music
  • (1516–1520) Las mis penas madre, a villancico by Pedro de Escobar
  • (1516–1520) Amor con fortuna, a villancico by Juan del Encina
  • (1828) Third movement (Larghetto) from Piano Sonata No 1 in C minor, Op. 4 by Chopin (pub. posth. 1851)
  • (1841) Nocturne No. 14 in F sharp minor, Op. 48/2 by Chopin (a repeating motif in the central section)
  • (c. 1870s) Scherzo from Violin Sonata by Benjamin Godard
  • (1881) Final movement (Scherzo) from Piano Concerto in F minor, Op. 2 by Anton Arensky.
  • After hearing this work in 1885, Tchaikovsky wrote to Arensky: "Pardon me if I force my advice upon you ... It seems to me that the mania for 5/4 time threatens to become a habit with you". And yet Tchaikovsky was not averse to using 5/4 himself, particularly in his most heartfelt work, the "Pathétique" Symphony — see below)

Partially in 5/4 or 5/8

  • (1942) Second movement of Sonata for Clarinet and Piano by Leonard Bernstein
  • (1951) Fugue No 15 in D-flat major, from 24 Preludes and Fugues, Op.87, by Shostakovich, constantly switches between 3/4, 5/4 and common time
  • (1967) "Within You Without You" by The Beatles — the sitar solo in the middle of the song is in 5/8; some parts of the verses are in 5/4
  • (1967) "Good Morning, Good Morning" by The Beatles. The verses start in 5/4
  • (1968) "Flower Punk" by Frank Zappa from We're Only In It For The Money. (Alternates 7/4, 4 bars of 5/8)
  • (1968) "White Room" by Cream (intro in 5/4 with the drums playing the Mars rhythm reversed, most of song in 4/4 — intro repeated later as a bridge)
  • (1970) "Across the Universe" by The Beatles. The verse has one 5/4 bar.
  • (1970) "Don't Let Me Down" by The Beatles — opening line
  • (1970) "Gethsemane (I Only Want to Say)" from Jesus Christ Superstar. The instrumental section is in 5/4.
  • (1971) "Four Sticks" by Led Zeppelin (verse)
  • (1971) "Heart of the Sunrise" by Yes
  • (1972) "Trilogy" by Emerson, Lake & Palmer (middle section in 5/4, other sections in 2/4, 4/4 and 6/4)
  • (1972) "Watcher of the Skies" by Genesis (Mellotron intro/outro in 5/4, verses in 6/4)
  • (1973) "Dreamer" (closing fade on glockenspiel) by Supertramp
  • (1974) "Rock The Boat" by Hues Corporation (pre-chorus only)
  • (1975) "Song for America" by Kansas (Chorus)
  • (1976) "I'm Gonna Leave You" by Journey - riff played intermittently in the song. It's shuffle time makes it possibly a fast 15/8. There is also some 6/4 (or fast 18/8).
  • (1979) "Chiquitita" by ABBA. The Chorus has one 5/4 bar ('and the sun is high in the sky and shining above you')
  • (1979) "Smart Patrol/Mr. DNA" by Devo ("Smart Patrol" is in 5/4)
  • (1980) "YYZ" by Rush — (Intro)
  • (1980) "The Camera Eye" by Rush — (Verses)
  • (1981) "Discipline" by King Crimson (along with various other meters)
  • (1981) "Bringin' On the Heartbreak" by Def Leppard (last measure of the pre-choruses)
  • (1982) "Losing It" by Rush. Intro on synth is a perky 5/8
  • (1982) "There Goes A Tenner" by Kate Bush (First part of bridge in 5/4)
  • (1982) "Heat of the Moment" by Asia (Chorus and bridge are in 4/4, all other parts are in 5/4)
  • (1984) "Kid Gloves" by Rush
  • (1985) "Asylum" by Watchtower
  • (1987) "Deathcrush" by Mayhem (Intro is in 5/4)
  • (1987) "That Time of the Night" by Marillion
  • (1989) "Burn Your House Brown" by Cardiacs — has sections in 5/4
  • (1989) "Easter" by Marillion (final part)
  • (1989) "Zombie Eaters" by Faith No More — has sections in 3/4, 5/8 and 4/4
  • (1991) "Nosferatu Man" by Slint — mostly 5/4, contains instrumental sections in 6/4
  • (1991) "Slowly Growing Deaf" by Mr. Bungle
  • (1991) "Innuendo" by Queen (limited to the guitar solos in the middle of the song)
  • (1991) "John the Fisherman" by Primus uses the 5/4 intro from Rush's YYZ.
  • (1992) "Nowhere" by Cop Shoot Cop
  • (1992) "New World" by Soul Asylum — album Grave Dancer's Union — verses in 5/4, choruses in 6/4
  • (1993) "My Name Is Mud" by Primus (bridge pause section has 2 measures of 5/4)
  • (1994) "Always" by Erasure — One measure of the chorus in 5/4
  • (1994) "5-4=Unity" by Pavement — Three measures in 5/4, one measure in 6/8.
  • (1994) "Last Exit" by Pearl Jam (all but chorus)
  • (1994) "My Wave" by Soundgarden (verses)
  • (1994) "Erotomania" by Dream Theater
  • (1995) "Year Of Tha Boomerang" by Rage Against The Machine
  • (1996) "Eat It Up Worms Hero" by Cardiacs — introductory section is in 5/4
  • (1997) "Let Down" by Radiohead — during verse, keyboard and guitar play 5/4 ostinato while rest of band play in 4/4
  • (1997) "The Divine Wings Of Tragedy" by Symphony X
  • (1998) "Fake Frowns" by Death Cab For Cutie — album: Something About Airplanes — verses in 5/4, choruses in 6/4
  • (1998) "Rapunzel" by Dave Matthews Band — instrumentals in 5/4
  • (1998) "5/8" by Sean Lennon
  • (2000) "Dark & Grey" by Kid Rock (outro)
  • (2000) "Last Day on Earth" by Duran Duran (verses)
  • (2000) "Wandering Child" by Gov't Mule
  • (2001) "5/4" by Gorillaz — much like Radiohead's "Let Down", during the verse the guitar plays in 5/4, while drums and vocals remain in 4/4
  • (2001) "The Patient" by Tool
  • (2001) "Portrait" by P.O.D. (verse and instrumentals)
  • (2001) "Trust" by Thrice - intro melody is in 5/8 for 3 measures, then a measure of 9/8- rest of the song is in 6/8
  • (2001) "Five Four Child Voice" by Fridge[1]
  • (2001) "Footprints" by Yes
  • (2002) "The Patient Mental" by Mudvayne (bridge)
  • (2002) "Streamline" by System of a Down (This song is in fact a 3/8 song with 5/8 and 6/8 parts in intro and chorus)
  • (2002) "Tonight" by Koop
  • (2003) "Something White and Sigmund" by Love Outside Andromeda — contains sections in 6/8.
  • (2003) "Meat Dreams" by I Mother Earth
  • (2003) "Nameless" (unreleased track) by Bjork
  • (2003) "Marching Band" by Sufjan Stevens (only the second half)
  • (2003) "Wrgggggggrkyyyyyyy!!!" by An Albatross
  • (2003) "Ride" by Samuel Hazo
  • (2003) "The Melting Point of Wax" by Thrice the verses are in 5/8
  • (2004) "The Great American Bottleneck" by Gavin Castleton
  • (2004) "The City Is Here For You To Use" by The Futureheads — bridge in 4/4
  • (2004) Much of the soundtrack to The Incredibles by Michael Giacchino
  • (2004) "Nevermore" by Otium — includes some sections in 4/4
  • (2004) "One Bedroom Apartment" by Clann Zu From 3:10 onwards is in 5/4
  • (2004) "The Fists of Protocol" by Gruvis Malt — chorus includes a bar of 7/4
  • (2005) "Bastard" by Ben Folds (verses and outro)
  • (2005) "Come On! Feel The Illinoise!" by Sufjan Stevens (only the first half)
  • (2005) "Will You Smile Again?" by ...And You Will Know Us by the Trail of Dead first 1:26 and last :27 in 5/4, middle in common
  • (2005) "Five Four Overture" We Are The Music Makers Verses in 5/4, prechoruses in 3/4, choruses and bridge in 4/4.
  • (2005) "Out of Egypt, Into The Great Laugh of Mankind, and I Shake the Dirt From My Sandals As I Run" by Sufjan Stevens
  • (2005) "Question!" by System of a Down (also moves into 9/8) (last solo is in 4/4)
  • (2005) "Vertigo" by The Static Age the intro is in 5/8 then switches into 6/8
  • (2006) "Oboe Schuhe Overture" by Pomme De Chien - sections of the song are in 5/8
  • (2006) "Death of Logan/ Logans Death Suite" by Pomme De Chien - sections of the song in 5/4 + 5/8
  • (2006) "Vicarious" by Tool
  • (2006) "Rosetta Stoned" by Tool — also partially 11/8?

7/4

septuple meter


Partially in 7/4

  • (1856) "Dante" Symphony by Franz Liszt (a section in the first movement)
  • (1895) Around this time, Alexander Scriabin started introducing 7/4 time into minor motifs, then into themes and phrases, and often played against 3/4, 3/8, 4/4, 5/4 or 6/8 in the other hand. There are hundreds of examples.
  • (1910) "The Firebird" by Igor Stravinsky (ending section)
  • (1967) "Comin' Back to Me" by Jefferson Airplane (each section where Marty Balin sings "I saw you...")
  • (1973) "The Battle Of Epping Forest" by Genesis (verse in 7/4, chorus in 8/4, middle section 6/4)
  • (1973) "Money" by Pink Floyd, although the solo is in 4/4, as David Gilmour believed that it would be too difficult in simple septuple meter. The triplet/shuffle feel makes this time debatable; it is technically in 21/8. Source: ISBN 8882917533 "Pink Floyd Guitar Tab Anthology" and[3]
  • (1974) "Don't Eat the Yellow Snow" by Frank Zappa (all but the "Watch out where the huskies go" interpolation which is in 4/4)
  • (1975) "All the World" by Kansas. (7/4 section in instrumental break in middle of song)
  • (1978) "Curfew" by The Stranglers (verses)
  • (1980) "The Wait" by The Pretenders (verses only; the rest is in 4/4)
  • (1981) "Wired For Sound" by Cliff Richard - the chorus works out into 7/4
  • (1981) "Little Girls" by Oingo Boingo (verses)
  • (1981) "Limelight" by Rush - the intro riff
  • (1981) "Red Barchetta" by Rush - 7/4 during the solo and bridge after the solo
  • (1982) "I Love Rock N' Roll" by Joan Jett - measure of 7/4 in the intro, several measures in the last chorus of the song
  • (1985) "Addicted to Love" by Robert Palmer - the intro drum solo is 7/4 while the rest of the song is in common time.
  • (1986) "Master of Puppets" by Metallica (Verse riff is a bar of 4/4, followed by a bar of 7/8)
  • (1988) "Blackened" by Metallica (The main/bridge riff is 7/4, the verse is in 6/4)
  • (1991) "Breadcrumb Trail" by Slint (beginning segment)
  • (1991) "Outshined" by Soundgarden (verse and instrumentals)
  • (1993) "4 degrees" by Tool (intro and chorus)
  • (1993) "Jack's Obsession" by Danny Elfman from The Nightmare Before Christmas
  • (1994) "Yes" by Manic Street Preachers (verses)
  • (1994) "Riverdance" by Bill Whelan
  • (1995) "Wattershed" by Foo Fighters (bridge)
  • (1995) "Buy Me a Pony" by Spiderbait (Also contains 6/4 and 4/4)
  • (1996) "Desperately Wanting" by Better Than Ezra (4 measures of 7/4 during bridge)
  • (1996) "Forty Six & 2" by Tool two bars in the intro, drum solo, and majority of ending
  • (1996) "Legions of the Betrayed" by Quo Vadis ends in 7/4
  • (1997) "The Divine Wings Of Tragedy" by Symphony X
  • (1997) "Elephant Riders" by Clutch Verse is in 4/4, prechorus is in 9/4, chorus is in 7/4.
  • (1998) "Comin' Home" by HUM (verse in 7/4, chorus in 4/4, intro & bridge in 6/4)
  • (1998) "Against" by Sepultura
  • (1999) "Down With The Sickness" by Disturbed (bridge)
  • (1999) "The Death of Passion" by Nevermore (The end is in 7/4)
  • (1999) "Running Board" by The Dillinger Escape Plan has a section in 7/4
  • (2001) "Automatic" by The Dismemberment Plan- album: Change all but chorus in 7/4
  • (2001) "Push the Hand" by Toadies (verse is three measures of 7/4, followed by one measure of 8/4)
  • (2001) "Carne Voodoo" by Rocket From The Crypt (opening)
  • (2002) "The Monkey Versus the Robot" by Piebald - verses in 7/4, chorus in 6/4 and the breakdown in 4/4
  • (2002) "The Sound of Muzak" by Porcupine Tree (verse and instrumental)
  • (2002) "Times Like These" by Foo Fighters (instrumental bridges only)
  • (2003) "1010011010" by Cog - contains sections in 9/4, 6/8 and common
  • (2003) "Inertiatic ESP" by The Mars Volta (bridge)
  • (2003) "Panic Attack" by Finger Eleven (verses)
  • (2003) "Ride" by Samuel Hazo - features a large 7/4 section, along with many sections with varied and polyrhythmic meters
  • (2003) "Hardball" by Estradasphere - has much variation between 4/4 and 7/4.
  • (2003) "2+2=5" by Radiohead - begins in 7/4 time and then switches to 4/4 1 minute and 22 seconds into the song (right after the words "two & two always makes five"
  • (2003) "I Won't See You Tonight p.2 by Avenged Sevenfold - The riff behind the guitar solo is in 7/4.
  • (2004) "Builder" by Gavin Castleton
  • (2004) "Consequences David, You'll Meet Your Fate In The Styx" by Fear Before The March Of Flames (contains parts in 3/4)
  • (2004) "Fuck Me For Free" by Recover - the verse is in 7/4
  • (2004) "Little Thoughts" by Bloc Party - ending in 7/4
  • (2004) "Sunrise" by Norah Jones (bridge only)
  • (2004) "Hey! Is That a Ninja Up There?" by Minus the Bear - intro in 7/4, verses in 4/4, chorus in 7/4 and the bridge in 6/4
  • (2004) "About To Rage" by Gov't Mule - Verses in 7/4. Chorus is 4/4, 4/4, 4/4, 3/4 played twice. Most of solo section in 8/4 counted 2+3+3
  • (2005) "Michio's Death Drive" by Minus the Bear - section in 7/4
  • (2005) "Between The End And Where We Lie" by Thrice - can also be expressed in 7/8 and 9/8 combination; chorus is 7/4 + 2 measures 4/4
  • (2006) "Inefficiencity" by Dan Webb - mostly in 7/4
  • (2006) "Laps In Seven" by Sam Bush

7/8

septuple meter, usually 2+2+3

Partially in 7/8

  • (1964) "Anyone Who Had a Heart" by Burt Bacharach, sung by Dionne Warwick - 7/8 turnaround at the end of the bridge, as pointed out to Bacharach by Dionne Warwick.[4] However the song features "5/4, 4/4, to 7/8 and resolving on 5/8 in only eight bars" according to the All Music Guide.[5]
  • (1969) "My Human Gets Me Blues" by Captain Beefheart & the Magic Band (Don Van Vliet).[6]
  • (1973) "The Cinema Show" by Genesis (the song is in 4/4, the extended outro and keyboard solo is in 7/8)
  • (1975) "Jive Talkin'" by Bee Gees (instrumental break)
  • (1975) "Anthem" by Rush (introduction in 7/8; rest of song in 12/8)
  • (1977) "Xanadu" by Rush (intro (after the trippy volume swells) is in 7/8)
  • (1977) "Mad Man Moon" by Genesis (piano solo)
  • (1977) "Animals" by Talking Heads
  • (1978) "La Villa Strangiato (An Exercise in Self-Indulgence)" by Rush (sections in 7/8)
  • (1980) "Natural Science" by Rush (contains several sections of 7/8)
  • (1981) "Tom Sawyer" by Rush (sections in 7/8)
  • (1982) "Subdivisions" by Rush (7/8 and 4/4)
  • (1982) "Golden Brown" by The Stranglers. 6/8 but the instrumental bridges add an extra beat in every other measure, making 7/8
  • (1984) "Three of a Perfect Pair" by King Crimson (choruses and solo are in 7/8, verses in 6/8)
  • (1986) "Piece By Piece" by Slayer (verses)
  • (1986) "The Man Who Sailed Around His Soul" by XTC (verses)
  • (1988) "You Enjoy Myself" by Phish (many passages in 7/4 or 7/8 throughout the song)
  • (1988) "Golgi Apparatus" by Phish (first part of instrumental section alternates between 7/8 and 4/4)
  • (1989) "91 Steps" by Erasure (7 bars of 7/8 then one bar of 3/8)
  • (1992) "The Fourth World" by The David Blamires Group (Alternates between 7/8, 4/4, and 6/8)
  • (1992) "Malpractice" by Faith No More (variously in 7/8 and 4/4)
  • (1992) "Architecture Of Aggression" by Megadeth (bridge)
  • (1993) "Saint Augustine in Hell" by Sting
  • (1993) "The Munificent Seven" by Sting (verse only)
  • (1996) "That, That Is" by Yes (contains several sections of 7/8)
  • (1997) "Paranoid Android" by Radiohead (middle section has 3 bars 7/8, one bar 8/8)
  • (1997) Waltz in 7/8" by Yanni (Starts in Alla Breve (Cut) Time and The goes to 7/8
  • (1998) "Bad Religion" by Godsmack (end of the song)
  • (1999) "Infinity Machine" by I Mother Earth
  • (1999) "Better World" by Toto
  • (2002) "Deliverance" by Opeth (intro part)
  • (2002) "Carbon" by Tori Amos is set in 6/8 7/8 (verses)
  • (2003) "Streetlights, Empty Wells" by Anatomy of a Ghost ( 1st verse and part of middle)
  • (2003) "Fireproof" by Pillar (the bridge contains one measure of 7/8 at the end)
  • (2004) "Chewbacca Wookie" by Bryan Pardo / Into the Freylakh
  • (2004) "Earth City" by Martin O'Donnell (from the Halo Original Soundtrack) - the melody alternates each measure from 6/8 to 7/8
  • (2005) "A Classic Arts Showcase" by ...And You Will Know Us by the Trail of Dead- album: Worlds Apart beginning and ending in 7/8, middle in common
  • (2005) "Farting With a Walkman On" by Bloodhound Gang (last measures)
  • (2005) "Believe" by Journey (switches to 4/4 later)
  • (2005) "Fight For All The Wrong Reasons" by Nickelback (breakdown)
  • (2005) "Lately" by David Gray (verse and instrumental)
  • (2005) "Event Horizon Escape" by Periphery (verses and bridge)
  • (2006) "Intension" by Tool
  • (2006) "Slow Cheetah" by Red Hot Chili Peppers (final instrumental section)
  • (2006) "This is Not a Love Song" by Dawn Xiana Moon (intro and verses)

9/4 or 9/8

(not simply compound triple meter)

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)[7]
  • (1972) "Apocalypse In 9/8" by Genesis (Penultimate movement of the "Suppers Ready" suite - rhythm section plays a 9/4 riff as 3+2+4, organ solo plays over the top of this in no set meter [sometimes 4/4, sometimes 7/4, etc.])
  • (1974) "Riding The Scree" by Genesis (the extended instrumental sections have a backbeat in 9/4 though the keyboards occasionally play over the top in 4/4)
  • (1975) "Song for America" by Kansas (Instrumental section in second half)
  • (1982) "Africa" by Toto
  • (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)
  • (1988) "Candle" by Sonic Youth (four measures of assymetrically divided 9/8, 0:45 into the song, after the guitar intro)
  • (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)
  • (1995) "One Big Mob" by Red Hot Chili Peppers (outro)
  • (1995) "The Gentle Art Of Making Enemies" by Faith No More
  • (1996) "Wind Below" by Rage Against The Machine
  • (1997) "It's So You" by The Dismemberment Plan- album: The Dismemberment Plan Is Terrified 9/8 and common alternating
  • (2000) "The Face in the Embryo" by The Blood Brothers has parts in 9/4
  • (2003) "The Kids Are Going To Love It" by Million Dead (intro and verses).
  • (2003) "Panic Attack" by Finger Eleven (Pre-Chorus)
  • (2004) "Paper Champion" by Oceansize - intro is in 4/4
  • (2004) "Some Sweet Nothingness" by Gruvis Malt - 1st verse is in 6/8
  • (2005) "Beast and the Harlot" by Avenged Sevenfold (intro and outro)
  • (2005) "Sister Jack" by Spoon (final 30 seconds)
  • (2006) "Jambi" by Tool
  • (2006) "10,000 Days (Wings Pt 2)" by Tool
  • (2006) "This Mute Tide" by Paper Champion (chorus)

10/4

Partially in 10/4

  • (1987) "Wild Side" by Mötley Crüe (instrumental and chorus)
  • (2000) "Sparks Are Gonna Fly" by Catherine Wheel (4 + 4 + 2 through most of the song, small breaks of 4/4 and 6/4)
  • (2004) "Safety Train" by Gruvis Malt
  • (2005) "Speak Easy" by 311 (verse only)

10/8

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

Partially in 10/8

11/4

Partially in 11/4

  • (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.
  • (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.
  • (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
  • (2005) "Take, Take, Take" The White Stripes (chorus only)
  • (2006) "Right In Two" by Tool -- but see duplicate listing claiming entirely 11/8, below?

11/8

Partially in 11/8

  • (1969) "Whipping Post" by The Allman Brothers Band intro and post-choruses in 11/8, rest 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) "The Gates of Delirium" by Yes - victory march theme, starting at 12' 49"
  • (1974) "Vision is a Naked Sword" by Mahavishnu Orchestra - Mostly 11/8, with sections in 8/8
  • (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) "Cygnus X-1" by Rush (Sections only). The 11/8 section was later performed by the band as a part of their "R30 Overture," the opening medley to their 30th Anniversary tour.
  • (1991) "Love Is a Fist" by Mr Bungle
  • (2002) "Silence Then Aggression" by Gruvis Malt - the second half is in 3/4, 4/4, and 7/4
  • (2004) "Blood and Thunder" by Mastodon - the bridging instrumental section
  • (2006) "Falling In Between" by Toto
  • (2006) "Rosetta Stoned" by Tool — also partially 5/4 or 5/8?
  • (2006) "Your Retrospective..." by Minus Won

11/16

Partially in 11/16

  • (1974) "The Gates Of Delirium" (Middle Section) by Yes

13/4

Partially in 13/4

  • (1980) "Turn It On Again" by Genesis (chorus and outro)
  • (1994) "The Becoming" by Nine Inch Nails- Alternates 7/4 and 6/4
  • (1994) "Quiet" by Smashing Pumpkins
  • (2002) "March of the Fire Ants" by Mastodon. The intro is played in alternating measures of 7/4 and 6/4
  • (2005) "The Collector" by Nine Inch Nails- Alternates 6/4 and 7/4 with Chorus alternating two measures of 4/4 and a measure of 7/4

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.
  • (1976) "Robbery, Assault And Battery" by Genesis (for over two minutes in the centre of the song - the keyboard solo, a vocal section, and the guitar solo)
  • (1978) "Jacob's Ladder" by Rush (guitar riff to climax of song)
  • (1994) "SS-3" by Slayer (intro)
  • (1999) "Will Bleed Amen" by Cardiacs - opening riff prior to the vocals (recurrs throughout the piece)
  • (1999) "Ars Moriendi" by Mr. Bungle
  • (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.
  • (2001) "The American Seasons" by Mark O'Connor, recorded on the album The American Seasons
  • (2002) "The Glass Prison" by Dream Theater. The first guitar part after the intro.
  • (2004) "The Man With 100 Cells" by Stereolab (first half)

13/16

15/8

Partially in 15/8

  • (1973) "The Ocean" by Led Zeppelin (chorus only)
  • (1973) "Tubular Bells" by Mike Oldfield (intro in various patterns of 7/8 + 4/4)
  • (1977) "She's Always a Woman" by Billy Joel (verses)
  • (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)
  • (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) "Praha In Spring" by Ruins
  • (1999) "Gyroscope" by The Dismemberment Plan- album: Emergency & I (alternates between common and 15/8)
  • (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 (chorus only)

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)
  • (1990) "Silent Lucidity" by Queensrÿche (intro, rest of the song is in standard 4/4)
  • (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)

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)

17/4

  • (1973) "Sister Andrea" by the Mahavishnu Orchestra
  • (2001) "Don't Put Marbles In Your Noose" by Scäb
  • (2004) "Chlorophyll" by Venetian Snares

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)

17/16

Partially in 17/16

  • (2005) "Open Car" by Porcupine Tree (verses only, everything else in 4/4)
  • (2005) "Freak Show Excess" by Steve Vai (Several of the interludes)
  • (1995) "A Change of Seasons: I. The Crimson Sunrise" (Section which is a gesture to "Erotomania") by Dream Theater

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)
  • (2002) "330" by Actual Time
  • (2002) "Cut That City" by The Mars Volta

21/16

23/16

  • (2006) "Weapons of the Conqueror" by Minus Won

25/16

27/8

29/4

31/8

31/16

41/16

Partially in a single unusual time signature

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

14/4

  • "Santacide", Toadies (4 + 4 + 4 + 2, 4/4 chorus)
  • (1998) "Champagne from a Paper Cup" by Death Cab For Cutie approx. half the song in 14/4, rest in common

14/8

15/4

  • (1973) "Amazona" by Roxy Music middle VIII
  • (1994) "The Day I Tried to Live" by Soundgarden (verse and bridge)
  • (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)

17/8

21/16

23/8

  • (2004) "Coke Ajax" by Venetian Snares
  • (2005) "Aamelotasis" by Venetian Snares
  • (2005) "Ghost Love Score" by Nightwish (the beginning most notably, as well as a few other points in the song. the rest is in 12/8 and 4/4.)

29/8

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

29/16

Unusual time signature combinations

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

  • (1874) "Promenade" from Pictures at an Exhibition by Modest Mussorgsky opens with a theme counting 11 beats, divided as a 5/4 + 6/4 structure. This rhythmic figure appears only five times, as the rest of the piece is written in 6/4. However, the opening theme returns, each time on different beats, proving that it is written so just to make the staff more legible.
  • (1969) "Here Comes the Sun" by The Beatles - in bridge, 11/8 (always preceded by a 7/8 measure). Source: Alan Pollack's 'Notes On' series
  • (1970) "Bron-Y-Aur Stomp" by Led Zeppelin - End of verses in (4/4 + 4/4 + 3/4 + 3/8 + 3/8 + 2/8 + 3/8 + 3/8 + 4/8) times 2, also some 6/4 + 4/8
  • (1971) "Every Picture Tells a Story" by Rod Stewart (7/4+7/4+8/4)
  • (1971) "Black Dog" by Led Zeppelin - shifts between 3/4, 4/4, and 5/4
  • (1972) "Siberian Khatru" by Yes - sections in 7/4 (4/4 + 3/4) and 15/4 (4/4 + 4/4 + 4/4 + 3/4)
  • (1973) "Amazona" by Roxy Music (chorus only) - 3/8 + 3/8 + 3/8 + 3/8 + 2/8
  • (1973) "Giggy Smile" by Faust from Faust IV - 6/8 & 7/8
  • (1977) "From Now On" by Supertramp. Intro is 3 measures of 6/4 followed by a measure of 7/16; 4/4 rest of song.
  • (1979) "Heart of Glass" by Blondie - the organ solo is built on a 4/4 + 3/4 structure
  • (1979) "Hey You" by Pink Floyd - the bridge has a repeating cycle of 4/4, 2/4, 4/4 and 4/4
  • (1979) "Keep It Greasy" by Frank Zappa - 4/4 with a middle section in 19/16 played as 4/4 with 3 16ths tacked on the end, or 4+4+4+4+3. Source: Interview (with Vinnie Colaiuta) - Modern Drummer, November 1982
  • (1979) "Watermelon in Easter Hay" by Frank Zappa - 4/4 & 5/4. From "The Frank Zappa Guitar Book" (out of print)
  • (1979) "Guardian Angels" by John McLaughlin - 5/8 + 5/8 + 3/4
  • (1981) "five-five-FIVE" by Frank Zappa. 2 measures of 5/8 followed by a measure of 5/4 for the whole song. From "The Frank Zappa Guitar Book" (out of print)
  • (1983) "Changes" by Yes - intro is 4+3+4+3+3, or may be analyzed as constantly changing tempos
  • (1984) "The First Circle" by the Pat Metheny Group - can either be read as 22/8 or 12/8 + 10/8 with a 3+2+3+2+2+3+3+2+2 rhythm. Also has a section in 4/4 and 6/8.
  • (1984) "Frankie's First Affair" by Sade - 3/8 + 5/8
  • (1984) "Blue Lagoon" by Laurie Anderson - 7/16 + 7/16 + 7/16 + 6/16
  • (1985) "Cannonball" by Supertramp. First two measures 4/4 + 9/8, 4/4 rest of song.
  • (1986) "Welcome Home (Sanitarium)" by Metallica - 4/4 + 4/4 + 4/4 + 3/4 + 3/4 + 2/4
  • (1992) "Wait For Sleep" by Dream Theater - 5/8 + 5/8 + 5/8 + 4/8 + 6/8 + 6/8 + 6/8 + 4/8
  • (1992) "Ashes In Your Mouth" by Megadeth - 6/8 + 6/8 + 6/8 + 7/8 later changes to 6/4 followed by one measure of 13/16
  • (1992) "You" by Radiohead (on Pablo Honey) - Three measures in 6/8 followed by one measure in 5/8
  • (1993) "Intolerance" by Tool - main riff 13/16 + 4/4
  • (1993) "Undertow" by Tool - 13/16 + 15/16 (bridge only)
  • (1994) "The Best of What's Around" by Dave Matthews Band (chorus only - structured as 4+4+4+2)
  • (1995) "The Dark Prison" by Drew Neumann for MTV's "Æon Flux" - 4/4 x4 + 3/8
  • (1994) "March of the Pigs" by Nine Inch Nails (verse and intro) - 7/8 + 7/8 + 7/8 + 4/4
  • (1995) "Dreaming of You" by Selena - one measure of 5/4 in each chorus
  • (1997) "Jóga" by Björk - (chorus only) 3 measures of 4/4, 1 of 1/4
  • (1998) "Bad Diary Days" by Pedro the Lion - 8/4 + 6/4
  • (1998) "Slow Disorder" by Poets & Slaves - 5/4 + 6/8 + 12/8
  • (1998) "New Millennium Cyanide Christ" by Meshuggah - 5 bars of 23/16 + 1 bar of 13/16, adding up to 128/16
  • (1999) "Follow Me" by P.O.D. - 5/8 + 5/8 + 5/8 + 6/8
  • (1999) "S.S. Eggshell" by Thingy - 13/8 + 11/8
  • (2000) "I Feel the Air (of Another Planet)" by Stereolab - 3 measures of 4/4, 1 measure of 2/4
  • (2001) "No Joy" by Khanate - 4 measures of 3/4, 1 measure of 2/4
  • (2001) "Nothing to Gein" by Mudvayne - bridge and instrumental follow 4/4 + 5/4 pattern, the rest is 4/4
  • (2001) "Pyramid Song" by Radiohead (on Amnesiac) - 8/8 (subdivided as 3+3+2) in which the eighth notes are swung. This could also be expressed as 16/8 time subdivided as 3+3+4+3+3.
  • (2002) "A Headache and a Sixty-Fourth" by Ron Jarzombek - "one measure of 4/4, followed by a measure of 1/64"[9]
  • (2002) "Rest in Peace" - James Marsters (from Buffy the Vampire Slayer, Once More, with Feeling; main chorus contains five measures of 4/4, one measure of 2/4, and another three measures of 4/4.
  • (2003) "Take The Veil Cerpin Taxt" by The Mars Volta (Robotalk guitar solo part starting at 4:11) - 1 complete cycle is: 1 bar of 6/8 and a 16th note triplet beat followed by 1 bar of 9/8 and a 16th note triplet beat (x2)
  • (2003) "Mama Tried" by Quasi- album: Hot Shit! intro and ends of choruses - 7/4 + 7/4 + 7/4 + 7/4 + 6/4
  • (2003) "Go to Sleep. (Little Man Being Erased.)" by Radiohead - first half is 4/4 + 6/8 + 6/8
  • (2004) "Symptoms of You" by Lindsay Lohan - verses are in 29/8 or 9/8 + 5/4
  • (2004) "Follow (The 1st Movement of the Odyssey)" by Incubus - 9/8 + 11/8
  • (2004)"Nineteen1319" by Venetian Snares is 19/8 + 13/8
  • (2005) "Lyla" by Oasis - chorus has lines of 5/4 followed by 3/4 instead of two 4/4 bars.
  • (2005) "Ode to Isis" by ...And You Will Know Us by the Trail of Dead sequence (5/4 + 5/4 + 5/4 + 6/4) repeated through whole song
  • (2005) "Lydianism" by Kristoffer Håvik - Part B: 5/4 - 7/4 - 5/4 - 7/4 - 5/4 - 7/4 - 5/4 - 11/8 (repeated)
  • (2005) "Can't Stop The Bleeding" by Clit 45 verses are (4/4 + 4/4 + 4/4 + 5/4) two times
  • (2005) "Naked Faces" by Abstrakt Collision - chorus is three measures of 3/8, followed by one measure of 3/4
  • (2005) "Selkies: The Endless Obsession" by Between The Buried And Me (intro shifts between 7/8, 13/16, 14/16, 15/16)
  • (2005) "I'm Alive" by Disturbed (intro riff 11/8, 13/8, 12/8)
  • (2005) "Next Contestant" by Nickelback (bridge 11/8 + 13/8)
  • (2005) "Prairie Fire That Wanders About" by Sufjan Stevens (5/8 + 5/8 + 5/8 + 4/4)
  • (2006) "Swimming With The Dolphins" by David Hirschfelder from the film Aquamarine (alternating 7/8, 4/4, 5/4)
  • (2006) "Too Little, Too Late" by JoJo (bridge has measure of 3/8 + 5/8 while the hi hat is playing a polyrhythmic pattern of 6/8 + 5/4 + 5/4 on top of it)
  • (2006) "Life Wasted" by Pearl Jam (verses 13/8 + 8/8)
  • (2006) "Cult" by Slayer (intro 13/8, verses 17/8, 5/4 outro)

Multiple unusual time signatures

(These songs have different unusual meters in different sections)

  • (1924) "Le Monde dans l'attente du Sauveur" (The World Awaiting the Saviour) from Symphonie-Passion, Op.23 for Organ by Marcel Dupre. Contrasting time signatures of 5/8, 7/8, 2/4, 6/8, 4/4, 6/4, 9/8, 7/4, 5/4.
  • (1933) "Transports de Joie d'une Ame devant la gloire du Christ qui est la Sienne", from 'L'Ascension' for organ, by Olivier Messiaen. Constant changes of key signature throughout, including 4/4, 2/4, 5/4, 5/8, 7/8, 11/8.
  • (1967) "Flower Punk", from We're Only in it for the Money, by Frank Zappa. "Groups of four bars each of 7/8 and 5/8".[10]
  • (1968) "MacArthur Park" by Richard Harris" - mainly 4/4, but 3/4, 2/4, and 3/8 bars appear at each major transition.
  • (1968) "Happiness is a Warm Gun" by The Beatles - Begins in 4/4, switches to 3/4 for "I Need a Fix", then 1 measure 9/8 and 1 measure 10/8 for "Mother Superior", before ending with 4/4 (and a polyrhythmic 3/4 & 4/4 segment)
  • (1969) "How Many More Times" by Led Zeppelin contains 12/8, 4/4 and 1/4
  • (1970) "Moby Dick" by Led Zeppelin contains 2/4,3/4,4/4,5/4,12/8,9/8,7/8,5/8 & 15/8 time signatures. There are a few measures in 4/4 near the end, but it then returns to 3/4 and 5/8.
  • (1970) "Ave Maria Stella/Andromeda" by the Paul Winter Consort is in a compound meter of 5/8 + 7/8 + 9/8, switching to a straight 7/8 for the closing section of the song.
  • (1970) "Toads of the Short Forest" by Frank Zappa begins in 3/4, then continues to a section with different parts of the band playing in 3/4, 5/8, and 7/8 at once. It then returns to 3/4, 4/4, 5/8, and finally to a short period of noise with no particular rhythm.
  • (1973) "The Crunge" by Led Zeppelin - contains 4/4, 9/8 and 5/8
  • (1973) "Dream" by Mahavishnu Orchestra. Mostly 15/4; some sections are in 15/8 & 15/16 as well
  • (1975) "Lila's Dance" by Mahavishnu Orchestra - the beginning is in 7/8, which leads to 5/4, then 20/8, and then back to 5/4, and then back to 7/8 for the ending.
  • (1975) "Pastoral" by Mahavishnu Orchestra - contains sections in 11/4 and in 3/4 + 3/4 + 3/4 + 3/4 + 3/8
  • (1977) "Barracuda" by Heart - Mostly 4/4; verses start with 9/4, final section is in 7/4
  • (1979) "Mother" by Pink Floyd - Mostly 4/4, but the first two lines of each verse begin in 5/8; also present are 3/4, 6/8, and 12/8
  • (1979) "Breathless" by Robert Fripp - Introduction and conclusion in 7/4; middle section in a cycle of three measures of 11/8 followed by a measure of 3/8[11][12]
  • (1980) "Jacob's Ladder" by Rush. Intro played as 5/4 & 6/4. When the vocals enter, Geddy Lee does a section of 4/4 while the guitar and drums play 5/4 & 6/4 in the background. Towards the end of the song, a 13/8 section is played as 6/8 & 7/8.
  • (1980) "Freewill" by Rush - first half of each verse is 6/4 + 7/4 + 6/4 + 8/4 done twice. Some "filler" sections in this song are performed in 5/4 and 7/8.
  • (1982) "Mini Overture for Brass Quintet" by Witold Lutoslawski changes meter practically every bar, including several in 5/8, 7/8, 5/4, and 1/4
  • (1983) "The Jazz Discharge Party Hats" by Frank Zappa - has almost no song structure, is completely improvised featuring a ridiculous amount of time signatures.
  • (1984) "Larks' Tongues In Aspic (Part III)" by King Crimson - 17/8 and 10/8
  • (ca 1980s) "1 2 3 4 5 6 7 8 9 10 11 12" from Sesame Street - bars in 15/8, 14/8, 12/8 and 11/8.
  • (1985) "Lords of the Backstage" by Marillion - contains 7/8 and 13/8
  • (1986) "Songs of Praise" - Toccata for organ, by Robert Prizeman. Contrasting time signatures of 2/4 and 3/8 throughout, one bar in 3/4. Was used as the theme tune of the "Songs of Praise" series on BBC television.
  • (1990) "The Cool, Cool River by Paul Simon - mostly 3/4 + 3/8; bridge is in conventional 9/8
  • (1991) "Rusty Cage" by Soundgarden - mostly 4/4; middle section contains some 17/8 and 7/4, ending is in 19/4
  • (1992) "Learning To Live" by Dream Theater - piece includes 7/4, 13/4, 11/8, 14/8, 15/8
  • (1992) "Metropolis Part 1: The Miracle and the Sleeper" by Dream Theater - contains 5/8, 12/16, 13/16, 5/16, 13/8, 7/4, 9/8, 18/16, 7/8, 9/16, 7/16, 3/16, 10/16
  • (1992) "God" by Tori Amos - contains 7/4, 2/4 and others
  • (1992) "Sweat" by Tool - verse is 7 measures of 3/8 and 1 of 2/8; instrumental is 15/4 or 15/8
  • (1993) "God Of Emptiness" by Morbid Angel - breakdown is 7/8 + 5/8 + 3/8
  • (1994) "Dancing Mad 4.2" by Nobuo Uematsu (from the Final Fantasy VI OST) - main themes in 15/8 with interludes of 4/4, 12/16, 3/4, and 7/8
  • (1994) "Permanent Daylight" by Radiohead - 4/4 + 6/8 + 12/8
  • (1995) "Dave's Gone Skiing" by Toto - contains 4/4, 9/4 and 7/8
  • (1995) "Future Breed Machine" Meshuggah - the clean guitar part before the solo is in 13/8, the breakdown is in 7/4
  • (1995) "Stupid Puma" by Don Caballero - mostly 5/8; also contains 6/8, 7/8, 11/8, and 12/8 (structured as 5+5+2)
  • (1995) "A Past Persistence" by Mark Kilstofte contains varying measures in 5/2, 7/2, 11/2, and 15/4, as well as more standard measures of 3/2, 2/2, and so on
  • (1996) "Blood Roses" by Tori Amos - mostly 6/8; contains 15/16, 9/16, 7/8,
  • (1996) "Professional Widow" by Tori Amos - mostly in 4/4; includes 3/4 and 5/4
  • (1996) "Overfloater" by Soundgarden - mostly 4/4; contains sections in 7/4 and 14/4
  • (1998) "Spark" by Tori Amos - mostly 6/8; often changes to 7/8 and once to 9/8
  • (1998) "Hotel" by Tori Amos - mostly 4/4; piano break near end starts in 5/4, switches to 6/8, then 7/8, 5/4 and back to 4/4.
  • (1999) "Home" by Dream Theater - contains parts in 31/16 (played as 6/4 + 7/16) and, at the end, 19/16
  • (1999) "Memory Machine" by The Dismemberment Plan- album: Emergency & I - 14/4, common, and 5/4
  • (1999) "The Dance of Eternity" by Dream Theater - incorporates an incredible amount of time signature changes (in order, each entry written once): 4/4, 7/8, 3/4, 13/16, 15/16, 17/16, 14/16, 5/4, 6/8, 2/4, 5/8, 11/4, 9/4, 7/16, 6/16, 5/16, 10/16, 9/8, 15/8, 12/16, 16/16 (3+3+3+3+2+2), 3/8.
  • (1999) "Datura" by Tori Amos - contains, in order of occurrence, 6/8, 7/8, 9/8, 8/8 and 4/4
  • (1999) "Spring Haze" by Tori Amos - alternates between 4/4 and 3/4, then goes to 6/8 and back. Also contains 7/8
  • (2000) "Escape From Kilburn" by Miranda Sex Garden - Starts in 4/4, but consists mostly of 5/8, 6/8 and 8/8
  • (2000) "Without Trace" by Miranda Sex Garden - mostly 3/4; contains 4/4 and 5/4.
  • (2000) "Hunger Strike" by Estradasphere - 4/4, 5/4, 6/8, and 7/8
  • (2000) "Dance of Tosho & Slavi/Randy's Desert Adventure" by Estradasphere - 7/8 followed by 9/8, and then back to 7/8
  • (2000) "Wandering Child" by Gov't Mule. The intro in 5/8 (phrased as 5/8 + 4/8 + 6/8 + 5/8). The song is mostly 4/4 with some 5/8 here and there.
  • (2001) "The Drapery Falls" by Opeth - mostly 12/8; contains instrumental sections in 5/8 and 5/4
  • (2001) "Lateralus" by Tool - verse is 5/8 in first half and 4/4 in second half; chorus is 9/8 + 8/8 + 7/8 (based in part on the Fibonacci sequence)
  • (2001) "Mushroom Cult" by Dog Fashion Disco - Intro and ending 8/4 + 9/4. A bridge on (3/4 + 3/8 + 3/4 + 2/8) x2. A middle verse on 10/4 x3 then 16/4. Also includes other unusual time signatures.
  • (2001) "Ticks & Leeches" by Tool - verses are in 7/4, the section between the second chorus and the slow section is in 15/4 (8+7), with chorus in 4+3+3+2+2+2/8 and slow section in 3+3+3+3+2+2/8.
  • (2001) "Schism" by Tool - The first and last sections are based on 6/4 divided into 5 + 7, and the middle section is based on alternating 12/8 and 15/8, with many other changes. See Schism (song).
  • (2001) "Pink Riots" by Dog Fashion Disco from Anarchists of Good Taste - Intro in 17/16 and 18/16, the song has sections in 10/8, 18/8. At least one bar is in 19/8. Maybe there's more to it and I missed it.
  • (2002) "Trapped in The Wake Of A Dream" by Mudvayne - contains 11/8 and 17/8
  • (2002) "The Odyssey" by Symphony X - contains sections of 4/4, 7/4, 6/4, 5/4, 2/4, 3/4, 10/8, 12/8, 5/8, 7/8, 8/8, 9/8, 6/8, 11/8, 15/8, and 18/8.
  • (2002) "Carbon" by Tori Amos - switches frequently between 6/8 and 7/8, particularly in the verses
  • (2002) "Mennevvogth" by Ruins - has parts in 5/4 and 9/8, among others
  • (2003) "Another Dimension" by Liquid Tension Experiment - mostly in 4/4; contains short sections in 10/4 and 7/8, among others
  • (2003) "Capobaby" by Jarcrew - contains an instrumental 5/4 and 7/4 section
  • (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
  • (2003) "Low" by Kelly Clarkson - verse follows 4+4+3+4/4 pattern, first part of chorus follows 4+4+2/4 pattern; otherwise 4/4
  • (2003) "Romantic Comedy" by Stars - verse follows pattern 4+2+4+4/4, chorus is 4+2+4+4+2/4
  • (2003) "Face:Face" by Norma Jean - Intro/Verse follows pattern 5/8 + 7/8 + 5/8 + 9/8, Bridge/Breakdown in 4
  • (2003) "1010011010" by Cog - Intro in 9/4, main section in 7/4, middle section in 6/8 with a short four-bar 4/4 section in the middle before returning to a 9/4 outro.
  • (2003) "Stream of Consciousness" by Dream Theater - features a section of 6/4 + 5/4, and the guitar and keyboard solos are in 5/8 + 5/8 + 6/8 + 6/8.
  • (2003) "When The Water Breaks" by Liquid Tension Experiment - contains 7/8, 5/8, and 7/4, among others
  • (2003) "Panic Attack" by Finger Eleven - contains 7/8 and 9/8
  • (2003) "Thieves and Poets I" by John McLaughlin 5/4, 4/4, and several measures of other meters
  • (2003) "You Wish" by Oceansize - contains 12/8 (played as 5+5+2), 4/4, 7/8 and 13/8, among others
  • (2004) "Harbor" by Vienna Teng - "this is in 5/4, 7/4, occasionally 4/4, occasionally 3/4, and sort of changes all over the place just to keep things interesting" according to Vienna [1]
  • (2004) "I Swallowed Hard, Like I Understood" by 65daysofstatic - Changes between 5/4 and 11/4
  • (2004) "Panasonic Youth" by The Dillinger Escape Plan - contains 14/16, 15/16 and 17/16, among others
  • (2004) "Cryptooology" by Yowie
  • (2004) "Let's Play Clowns" by Minus the Bear - intro in 4/4 and 5/4, verses in 4/4, prechorus in 6/4, chorus in 4/4, bridge in 5/4 and outro in 5/4, 7/4 and 4/4
  • (2004) "There's No Such Thing As A Jaggy Snake" by Biffy Clyro - second half in 5/8; last section in 6/8 + 5/8 + 5/8 + 5/8
  • (2005) "Cygnus....Vismund Cygnus" by The Mars Volta - various movements of the song contain passages in 10/4, 11/8, 15/4, and 29/16 (4+3+2+4+3+3+2+4+4), among others.
  • (2005) "Empty Feat" by Yourcodenameis:milo - verse in 4/4, chorus and instrumental in 13/4, bridge in 18/4
  • (2005) "The Tallest Man, The Broadest Shoulders" by Sufjan Stevens - 11/8 for most of the song; also includes some 5/4, 13/8, and common
  • (2005) "Life in Yellow" by Polysics - runs through every meter from 2 to 8 in two minutes (depending partially on how bars are split) at high tempo; sans repetitions, the pattern is 3+3+3+2 3+3+3+4 8+5+8+6+8 7+7+7+7+8 7+7+8+8
  • (2005) "Where's Mo?" by Abstrakt Collision - 4/4, 5/4, and 15/8
  • (2005) "Question!" by System of a Down - 9/8 (intro and verses), 5/4 (after intro and chorus), 3/4 (pre-chorus), 6/8 (chorus), and 4/4 (very fast part near end)
  • (2005) "Cassandra Gemini" by The Mars Volta - the beginning is as follows: 4/4 + 5/8 + 4/4 + 6/8 + 8 measures of 4/4. The next section of the first part features 9 measures of 4/4. The chorus is 6 measures of 4/4. The ending part of this first part of the song is in 13/8, or 6 measures of 3/4 + 2 measures of 6/8 + 1 measure of 2/4. The remaining parts (about 20 minutes of music) is almost completely in 6/8.
  • (2005) "Barons of Suburbia" by Tori Amos uses many different time signatures in 8ths: 4/8, 5/8, 6/8 (majority of the song), 7/8 and 9/8.
  • (2005) "Witness" by Tori Amos has 12/16 and 5/16 bars in the verses.
  • (2005) "Garlands" by Tori Amos uses 12/16 and 9/16
  • (2006) "The Deep Interconnectedness of All Things" by We Are The Music Makers The beginning of the song is an alternating 6/4 and 7/4 pattern. The middle section is 11/8 x2, 13/8, 15/8, 15/16 and 19/16.
  • (2006) "Ink" by Finch (U.S. band) - the intro switches between 7/4 and 9/4 and then the verse stays in 7/4, then the chorus is in 4/4
  • (2006) "Crazy Hat Murwit" by Cue features a prechorus in 10/8 and a verse in 15/16

Unknown

This section should contain only cited listings.

See also

Sources

  1. ^ Bush, John. "Happiness", All Music Guide: "precocious time-signature jam".
  2. ^ Smith, Michael B. "The Strange Remain", All Music Guide: "bizarre time signature".
  3. ^ DeGagne, Mike. "Money", All Music Guide: "unusual time signature".
  4. ^ Author unknown/uncredited (1978). "Bacharach and David", 'Bacharach and David'. Almo Productions.
  5. ^ Greenwald, Matthew "Anyone Who Had a Heart", All Music Guide.
  6. ^ Planer, Lindsay. "My Human Gets Me Blues", All Music Guide: "complex time signature".
  7. ^ Dryden, Ken. "Blue Rondo a la Turk", All Music Guide: "unusual time signature of 9/8".
  8. ^ Planer, Lindsay. "Live/Dead", All Music Guide: "instrumental rhythmic excursion titled "The Eleven" after the jam's tricky time signature".
  9. ^ http://www.ronjarzombek.com/headache.html
  10. ^ *Moorefield, Virgil (2005). The Producer as Composer: Shaping the Sounds of Popular Music, p.38. ISBN 0262134578.
  11. ^ "Elephant Talk: The Exposure Pages". Retrieved 2006-05-15.
  12. ^ "Metrical Structure of "Breathless"". Elephant Talk Archives. Retrieved 2006-05-15.
  13. ^ Huey, Steve. "Uncle Meat", All Music Guide: "odd time signature".
Retrieved from "https://en.wikipedia.org/w/index.php?title=List_of_musical_works_in_unusual_time_signatures&oldid=70781338"