List of musical works in unusual time signatures

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This list of musical compositions or pieces in Western music which have unusual time signatures is largely apocryphal, due to the subjective nature of time signatures.

For a piece in 5 at a rate of 150 beats per minute, the decision whether to notate the piece in 5/4 or 5/8 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:

Contents

[edit] 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 "Pathétique" Symphony — see below.

[edit] 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 4/4.
  • (1952) Third movement from Piano Sonata No. 1 by Alberto Ginastera, in first and third parts of ternary form
  • (1962) "Turn! Turn! Turn! (to Everything There Is A Season)" by Pete Seeger
  • (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) "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.
  • (1968) "Revolution 9" by The Beatles - "Number Nine" is in 5/8.
  • (1968) "Spanish Caravan" by The Doors - 3/4 with one bar of 5/8 before main sequence.
  • (1969) "Light Flight" by Pentangle from Basket of Light - switches between 5/8, 7/8 and 6/4.
  • (1969) "Autopsy" by Fairport Convention - beginning and closing verse in 5/4, middle section in 4/4, link in 12/8.
  • (1969) "Don't Let Me Down" by The Beatles — opening line.
  • (1970) "Across the Universe" by The Beatles - the measure with the words "All across the universe" is 5/4, and the "Possessing me and caressingly me" verse is in 6/4.
  • (1970) Jesus Christ Superstar - the instrumental section of "Gethsemane (I Only Want to Say)", as well as other recurring motifs in the score, are in 5/8.
  • (1971) "Four Sticks" by Led Zeppelin - verse.
  • (1972) "Armenian Dances (Part I) by Alfred Reed - the 3rd movement of this song (Hoy, Nazan Eem) is mostly in 5/8 time, with 6/8 occasionally added, which also makes some parts of the song in 11/8.
  • (1972) "Trilogy" by Emerson, Lake & Palmer - middle section in 5/8, first section is in 4/4 and 3rd is in 6/8.
  • (1972) "Heart of the Sunrise" by Yes - includes a 5/4 riff that appears in differing configurations.
  • (1973) "Dreamer" by Supertramp - closing fade on glockenspiel.
  • (1973) "Ritual: Nous Sommes Du Soleil" by Yes - 5/4 riff early in piece, develops into polymetric section which features a 4/4 vocal melody over 5/4 rhythm section.
  • (1974) "Rock The Boat" by Hues Corporation - pre-chorus only.
  • (1974) "Red" by King Crimson - opening riff is two bars of 5/4, one bar of 6/4 then two bars of 4/4. 'Verse' section is mainly in 4/4 but there are bits in 7/8.
  • (1974) "Sound Chaser" by Yes - main riff and several variations are in 5/4, "Cha-Cha" vocal break in 5/4 as well.
  • (1975) "Song for America" by Kansas - chorus.
  • (1975) "Have a Cigar" by Pink Floyd - bars of 5/4 scattered throughout.
  • (1975) "Scorched Earth" by Van der Graaf Generator - mainly in 4/4, but the verses incorporate a few lines in 5/4.
  • (1976) "Wind Up Workin' In A Gas Station" by Frank Zappa from Zoot Allures - 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.
  • (1976) "One For The Vine" by Genesis - intro section in 5/4.
  • (1978) "The Trees" by Rush - the instrumental section after the synthesizer interlude is in 5/4.
  • (1978) "Great White Hope" by Styx - part of the instrumental break is in 5/4.
  • (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.
  • (1981) "The Camera Eye" by Rush — riff before the verses is in 5/4.
  • (1981) "Discipline" by King Crimson - along with various other meters.
  • (1981) "Sat In Your Lap" by Kate Bush - verses are in 3/4, refrain is in 5/4.
  • (1982) "Losing It" by Rush - intro and verses in 5/8.
  • (1982) "Number Of The Beast" by Iron Maiden - has the intro as 3+3+2+2.
  • (1982) "There Goes A Tenner" by Kate Bush - first part of bridge in 5/4.
  • (1982) "I Know What Boys Like" by The Waitresses - chorus.
  • (1984) "The Comedians" by Elvis Costello - verses are in 5/4.
  • (1984) "Kid Gloves" by Rush - intro and verses are in 5/4.
  • (1985) "Perfect Way" by Scritti Politti - bridge has 5/4 measure.
  • (1985) "Asylum" by Watchtower
  • (1986) "Alexander The Great" by Iron Maiden - the bass fills between the solos.
  • (1986) "Master of Puppets" by Metallica - verse riff is a bar of 4/4, followed by a bar of 7/4.
  • (1986) "Wild Side" by Motley Crue - chorus
  • (1987) "Deathcrush" by Mayhem - intro is in 5/4.
  • (1987) "That Time of the Night" by Marillion
  • (1987) "Mission" by Rush - most of instrumental bridge in 5/4.
  • (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.
  • (1989) "5-5-7" by Pat Metheny Group - melody rotates 5/4, 5/4, 7/4 in a triplet feel.
  • (1990) "Pandemonium" by The Time
  • (1991) "Green-Tinted Sixties Mind" by Mr. Big - solo is in 4/4, 5/8, 6/8, 4/4.
  • (1991) "Rodeo" by Garth Brooks - verses.
  • (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 - the fast-paced flamenco guitar section is in 5/4 (but changes to 6/4 later). It is reprised on electric guitar after the bridge (which is in 3/4), but stays in 5/4.
  • (1991) "The Righteous & the Wicked" by Red Hot Chili Peppers
  • (1992) "Addicted To Vaginal Skin" by Cannibal Corpse - the intro is in 5/4, and repeated later in the song.
  • (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) "Missed" by PJ Harvey — alternates between 6/8 and 5/8, choruses in 5/8.
  • (1993) "My Name Is Mud" by Primus - bridge pause section has 2 measures of 5/4.
  • (1993) "I Am Hell" by White Zombie
  • (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) "One Hit Wonder" by Sincola
  • (1994) "Half" by Soundgarden
  • (1995) "Misery" by Soul Asylum - prechorus is in 5/4.
  • (1995) "Year Of Tha Boomerang" by Rage Against the Machine
  • (1996) "Eat It Up Worms Hero" by Cardiacs — introductory section is in 5/4.
  • (1996) "Time And Motion" by Rush - intro and bridge in 5/4.
  • (1996) "Carve Away The Stone" by Rush
  • (1996) "Adelina de Maya" by Joseph Curiale - brief segment of 5/4 in middle of piece.
  • (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
  • (1997) "Church Of The Machine" 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
  • (1998) "Forsaken" by Converge has a Breakdown written as three bars of 4/4 followed by one bar of 5/4.
  • (1998) "Woodwell" by Saetia - mainly in 5/4, with short sections of 6/4 and 4/4.
  • (1999) "Just Like You Imagined" by Nine Inch Nails - everything except the 38 second intro.
  • (1999) "Las Vegas Dealer" by Gomez - intro and verses in 5/4, piano part in 11/8.
  • (1999) "Down" by Stone Temple Pilots
  • (2000) "Dark & Grey" by Kid Rock - outro.
  • (2000) "Last Day on Earth" by Duran Duran - verses.
  • (2000) "Carefully Planned" by Faraquet - with sections in 6/8.
  • (2000) "Wandering Child" by Gov't Mule
  • (2001) "Shutdown" by American Head Charge - alternates between 5/4 verses and 4/4 for the rest of the song.
  • (2001) "It's Only Me (The Wizard of Magicland)" by Barenaked Ladies - during the "when your heart is broken" section about halfway into the song, the band plays two bars of 4/4, the 2 bars of 5/4. The same rhythm repeats right after.
  • (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) "The Picard Song" by DarkMateria - First measure of music after spoken introduction in 5/4, 4/4 rest of song.
  • (2001) "Portrait" by P.O.D. - verse and instrumentals.
  • (2001) "Breakdown" by Tantric - one bar after chorus.
  • (2001) "Last Nite" by The Strokes - verse.
  • (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 - 5/8 and 6/8 parts in intro and chorus.
  • (2002) "Tonight" by Koop
  • (2002) "Freeze - Part IV of Fear" by Rush - chorus.
  • (2002) "Adelleda" by Alexisonfire - a small portion of the song.
  • (2002) "Nobody's Laughing" by Freak Kitchen.
  • (2003) "Bananas" by Deep Purple - alternates between 5/4 and 7/4 in chorus and verse.
  • (2003) "Something White and Sigmund" by Love Outside Andromeda — contains sections in 6/8.
  • (2003) "Meat Dreams" by I Mother Earth
  • (2003) "Marching Band" by Sufjan Stevens - only the second half.
  • (2003) "Wrgggggggrkyyyyyyy!!!" by An Albatross
  • (2003) "Ride" by Samuel Hazo
  • (2003) "Her Voice is Beyond Her Years" by Mew (Frengers version) - the chorus, where the tempo slows down is in 5/8.
  • (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) The Incredibles Soundtrack 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.
  • (2004) "Opium of the People by Slipknot
  • (2004) "In Due Time" by Submersed - verses and pre-chorus are in 5/8, chorus is in 6/8.
  • (2004) "Triumph of Defeat" by Epica - opening section is in 5/4, which returns later in the song.
  • (2004) "Challenger!!" by Rica Matsumoto - opening section.
  • (2005) "Velcro Nose Job" by Alien Music Club.
  • (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 4/4.
  • (2005) "Five Four Overture" We Are the Music Makers (band) - verses in 5/4, pre-choruses 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
  • (2005) "Silent Sea" by KT Tunstall - verses in 5/8, chorus in 6/8, intro in 4/4.
  • (2005) "Vertigo" by The Static Age - the intro is in 5/8 then switches into 6/8.
  • (2005) "Ruska" by Apocalyptica
  • (2005) "The Start of Something Beautiful" by Porcupine Tree [2]
  • (2006) "Cult" by Slayer - 4/4 followed by 5/4 during verses. 5/4 also in outro.
  • (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) "K.I.N.G." by Satyricon
  • (2006) "Vicarious" by Tool
  • (2006) "Rosetta Stoned" by Tool
  • (2006) "When your mind's made up" by The Frames
  • (2006) "Drawing Stars" by Dawn Xiana Moon - verses in 5/4.
  • (2006) "Auto Rock" by Mogwai - verses in 5/2 phrased as 3/2 + 4/4.
  • (2006) "Hevy Revy" by the Lawless Percussion & Jazz Ensemble - alternates between 5/4 and 9/8 throughout piece.
  • (2006) "Would You Go With Me?" by Josh Turner
  • (2006) "My, Oh My" by The Wreckers - pre-chorus.

[edit] 7/4

septuple meter

[edit] 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.
  • (1963) "Ring of Fire" by Johnny Cash - trumpet section plays 3/4 + 4/4 sections.
  • (1967) "Comin' Back to Me" by Jefferson Airplane - each section where Marty Balin sings "I saw you...".
  • (1967) "All You Need Is Love" by The Beatles - verse in 7/4, chorus in 4/4.
  • (1967) "Strawberry Fields Forever" by The Beatles - The "strawberry fields forever" parts are in 7/4 preceded by a 2/4 bar.
  • (1970) "Uncle John's Band" by The Grateful Dead - instrumental section in 7/4.
  • (1970) "Perpetual Change" by Yes - an instrumental section is in 7/4.
  • (1972) "Roundabout" by Yes - contrapuntal vocal section at end is in 7/4.
  • (1972) "Soul Love" by David Bowie - verses.
  • (1973) "The Battle of Epping Forest" by Genesis - introduction and verse in 7/4.
  • (1973) "The Ancient" by Yes - an instrumental section is in 7/4.
  • (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.
  • (1974) "Money Money" by Grateful Dead - much is in 7/4 but also alternates to 4/4 and 6/4.
  • (1975) "All the World" by Kansas - 7/4 section in instrumental break in middle of song.
  • (1975) "Have a Good Time" by Paul Simon – - verses in 7/4, chorus in 4/4.
  • (1975) "Jive Talkin'" by Bee Gees - instrumental break in 7/4 (3/4 + 4/4).
  • (1975) "By-Tor and the Snow Dog" by Rush - the "7/4 War Furor" subsection of the "Battle" section.
  • (1975) "Down Home Town" by Electric Light Orchestra - verses.
  • (1976) "Go To Hell" by Alice Cooper - verse
  • (1977) "A Farewell to Kings" by Rush - section in beginning and end of song (4/4 + 3/4).
  • (1977) "Xanadu" by Rush - intro (after volume swells) is in 7/4.
  • (1977) "Fooling Yourself (The Angry Young Man)" by Styx - the keyboard solo in the middle of the song. (Note: there are also two measures of 5/8 in the song's closing sequence).
  • (1978) "Curfew" by The Stranglers - verses.
  • (1978) "Accidentally Like A Martyr" by Warren Zevon - the piano bridge.
  • (1978) "La Villa Strangiato (An Exercise in Self-Indulgence)" by Rush - "A Lerxst In Wonderland" section is in 7/4.
  • (1978) "In the Dead of Night" by UK - 1st and 3rd sections in 7/4, 2nd section ("By the Light of Day") in 5/4.
  • (1978) "How Much I Feel" by Ambrosia - first part of bridge section in 7/4 (3/4 + 4/4), rest of song in 4/4.
  • (1979) "Heart of Glass" by Blondie - the instrumental break, later changes to 4/4.
  • (1980) "The Wait" by The Pretenders - verses only, the rest is in 4/4.
  • (1980) "The Spirit of Radio" by Rush - first part of middle instrumental section is 7/4 (4/4 + 3/4), every fourth measure of the 7/4 section is 2 bars of 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 - intro and verses (4/4 + 3/4).
  • (1981) "Red Barchetta" by Rush - guitar solo and short instrumental section before final verse (4/4 + 3/4).
  • (1981) "Diary of a Madman" by Ozzy Osbourne - verses in 7/4.
  • (1982) "I Love Rock N' Roll" by Joan Jett - measure of 7/4 (4/4 + 3/4) in the intro, several measures in the last chorus of the song.
  • (1983) "Our Song" by Yes - intro theme in 7/4, used a few times throughout the song.
  • (1983) "Faster Than the Speed of Night" by Bonnie Tyler - short 7/4 sections in the verses.
  • (1984) "Building the Perfect Beast" by Don Henley - a few bars here and there are in 4/4, which heightens the feeling of unevenness in the time signature.
  • (1985) "Addicted to Love" by Robert Palmer - the intro drum solo is 7/4 while the rest of the song is in 4/4.
  • (1985) "Marathon" by Rush – bridge in half time feel 7/4.
  • (1987) "Time Stand Still" by Rush – -intro in 7/4, guitar/bass/"ooh" vocal interlude in 7/4 .
  • (1988) "Blackened" by Metallica – the main/bridge riff is 7/4, the verse is in 6/4.
  • (1988) "Waiting For 22" by Queensrÿche – in 7/4 but changes to 4/4 later.
  • (1989) "Superconductor" by Rush – intro & verses.
  • (1990) "Best I Can" by Queensrÿche – bridge, instrumental break, and fade-out.
  • (1990) "Resistance" by Queensrÿche – intro, played as 3+2+2.
  • (1990) "Carnage in the Temple of the Damned" by Deicide – the section preceding the scream of the song title, and where Glen Benton delivers a sort of death-growl rap if you will, is in 7/4.
  • (1991) "Caress" by Drive Like Jehu - main verses.
  • (1991) "Beeswax" by Nirvana – chorus
  • (1991) "Breadcrumb Trail" by Slint - beginning segment.
  • (1991) "Obstruction" by Living Sacrifice - intro and bridge in 7/4, rest is in 4/4.
  • (1991) "Outshined" by Soundgarden – verse and instrumentals
  • (1991) "In Lonesome Dove" by Garth Brooks – verses are mostly in 7/4.
  • (1993) "4°" by Tool – intro and chorus.
  • (1993) "Awake and Nervous" by IQ; 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
  • (1994) "Damaged" by Queensrÿche – bridge.
  • (1994) "Spoonman" by Soundgarden
  • (1995) "If I Can't Have You" by Eve's Plum
  • (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.
  • (1996) "Politics, Religion, and Her" by Sammy Kershaw – verses.
  • (1997) "The Divine Wings of Tragedy" by Symphony X
  • (1997) "Out of the Ashes" by Symphony X – intro guitar riff and pre-choruses are in 7/4.
  • (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) "Wrong Way" by Creed
  • (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) "Moodswings" by My Vitriol – instrumental break at beginning and end.
  • (2002) "A good example of arbitrary presumption" by Sphere3 – main verse sections
  • (2002) "The Sound of Muzak" by Porcupine Tree – verse and instrumental.
  • (2002) "Wedding Nails" by Porcupine Tree – contains a measure of 7/4 at 1:41.
  • (2002) "Times Like These" by Foo Fighters – instrumental bridges only.
  • (2002) "King Of Terrors" by Symphony X – intro alternates between 7/4 and 8/4; verse alternates between 7/4 and 6/4.
  • (2003) "1010011010" by Cog – contains sections in 9/4, 6/8 and 4/4.
  • (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) "A Canon" by Regina Spektor – first line. of pre-chorusish part features a bar in 7/4 ("I always knew it was coming this way...")
  • (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) "Blackmail the Universe" by Megadeth
  • (2004) "Sunrise" by Norah Jones – bridge only.
  • (2004) "Sacred Sound" by IQ - intro.
  • (2004) "Two Sides" by After Forever – beginning section, repeated later in song.
  • (2004) "Through Square Eyes" by After Forever – section about 4 minutes into the song.
  • (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.
  • (2004) "Seven" by Necrophagist
  • (2004) "Yawn, Yawn, Yawn" by Les Savy Fav – verses.
  • (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.
  • (2005) "So Called Friend" by Porcupine Tree [4]
  • (2005) "7/4 (Shoreline)" by Broken Social Scene
  • (2005) "Going to Peterborough" by Carpetburn - middle section played in 7/4.
  • (2006) "Detonation" by Trivium 7/4 in the intro to the song. Verses have 4/4, 2/4, 4/4 structure. Rest of song is 4/4.
  • (2006) "Inefficiencity" by Dan Webb
  • (2006) "Laps In Seven" by Sam Bush
  • (2006) "The Allegory of Benjamin Franklin" by Pomme De Chien – heavy sections in 7/4 or 4+3.
  • (2006) "Brighter than a Thousand Suns" by Iron Maiden
  • (2006) "Bees" by The Tunguska Event - between second chorus and solo.
  • (2006) "Flathead" by The Fratellis – chant section.
  • (2006) "Attack of the 10 Octave Marimba" by the Lawless Percussion & Jazz Ensemble.
  • (2006) "Mudlark" by Kill Your Ex – most of the song is in 7/4.
  • (2006) "Fadeout" by +/-
  • (2007) "A Different World" by Bucky Covington - verse
  • (2007) "Most Girls" by Lea - bridge

[edit] 7/8

septuple meter, usually 2+2+3

[edit] Partially in 7/8

  • (1957) 3rd movement of the Piano Concerto No. 2 by Shostakovich
  • (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.[5] 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.[6]
  • (1968) "Senhor F" by Os Mutantes- verses in 7/8
  • (1969) "My Human Gets Me Blues" by Captain Beefheart & the Magic Band (Don Van Vliet).[7]
  • (1973) "The Cinema Show" by Genesis - the extended outro and keyboard solo.
  • (1973) "The Ocean" by Led Zeppelin 4/4 + 7/8 in the choruses (documented in several Led Zeppelin song books).
  • (1975) "Anthem" by Rush - introduction in 7/8, rest of song in 12/8.
  • (1976) "Chord Change" by Camel from Moonmadness - the first bars of the songs are in a very unsteady 7/8 metre.
  • (1977) "Mad Man Moon" by Genesis - piano solo section.
  • (1978) "Cygnus X-1 Book II: Hemispheres" by Rush- II. Apollo Bringer of Wisdom and III. Dionysus Bringer of Love, intros and main verses.
  • (1978) "La Villa Strangiato (An Exercise in Self-Indulgence)" by Rush – the first 4 bars of the "Monsters" section.
  • (1979) "Animals" by Talking Heads
  • (1979) "Tattooed Love Boys" by The Pretenders - verses alternate between 7/8 and 4/4.
  • (1980) "Natural Science" by Rush – the "Hyperspace" section is in 7/8 (with the occasional 3/4 turnaround thrown in at the end of a phrase).
  • (1981) "Tom Sawyer" by Rush - the instrumental break (not counting the 3/4 turnaround) and the closing.
  • (1982) "Subdivisions" by Rush - intro and verses in 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.
  • (1984) "Warning" by Queensrÿche – the fast part of the guitar solo.
  • (1984) "Distant Early Warning" by Rush – a few short parts in 7/8 throughout the song, plus sections of 5/8 + 7/8.
  • (1986) ""Alexander the Great"" by Iron Maiden – instrumental part in the middle of the song.
  • (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)
  • (1990) "Carnage in the Temple of the Damned" by Deicide – the short, abrupt, quirky blast beat changes in the song from straight 4/4 mid-tempo playing is in 7/8.
  • (1992) "Them Bones" by Alice in Chains - chorus and part of guitar solo is in 4/4.
  • (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) "Love Is Stronger Than Justice (The Munificent Seven)" by Sting - verse only. [1]
  • (1994) "March of the Pigs" by Nine Inch Nails - verse and intro varies from 7/8 and 4/4.
  • (1995) "Bury Me In Smoke" by Down - intro alternates between two bars of 4/4 and 4/4 + 7/8
  • (1995) "Bro Dependent" by Lagwagon is 7/8 and 4/4.
  • (1996) "That, That Is" by Yes - contains several sections of 7/8.
  • (1997) "A Fall Thru the Ground" by John Frusciante - in 7/8 until 2:03, where it switches to 4/4.
  • (1997) "Paranoid Android" by Radiohead - has several four-measure sections consisting of three measures in 7/8 followed by one of 4/4.
  • (1997) "Venus Man Trap" by Veruca Salt
  • (1997) "Waltz in 7/8" by Yanni - starts in Alla Breve (Cut) Time and The goes to 7/8.
  • (1997) "The Accolade" by Symphony X - several 7/8 sections throughout.
  • (1998) "Bad Religion" by Godsmack - end of the song.
  • (1999) "Infinity Machine" by I Mother Earth
  • (1999) "Better World" by Toto
  • (2002) "And All That Could Have Been" by Nine Inch Nails - verses.
  • (2002) "Deliverance" by Opeth - intro part.
  • (2002) "Carbon" by Tori Amos - 6/8 7/8 verses.
  • (2002) "Motherfucker=Redeemer (Part Two)" by Godspeed You! Black Emperor – the first recognizable beat up until around 7:16 on the cd version is in 7/8.
  • (2002) "Shrimp.SNG" by Sphere3 - various sections
  • (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.
  • (2003) "Massive Bereavement" by Oceansize
  • (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.
  • (2004) "The Bitter End" by Sum 41
  • (2005) "It's Not Me" by 3 Doors Down - bridge.
  • (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 4/4.
  • (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.
  • (2005) "General Grievous" from the Star Wars Episode III soundtrack by John Williams - includes several noticeable phrases featuring 7/8 and alternation between 3/4 and 9/8.
  • (2006) "Oboe Schuhe Overture" by Pomme De Chien - sections in 7/8 time.
  • (2006) "Intension" by Tool
  • (2006) "Slow Cheetah" by Red Hot Chili Peppers - final instrumental section.
  • (2006) "Giraffe Food" by Redrick Sultan - verses.
  • (2006) "This is Not a Love Song" by Dawn Xiana Moon - intro and verses.
  • (2006) "Petslenen" by Pomme De Chien - short sections switch from 7/8 to 4/4.
  • (2006) "Unmarked Graves" by Misery Index
  • (2006) "Degradation" by Flatline - chorus is 7/8 7/8 7/8 8/8 while solo is 8/8 7/8.
  • (2007) "Child of the City" by Clutch

[edit] 9/4 or 9/8

(not simply compound triple meter)

[edit] Partially in 9/2

  • (2006) "Polydipsia" by Kill Your Ex - chorus is in 5/2+ 4/2= 9/2[2]
  • (2007) "Mind Control" by Lifeless Animation - post-intro is in 5/2+4/2[3]

[edit] 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)[8]
  • (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
  • (1975) "Scatterbrain" by Jeff Beck - intro section is in 9/8 and has parts in 12/8. Verses are in 4/4.
  • (1975) "Song for America" by Kansas - instrumental section in second half.
  • (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) Played as 4/4 + 5/4.
  • (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 (an 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) "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
  • (1996) "Wind Below" by Rage Against the Machine
  • (1996) "Napalm Brain" by DJ Shadow
  • (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.
  • (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.
  • (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 [9]
  • (2006) "Colony of Birchmen" by Mastodon
  • (2006) "Jambi" by Tool - contains also parts 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.

[edit] 10/4

[edit] Partially in 10/4

[edit] 10/8

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

[edit] Partially in 10/8

  • (1972) "Thick as a Brick" by Jethro Tull - excerpts.
  • (1980) "Touch and Go" by The Cars
  • (1980) "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)
  • (2002) "Lies, Lies, Lies" by Toni Braxton - final part of the song.
  • (2003) "Childhood Dreams" by Nelly Furtado - alternates with 12/8.
  • (2002) "Gravity Eyelids" by Porcupine Tree - the second half of the instrumental 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

[edit] Partially in 10/16

[edit] 11/4

[edit] 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.
  • (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)
  • (1974) "The Gates of Delirium" by Yes - victory march theme, starting at 12'51" (4/4 + 4/4 + 3/4).
  • (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.
  • (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
  • (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

[edit] 11/8

[edit] 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) "The Gates Of Delirium" by Yes - bass riff section from 10'23" to 10'48" (3/8 + 4/4), followed by 11/8 (5/8 + 3/4) to 9/8 (3/8 + 3/8 + 3/8) two-bar pattern from 10'48" to 10'59'. Patterns repeated and developed until 12'07".
  • (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) "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
  • (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.
  • (2002) "Breathe" by Disturbed
  • (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.
  • (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) "Rosetta Stoned" by Tool — partially 5/8.
  • (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.

[edit] 11/16

[edit] Partially in 11/16

  • (2002) "Jubella" by Alexisonfire (part of a riff that is partially in 11/16, partially in 2/4, and partially in 4/4)

[edit] 12/4

[edit] Partially in 12/4

  • (1952) Third movement from Piano Sonata No. 1, Op. 22, by Alberto Ginastera; music literally and visually slows down to almost total silence in only one bar of 12/4 surrounded on both sides by 5/4, which dominates the movement
  • (2006) "My style is death!" by Sub Urban Defiance Alliance at 00:43 and again at 2:04. This is notable as it is unusual for rap music to use an unusual meter.

[edit] 13/4

[edit] Partially in 13/4

  • (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
  • (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.

[edit] 13/8

[edit] 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.
  • (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) "Joga" by Björk - chorus, played as 4+4+4+2.
  • (1999) "Will Bleed Amen" by Cardiacs - opening riff prior to the vocals (recurs 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) "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.

[edit] 13/16

  • (2002) "Interlude in Milan" by Planet X

[edit] 15/4

  • (1930) "Variations on a Hussar's Song" by Franz Schmidt (actually notated as 3 bars of 4/4 and one of 3/4)
  • (1981) "Mother Tongues" by John McLaughlin
  • (1994) "The Day I Tried To Live" by Soundgarden

[edit] 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.

[edit] 15/8

[edit] Partially in 15/8

  • (1973) "Tubular Bells" by Mike Oldfield - intro in various patterns of 7/8 + 4/4.
  • (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) "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).
  • (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.

[edit] 15/16

[edit] 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.

[edit] 16/8

[edit] 17/4

[edit] 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)

[edit] 17/8

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

[edit] 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).
  • (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.

[edit] 17/16

[edit] Partially in 17/16

  • (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.

[edit] 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).

[edit] 19/8

  • (1966) "33 222 1 222" by Don Ellis Orchestra
  • (1969) "After the Flood" by Van der Graaf Generator - intro only.
  • (1969) "Binky's Dream" by John McLaughlin
  • (1970) "Cat Food" by King Crimson
  • (1973) "Hidden Shadows" by Herbie Hancock
  • (1973) "L'Auberge du Sanglier" by Caravan - "A Hunting We Shall Go" segments at the beginning and at the end, counted {3+3+2+2}+{3+2+2+2}, also reckoned as {5/4}+{9/8}.
  • (1994) "19" by Laundry
  • (2004) "Nineteen 1319" by Venetian Snares
  • (2005) "Damn That Jello!" by Abstrakt Collision
  • (2006) "6086555670238378989670371734243169622657830773351885970528324860512791691264" (from "The Sublime Numbers") by Matthew Prins - (7/8 + 7/8 + 5/8),

[edit] 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

[edit] 20/8

  • (1971) "The Dance Of Maya" by Mahavishnu Orchestra...time signature is 20/8 count as 3+3+3+3+3+3+2. Though the original score was written in 10/8, and an argument could be made that it still is, the underlying rhythm seems to be 20/16. In fact, at the beginning, there is a clear 10/8, but further along, the rhythms, though all adding up to 10 eighth notes, become more and more syncopated. It could also be analysed as a swung six and two-thirds /four.
  • (1991) "Either/Or End Up > Down" by Pete Levin

[edit] 20/16

[edit] Partially in 20/16

[edit] 21/16

[edit] 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)

[edit] 23/16

  • (2005) "Aamelotasis" by Venetian Snares. as 7/16 + 7/16 + 9/16.
  • (2006) "Weapons of the Conqueror" by Minus Won.

[edit] 25/16

[edit] 27/8

  • (2002) "Remember" by Disturbed - (verse) 8/8 + 5/4 + 6/4 + 8/8.
  • (2005) "Never Gonna Kill Us" by The Smashup

[edit] 29/4

  • (2004) "Sultry" from Private Dances by Kyle Gann

[edit] 33/16

  • Opening theme of Herandnu by Weather Report. 6+6+6+6+9

[edit] 31/16

[edit] 41/16

[edit] 65/16

  • (2005) "Concerning the UFO Sighting Near Highland, IL" by Sufjan Stevens - (18+17+17+13)

[edit] Partially in a single unusual time signature

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

[edit] 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

[edit] 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
  • (2006) "Civil Sin" by Boy Kill Boy

[edit] 14/8

[edit] 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.
  • (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.
  • (2006) "This Place is Painted Red" by Deas Vail - chorus is 8/4 + 7/4.


[edit] 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.

[edit] 21/16

[edit] 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.

[edit] 23/8

[edit] 29/4

  • (1994) "Spoonman" by Soundgarden played as 5 measures of 4/4 + 3/4 + 4/4 + 2/4

[edit] 29/8

  • (2000) "The 29/8 Steps" by Outside (middle section is in 4/4)
  • (2003) "Re-entry" by Limp Bizkit

[edit] 29/16

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

[edit] 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 4/4, 5/4, and 5/8.
  • (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) "Psalter" by Faust from Faust IV - 6/8 & 7/8.
  • (1974) "Brighton Rock" by Queen - 4/4 + 9/8 + 7/8 + 9/8 + 4/4 + 7/8 + 9/8 + 10/8 + 4/4 + 7/8 + 9/8 + 10/8 + 4/4 + 7/8 + 9/8 + 4/4
  • (1975) "Safe (Canon Song) by Chris Squire - the middle section has multiple orchestra instruments playing at 4/4 + 4/4 + 3/4 , while the bass is at 12/8.
  • (1976) "Lunar Sea" by Camel from Moonmadness - intro: synth washes; part 1 in 10/16 (3-3-2-2); break and change to groovy Minimoog solo in 4/4 (over the same time duration as two of the 10/16 beats, not clipping the bar); again break and back to frenetic guitar solo in 10/16 beat from part 1; after climax beat changes to 20/16 (3-3-3-3-8). Different interpretation anyone?
  • (1976) "A Passage To Bangkok" by Rush - guitar solo: every 4th bar of the primarily 4/4 guitar solo is 7/8. Drums play straight 4/4 through the time changes.
  • (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.
  • (1978) "Cygnus X-1 Book II: Hemispheres" by Rush- 7/8 + 3/4 + 3/4 theme in Prelude.
  • (1978) "Circumstances" by Rush - first part of instrumental bridge is in 11/8 (5/8 + 3/4) followed by two bars of 3/4, the rest of instrumental bridge is 11/8.
  • (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 - refrain: always 4/4, verse one: 21/16 (4+4+4+4+4+1; that 1 is an open hihat stroke) plus 1 x 4/4 at the end, verse two: 21/16 (division not figured out yet, Vinnie Colaiuta says "in 2s and 3s" in Modern Drummer magazine/ November 1982), solo part (two times): drums & bass 19/16 (4+4+4+4+3), guitar ??
  • (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).
  • (1981) "The Camera Eye" by Rush - verses are phrased as 11/4 + 12/4 (3/4 + 3/4 + 3/4 + 2/4 followed by 4 bars of 3/4).
  • (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.
  • (1988) "Seventh Son Of A Seventh Son" by Iron Maiden - The instrumental part in the middle of the song: 6/4 + 5/4 + 6/4 + 7/4.
  • (1988) "Blackened" by Metallica Intro in 14/4, main verses 6/4, rest of song makes use of both 4/4 and 2/4.
  • (1988) "In My Darkest Hour" by Megadeth mainly in 4/4 and 12/8, has one bar of 13/8.
  • (1989) "5-5-7" by Pat Metheny Group The majority of the song is in 5/4 + 5/4 + 7/4 in a triplet feel, making it feel more like 15/8 + 15/8 + 21/8
  • (1991) "Bad Day" by Blur from album Leisure - all instrumental sections are in 6/4 except the outro, verses and chorus in 4/4.
  • (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.
  • (1992) "The Fourth World" by The David Blamires Group (Main chorus has pattern of 4/4 + 7/8 + 4/4 + 7/8 + 7/8 + 7/8 + 7/8 + 7/8 + 4/4 + 6/8 + 4/4 + 6/8 + 7/8 + 7/8 + 7/8 + 7/8).
  • (1993) "Intolerance" by Tool - main riff 13/16 + 4/4.
  • (1993) "Undertow" by Tool - 13/16 + 15/16 (bridge only).
  • (1993) "Crawl Away" by Tool - chorus in 9/8 followed by one bar of 10/8, rest of song in 4/4.
  • (1993) "Swamp Song" by Tool uses 4/4, 5/4, 6/4, 6/8, and 7/4.
  • (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) "Sign Of The Cross" by Iron Maiden - The slow instrumental part in the middle of the song: 8/8 + 9/8 + 9/8 + 9/8 + 8/8 + 9/8 + 8/8 + 10/8. The riff after that: 8/8 + 5/8 + 8/8 + 8/8 + 4/8 + 5/8 + 8/8 + 8/8 + 5/8 + 8/8 + 8/8 + 4/8 + 5/8 + 8/8 + 8/8 + 5/8 + 8/8 + 8/8 + 4/8 + 5/8 + 8/8 + 8/8 + 5/8 + 8/8 + 8/8 + 4/8 + 5/8 + 7/8. After that a riff in 3/4, then return to 4/4.
  • (1995) "Dreaming of You" by Selena - one measure of 5/4 in each chorus.
  • (1996) "Mr Rogers" by Korn - intro 4+ 4 + 4 + 5/8).
  • (1996) "Jimmy" by Tool - 3/4, 3/4, 4/4
  • (1996) "Hooker With a Penis" by Tool - end has 5+5+5+5+5+5+6+6+4+5+5+5+5+5+5+6+7.
  • (1996) "Driven" by Rush – the intro, verses, and bass solo are in 30/16, phrased as 3+3+3+3+2+2+3+3+2+2+2+2. The pre-chorus ("But it's my turn to drive...") and chorus are in 6/8.
  • (1997) "Jóga" by Björk - (chorus only) 5 measures of 4/4, then 1 measure of 2/4, then 1 measure of 4/4.
  • (1998) "Orion - The Hunter" by Symphony X - the intro guitar riff repeats a pattern of 4/4 + 7/8 + 6/8 + 6/8.
  • (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 (or simply 4/4).
  • (1999) "But the Regrets Are Killing Me" by American Football - verse is 17/4 (4 + 4 + 4 + 5), bridge is in 9/4.
  • (1999) "Biaxident" by Liquid Tension Experiment - guitar riff in 4/4 + 17/16 + 11/16.
  • (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) "Pharmacopeia" by Mudvayne- intro breakdown 6/4, 4/4, 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.
  • (2001) "The Shower Scene" by Brand New - bridge is 13/8 (6/8 + 7/8).
  • (2002) "A Headache and a Sixty-Fourth" by Ron Jarzombek - "one measure of 4/4, followed by a measure of 1/64"[12]
  • (2002) "Earthshine" by Rush - verse in 4/4, before chorus is 11/4 (3+3+3+2), chorus is 15/4 (4+4+4+3).
  • (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) "156" by Mew - bridge is 26/8 (6/8 + 7/8 + 7/8 + 6/8), rest of the song in common time.
  • (2003) "Am I Wry? No" by Mew - intro played in 17/4 (4/4 + 4/4 + 2/4 + 4/4 + 3/4) twice, the bar before the chorus is 2/4, chorus in 3/4, verses in 4/4.
  • (2003) "She Spider" by Mew - guitar solo section in 15/4 (3/4 + 4/4 + 4/4 + 4/4) played 4 times.
  • (2003) "Bananas" by Deep Purple - alternates between 5/4 and 7/4 in chorus and verse.
  • (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) "The End of the World" by The Cure - verses, interlude and bridge before the last verse is 16/4 (4/4 + 4/4 + 6/4).
  • (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
  • (2003) "The Closest Thing to Crazy" by Katie Melua - verses alternate between 14/4 (3/4 + 4/4 + 3/4 + 4/4) and 15/4 (3/4 + 4/4 + 4/4 + 4/4), chorus contains 14/4 (4/4 + 4/4 + 3/4 + 3/4) and 6/4 (4/4 + 2/4)
  • (2003) "Hexagram" by Deftones album Deftones- verses are 7/4 + 8/4 with a 4/4 bridge to chorus, which has a heavily syncopated 8/8 with a 4/8 part attached to it and a 6/4 bridge back to verse.
  • (2004) "Symptoms of You" by Lindsay Lohan - verses are in 29/8 or 9/8 + 5/4 (one measure of 13/8 and 4 measure of 4/4).
  • (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) "Chinaberry Tree" by Mew - divided into three parts. First part in 4/4, second part (0:49 into the song) in 3/4, third part (1:00) tempo slows and played mostly in 3/8, sometimes alters to 4/8 along with one measure 2/8 and one measure 5/8.
  • (2005) "Special" by Mew - bridge in 16/4 (4/4 + 4/4 + 6/4).
  • (2005) "Apocalypso" by Mew - a majority of the verses are in 18/4 (4/4 + 4/4 + 4/4 + 6/4).
  • (2005) "Small Ambulance" by Mew - has a 4/4 + 4/4 + 4/4 + 4/4 + 5/4 pattern played through the entire song.
  • (2005) "Why Are You Looking Grave?" by Mew - entire song in 6/8 except middle instrumental section in 4/4.
  • (2005) "Lyla" by Oasis - chorus has lines of 5/4 followed by 3/4 instead of two 4/4 bars.
  • (2005) "Pickin' It Up" by Hot Hot Heat from album Elevator - verses in 16/4 (6/4 + 4/4 + 4/4).
  • (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) "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) .
  • (2005) "Charm Offensive" by Oceansize (ending section and turnarounds in 4/8 + 12/8 + 4/8) .
  • (2005) "Cygnus...Vismund Cygnus" by The Mars Volta ("Facilis Descenus Averni" section is 9/8 + 6/4 + 4/4).
  • (2005) "Nothin' Bout Love Makes Sense" by Leann Rimes (4/4, 6/4, 7/4) .
  • (2006) "Swimming With The Dolphins" by David Hirschfelder from the film Aquamarine - alternating 7/8, 4/4, 5/4.
  • (2006) "Green Light" by Beyoncé - 9/4 + 4/4 + 4/4 + 4/4 + 4/4 + 7/4.
  • (2006) "God's Gonna Cut You Down" by Johnny Cash - chorus structure 4/4 + 4/4 + 4/4 + 4/4 + 3/4 + 4/4 + 4/4 + 4/4 + 4/4 + 4/4 + 3/4.
  • (2006) "Mein" by Deftones - 2/4 + 11/8 + 8/8.
  • (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) "Nothing Left To Lose" by Mat Kearney - chorus 4+4+4+4+4+2+4+4.
  • (2006) "Life Wasted" by Pearl Jam - verses 13/8 + 8/8.
  • (2006) "Million Miles of Water" by Red Hot Chili Peppers - 6/4 + 6/4 + 6/4 + 7/4.
  • (2006) "Rosetta Stoned" by Tool - intro/verses 11/8, bridge 5/8, 4/4.
  • (2006) "Psalm of the City of God" by Zao - from 3:55 to 5:00, 7/4 + 5/4 + 4/4.
  • (2006) "Day of the Baphomets" by The Mars Volta - 11/8 and 13/8 switching patterns before drum solo then switches back into 4/4.
  • (2006) "Speed of Light" by Queensrÿche - pattern in the bass solo is 7 measures 3/4 + 1 measure 4/4, or simply 25/4.
  • (2006) "The Crusade" by Trivium - contains use of 2/4, 3/4, 4/4, 5/4, 6/4 and 9/4 in varying combinations.
  • (2006) "Goshen's Remains" by Pure Reason Revolution - contains alternations between 15/4, 7/4, and 4/4 early in the song.
  • (2006) "Know Mortal" by Flatline - intro and outro 3/4 verse 7/4 chorus 4/4 with a 7/4 pre-verse 4/4 with a 7/4.
  • (2007) "Far Cry" by Rush - 8+8+8+5+9+8+8+8

[edit] Multiple unusual time signatures

(These works 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. 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 time signature throughout, including 4/4, 2/4, 5/4, 5/8, 7/8, 11/8.
  • (1952) Third movement from Piano Sonata No. 1 by Alberto Ginastera; ternary form exhibits 5/4 in first part, 2/2 in second part, and only one bar of 12/4 in the last part, which is otherwise taken over by 5/4.
  • (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".[13]
  • (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 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.
  • (1971) "Heart of the Sunrise" by Yes - contains 5/8, 9/8 and others
  • (1972) "Pinball Number Count" by The Pointer Sisters (featured on Sesame Street)- bars in 15/8, 14/8, 12/8 and 11/8.
  • (1972) "Dancing Madly Backwards" by Captain Beyond - first section in 4/4, other sections in 9/4 and 5/4.
  • (1972) "Mesmerization Eclipse" by Captain Beyond - parts in 5/8, other sections in 7/8, 4/4, and 6/8.
  • (1972) "Thousand Days of Yesterday" by Captain Beyond - sections in 5/8, 7/8, 4/4, 11/8, and 3/4. The entire song is interrupted in the middle by "Frozen Over", which is in 3/4 and 4/4, plus one section with extra beats.
  • (1972) "Raging River of Fear" by Captain Beyond - various longer sections in 3/4, 4/4, and 6/8; other sections vary rapidly between 2, 3, and 4 beats to the measure.
  • (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
  • (1977) "Cygnus X-1 Book I: The Voyage" by Rush: A section early in the song is in 7/4, and the section right before Geddy Lee starts singing is 11/8 +11/8 +12/8. The latter was later performed by the band as a part of their "R30 Overture," the opening medley to their 30th Anniversary tour.
  • (1978) "The Sleeper" by Camel: Both an early section and the guitar solo later in the song are in 19/8 (8+8+3); the middle section alternates between 4/4 and 18/16 (3+3+3+3+2+2+2); The outro is in 22/16 (4+4+4+4+3+3).
  • (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[14][15]
  • (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
  • (1980) "Jacob's Ladder" by Rush. Intro is a repeated two bar 5/4 + 6/4 phrase. When the vocals enter, polymeter is created- the vocal line is in 4/4 while the guitar and drums continue the 5/4 + 6/4 pattern. The instrumental break after this part is 5/4 + 5/4 + 5/4 + 6/4. After the rubato synthesizer interlude (which has more vocals) there is another instrumental break, this one in 3/4 + 7/8 (13/8). The ending is in 3/4 time.
  • (1980) "Freewill" by Rush - Each verse is 6/4 + 7/4 + 6/4 + 8/4. Each chorus is 4/4 + 4/4 + 4/4 + 3/4. The interlude and outro riffs are 5/4. The riff at the end of the 12/8 guitar solo section is 7/8.
  • (1982) "Losing It" by Rush - the intro and verses are 5/8, the instrumental break is 11/8.
  • (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; features a large number of time signatures.
  • (1984) "Larks' Tongues in Aspic (Part III)" by King Crimson - 17/8 and 10/8
  • (1984) "Roads To Madness" by Queensrÿche - an instrumental break has a section in 14/8 & 13/8
  • (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
  • (1991) "Right Now" by Van Halen (breakdown measure of 7/8, 9/8)
  • (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
  • (1994) "Head Down" by Soundgarden - contains 15/4 (verses), 17/4 (choruses), 4/4, 3/4, and 9/4 (outro).
  • (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
  • (1996) "Carve Away the Stone" by Rush – several short instrumental passages are in 5/4, chorus is in 7/4 + 5/4.
  • (1998) "Spark" by Tori Amos - intro 9/8, verses 13/8, chorus 12/8, bridge alternates 12/8,13/8, end one measure of 15/8, 13/8
  • (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 13/16 (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 number 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) "Communion and The Oracle" by Symphony X - "5/4, 11/8, 5/4, 11/8, 5/4, 11/8, 5/4, 11/8, 5/4, 11/8, 5/4, 11/8, 5/4, 5/4, 5/4, 5/4, 5/4, 5/4, 5/4, 5/4, 5/4, 5/4, 5/4, 5/4, 5/4, 6/4, 7/8, 7/8, 7/8, 3/4, 7/8, 7/8, 4/4, 7/8, 7/8, 7/8, 5/8, 9/8, 4/4, 9/8, 4/4, 9/8, 4/4, 9/8, 4/4, 5/4, 4/4, 7/8, 7/8, 7/8"...The rest in mostly repetition...
  • (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.
  • (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.
  • (2002) "Solitary Shell" (Part Six of Six Degrees of Inner Turbulence) by Dream Theater - Intro. and verses in 7/4, pre-chorus and chorus in 4/4; beginning of second section in 11/8, bar before guitar solo 12/8, solos in 6/8, end breakdown in alternating 11/8 + 12/8, final two bars in 4/4.
  • (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) "King of Terrors" by Symphony X - contains various alternating sections of 7/4, 6/4, 5/4, 4/4, and 9/8
  • (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) "Sail to the Moon. (Brush the Cobwebs Out of the Sky.)" by Radiohead - contains sections in 2/4, 3/4, 4/4, 5/4, 6/4, and 7/4
  • (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) "Eight Flew Over, One Was Destroyed" by Mew - verse one in 3/4, 3/4, 7/8, 3/4, 4/4, 3/8, 3/4, 7/8, 3/4, 4/4, 2/4; verse two in 3/4, 3/4, 7/8, 3/4, 4/4, 3/8; interlude in 3/4, 3/4, 3/8, 3/8, 7/8, 4/4, 3/8, 3/8, 7/8, 5/8.
  • (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) "All Good Naysayers, Speak Up! Or Forever Hold Your Peace!" by Sufjan Stevens - mostly in 5/4, but one section in 12/4 after 2:45.
  • (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
  • (2003) "Catalyst" by Oceansize - is mostly 7/4, except for the pre-chorus which is 3 measures of 25/4 (12/4 + 7/4 + 6/4) followed by one measure of 19/4, and the ending which is 12/4.
  • (2003) "Remember Where You Are" by Oceansize - After an intro in 7/8, the first verse is four measures of 7/4 and a measure of 15/8, repeated twice, followed by three measures of 7/4. The chorus is 16/8 + 17/8 + 18/8 + 16/8 + 16/8 + 5/4 + 5/4. The first verse is repeated, followed by the second chorus, which is 16/8 + 16/8 + 17/8 + 16/8 + 16/8 + 8/4. This is followed by a section in 7/4, and then a section in 4/4.
  • (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 [4]
  • (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 This entire album is in odd time, including many polyrhytms, and features constant changes in meter and tempo.
  • (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) "The Way Up" by Pat Metheny Group -68 minutes of various changing time signatures. Score gives sections in 10/8, 9/4, 4/8, 5/4, 6/4, 15/8, and many more.
  • (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
  • (2005) "Scarabs" by Karnivool switches between one bar of 4/4 and two bars of 5/4, then goes into 7/8
  • (2005) "Panic Attack" by Dream Theater features sections of 4/4, 5/8, and 3/8
  • (2005) "The Charm Offensive" by Oceansize contains 11/8 (primarily), 7/8, and 10/8.
  • (2005) "A Homage to a Shame" by Oceansize is mostly 12/8 forme either of 4/4 + 2/4 or 2 measures of 6/8. This is occasionally interspersed with a measure of 22/8 or 23/8. The intro and a few other parts of the song are four measures of 5/4 followed by a measure 3/4. The chorus is 20/8, formed by 7/4 + 7/4 + 6/4. There is also a bit of common time.
  • (2005) "You Can't Keep A Bad Man Down" by Oceansize contains 7/4 and 10/4.
  • (2005) "Happy Is A Yuppie Word" by Switchfoot contains 14/4, 4/4, and 6/4.
  • (2005) "Subtle Oddities" by Lemon Demon contains an intro written in 5/4 (although it could be mistaken for different combinations of 4/4, 5/4, and 6/4), verses written in 38/4 (10/2 + 9/2, 4/4 + 6/4 + 4/4 + 6/4 + 6/4 + 6/4 + 6/4), choruses written in 5/4, musical interludes written in 7/4, and a guitar solo section written in 6/4.
  • (2005) "Consign to Oblivion" by Epica the section around 1:15 is in 15/8, repeating several times in the song; Later a 10/8 section repeats a few times about 7 minutes into the song.
  • (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
  • (2006) "Giraffe Food" by Redrick Sultan features a verse in 7/8 a chorus in 5/4 and the bridge and outro in 4/4
  • (2006) "Ballet Grandstand by Pomme De Chien It opens with 7/8 for two bars then goes to 11/8 for one bar, then back to 7/8 for two, and then 26/8 again.
  • (2006) "Rosetta Stoned" by Tool - uses 4/4, 5/8, 6/8, 11/8, and a breakdown which goes 8/8, 10/8, 8/8, 11/8, 9/8, 9/8, 9/8, 12/8 in a row. It also contains a part in 6/8 with the drummer playing 4/4 in one hand and 3/8 in the other hand at the same time. There is also a part in 11/8 with the drummer playing in 6/8 with his hands and 5/8 with his feet at the same time.
  • (2006) "Enter The Red" by Firing Line - The beginning of the song comprises 2 bars of 9/4. It is then followed by a verse in 7/4. The pre-chorus is mostly written in 4/4, followed by a bar of 6/4, which is replaced by a bar of 2/4 in the repeat. The chorus is in 4/4. Various other parts of the song are also in 7/4.

[edit] Unknown

This section should contain only cited listings.
  • (1969) "King Kong" by Frank Zappa & The Mothers of Invention.[16] the song spans many tracks, and features various time signatures. however the most famous part is in 3/8, (part VI)
  • (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" ([5]).
  • (2000) "Wandering Child" by Gov't Mule features "oddball time signature" ([6]).

[edit] See also

[edit] Sources

  1. ^ Bush, John. "Happiness", All Music Guide: "precocious time-signature jam".
  2. ^ Harrison, Gavin. http://drummerworld.com/forums/showthread.php?t=698&page=6
  3. ^ Smith, Michael B. "The Strange Remain", All Music Guide: "bizarre time signature".
  4. ^ Harrison, Gavin. http://drummerworld.com/forums/showthread.php?t=698&page=8
  5. ^ Author unknown/uncredited (1978). "Bacharach and David", 'Bacharach and David'. Almo Productions.
  6. ^ Greenwald, Matthew "Anyone Who Had a Heart", All Music Guide.
  7. ^ Planer, Lindsay. "My Human Gets Me Blues", All Music Guide: "complex time signature".
  8. ^ Dryden, Ken. "Blue Rondo a la Turk", All Music Guide: "unusual time signature of 9/8".
  9. ^ Harrison, Gavin. http://drummerworld.com/forums/showthread.php?t=698&page=6
  10. ^ Harrison, Gavin. http://drummerworld.com/forums/showthread.php?t=698&page=16|work=|
  11. ^ Planer, Lindsay. "Live/Dead", All Music Guide: "instrumental rhythmic excursion titled "The Eleven" after the jam's tricky time signature".
  12. ^ http://www.ronjarzombek.com/headache.html
  13. ^ *Moorefield, Virgil (2005). The Producer as Composer: Shaping the Sounds of Popular Music, p.38. ISBN 0-262-13457-8.
  14. ^ Elephant Talk: The Exposure Pages. Retrieved on 2006-05-15.
  15. ^ Metrical Structure of "Breathless". Elephant Talk Archives. Retrieved on 2006-05-15.
  16. ^ Huey, Steve. "Uncle Meat", All Music Guide: "odd time signature".

[edit] External links

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