User:Dissolve/List of works

From Wikipedia, the free encyclopedia
Jump to: navigation, search

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

The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page.

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


5/4 or 5/8[edit]

Pre-2000[edit]

16th Century[edit]

19th Century[edit]

  • 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.

20th Century[edit]

2000 and later[edit]

Partially in 5/4 or 5/8[edit]

Pre-2000[edit]

  • (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) "As We Go Along" by the Monkees (from Head) – begins and ends in 5/4, with several passages in 3/4.
  • (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) "Does Anybody Really Know What Time It Is?" by Chicago - six bars of 4/4, followed by six bars of 5/8, then one bar of 6/8 before returning to 4/4 for the rest of the song.
  • (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) "Dancing Madly Backwards (On A Sea Of Air)" by Captain Beyond - intro in 5/4
  • (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.
  • (1972) "Pinball Number Count" (from Sesame Street) by the Pointer Sisters. The chorus counting to twelve is in 5/4 with emphasis on the fourth note.
  • (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) "Achilles Last Stand" by Led Zeppelin - triplet section occurring several times in the song is in 5/4.
  • (1976) "One For The Vine" by Genesis - intro section in 5/4.
  • (1978) "Down and Out" by Genesis - 5/4, choruses in 4/4.
  • (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.
  • (1978) "Charlys Tema I" by [Kasper Winding]
  • (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} "Cattle and Cane" by The Go Betweens - verse is 5/4,2/4,4/4
  • (1982) "There Goes A Tenner" by Kate Bush - first part of bridge in 5/4.
  • (1982) "I Keep Forgettin" by Michael McDonald - one bar of 5/4
  • (1982) "I Know What Boys Like" by The Waitresses - chorus.
  • (1982) "Moggio" by Frank Zappa - main theme.
  • (1984) "The Comedians" by Elvis Costello - verses are in 5/4.
  • (1984) "Kid Gloves" by Rush - intro and verses are in 5/4.
  • (1984) "Stranger In Town" by Toto
  • (1985) "Outer limits" by IQ (In 4/4 until 1:32 then in 5/4 from 1:32 to 4:09 And afterwards alternates between 7/8 and 4/4.)
  • (1985) "Perfect Way" by Scritti Politti - bridge has 5/4 measure.
  • (1985) "Dungeon Theme" from Super Mario Bros. by Koji Kondo - consists of a rapid 4/4 treble sequence over a slow 5/4 bass sequence.
  • (1985) "Asylum" by Watchtower
  • (1986) "Alexander The Great" by Iron Maiden - the bass fills between the solos.
  • (1986) "Master of Puppets" by Metallica - several riffs consisting of three bars of 4/4 followed by a bar of 5/8.
  • (1986) "Wild Side" by Mötley Crüe - 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.
  • (1989) "Subway to Venus" by Red Hot Chili Peppers - instrumental bridge.
  • (1990) "Love Without End, Amen" by George Strait
  • (1990) "Pandemonium" by The Time
  • (1990) "Forever's As Far As I'll Go" by Alabama - end instrumental is partially in 5/4
  • (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
  • (1991) "Without Hope You Cannot Start The Day" by Yes
  • (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) "Hair" by PJ Harvey - Intro section and instrumental sections between verses in 8/8, verses and chorus in 5/4.
  • (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) "Satan's Bed" by Pearl Jam- chorus.
  • (1994) "My Wave" by Soundgarden - verses.
  • (1994) "Erotomania" by Dream Theater
  • (1995) "One Hit Wonder" by Sincola
  • (1994) "Half" by Soundgarden
  • (1995) "Back to Base" by Fugazi (from the album Red Medicine)
  • (1995) "Sickfest" by Grinspoon - main riff
  • (1995) "Misery" by Soul Asylum - prechorus is in 5/4.
  • (1995) "Year Of Tha Boomerang" by Rage Against the Machine
  • (1996) "Jimmy" by Tool from Ænima
  • (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) "Catharsis Of Sea-Sleep And Dreaming Shrines" by maudlin of the Well
  • (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 and later[edit]

  • (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
  • (2000) "Communion and The Oracle" by Symphony X - several verses and both guitar solos in 5/4
  • (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
  • (2001) "Nice To Know You" by Incubus
  • (2001) "Compensate" by Space Like Alice - 5/4 Chorus
  • (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.
  • (2002) "Pretty Soon, I Don't Know What, but Something is Going to Happen" by Norma Jean - 2:33 - 3:41.
  • (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) "Harbor" by Vienna Teng - predominantly 5/4, but also 3/4, 4/4, and 7/4.
  • (2003) "Making the Horse Drink" by +/-
  • (2003) "Meat Dreams" by I Mother Earth
  • (2003) "Megalomaniac" by +/-
  • (2003) "Marching Band" by Sufjan Stevens - only the second half.
  • (2003) "Wrgggggggrkyyyyyyy!!!" by An Albatross
  • (2003) "Ride" by Samuel Hazo
  • (2003) "Stream of Consciousness by Dream Theater
  • (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 Witch and the Saint" by Steven Reineke
  • (2004) "The Great American Bottleneck" by Gavin Castleton
  • (2004) "Coin-Operated Boy" by The Dresden Dolls
  • (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) "Priceless" by Incubus - Pre-chorus riff is in 5/4
  • (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.
  • (2004) "Light Up Ahead" by Further Seems Forever - the prechorus ("End all these bad dreams") is in 5/4, chorus alternates between 3/4 and 5/4.
  • (2004) "There's No Such Thing As A Jaggy Snake" by Biffy Clyro.
  • (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" by We Are the Music Makers - 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]
  • (2005) "Panic Attack" by Dream Theater - verse and pre-chorus in 5/8.
  • (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" and 'Rosetta Stoned' by Tool from '10000 Days"
  • (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) "Would You Go with Me" by Josh Turner
  • (2006) "My, Oh My" by The Wreckers - pre-chorus.
  • (2006) "Öelf" by [Yak]
  • (2006) "Last Goodbye" by Pillar - verses are in 5/4, chorus 4/4
  • (2007) "Fear of a Blank Planet" by Porcupine Tree
  • (2007) "you laugh" by Dustveil
  • (2007) "You Mustn't Touch" by Shanghai Sally - verses in 6/8, chorus 5/4, bridges in 4/4 and 7/8
  • (2007) "Circles" by Switchfoot (verses)
  • (2007) "Submission Complete" by Bad Religion - The intro, along with any repeats, and outro, are in 5/4, whereas the rest of the song is in 4/4.
  • (2007) "Take Me to the Riot" by Stars - Choruses are in 5/4 with the verses in 4/4.
  • (2007) "Crazy People" by Dynamic Monotone
  • (2007) "#2" by Dynamic Monotone- verse
  • (2007) "Get Fucked Stud" by Biffy Clyro - intro/outro and second verse in 5/4
  • (2007) "Penta Pianta" by Pentaphobe

7/4[edit]

simple septuple meter

Primarily in 7/4[edit]

Partially in 7/4[edit]

  • (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.
  • (1936) Tanz from "Carmina Burana" by Carl Orff.
  • (1963) "Ring of Fire" by Johnny Cash - trumpet section plays 3/4 + 4/4 sections.
  • (1965) "Chichester Psalms" by Leonard Bernstein - First Movement.
  • (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 Cinema Show" by Genesis - extended keyboard solo 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.
  • (1975) "Oceans and Continents" by Jan Hammer - mainly 7/4, middle section more complex - in The First Seven Days
  • (1975) "The Seventh Day" by Jan Hammer in The First Seven Days
  • (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) "Barracuda" by Heart - Outro in 7/4.
  • (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.
  • (1982) "Afraid of Love" by Toto - verses in 7/4.
  • (1982) "Read About It" by Midnight Oil - part of the intro is in 7/4.
  • (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) "Got The Time" by Anthrax
  • (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.
  • (1991) "Small Town Saturday Night" by Hal Ketchum – verses
  • (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
  • (1993) "If I Didn't Have You" by Randy Travis – verses
  • (1994) "Yes" by Manic Street Preachers – alternates between 7/8 and 8/8 in verses
  • (1994) "Riverdance" by Bill Whelan
  • (1994) "Damaged" by Queensrÿche – bridge.
  • (1994) "Spoonman" by Soundgarden
  • (1994) "Night Is Fallin' in My Heart" by Diamond Rio - intro and portion of chorus feature bars of 7/4
  • (1995) "Buy Me a Pony" by Spiderbait – also contains 6/4 and 4/4.
  • (1995) "If I Can't Have You" by Eve's Plum
  • (1995) "Wattershed" by Foo Fighters – bridge.
  • (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.
  • (1996) "A Life of Arctic Sounds" by Modest Mouse – second verse is in 7/4
  • (1997) "Post Modern Sleaze" by Sneaker Pimps
  • (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.
  • (1997) "Down in a Ditch" by Joe Diffie - portion of 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
  • (1998) "Goin' Home" by Toto
  • (1999) "Make Yourself" by Incubus
  • (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.
  • (1999) "Othello" by Chicago Underground Trio
  • (2000) "Empty Spaces" by Fuel (measure in verse)
  • (2000) "If Credit's What Matters I'll Take Credit" by Hot Snakes from the album Automatic Midnight
  • (2000) "Communion and The Oracle" by Symphony X - instrumental pre-verses/pre-choruses and chorus section in 7/4
  • (2001) "Automatic" by The Dismemberment Plan – album: Change – all but chorus in 7/4.
  • (2001) "Airborne" by Jaga Jazzist from the album "A Livingroom Hush"; first part is in 6/8, the remainder of the song is in 7/4.
  • (2001) "Ol Red" by Blake Shelton
  • (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.
  • (2001) "Ticks and Leeches" by Tool – The majority of the song is in 7/4, with occasional switches to 4/4 (or 8/4)
  • (2001) "The Shape" by Slipknot – from Iowa.
  • (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) "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) "This Dying Soul" by Dream Theater - instrumental bridge before final guitar solo
  • (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) "Protecting Me" by Aly & AJ
  • (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) "Going to Peterborough" by Carpetburn - middle section played in 7/4.
  • (2005) "Deadwing" by Porcupine Tree
  • (2005) "That's Where It Is" by Carrie Underwood
  • (2005) "Wanderlust" by R.E.M. - chorus partially 7/4
  • (2006) "Everlasting God" by Lincoln Brewster
  • (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) "Crazy People" by Dynamic Monotone - every other measure in instrumental break
  • (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 +/-
  • (2006) "Gone" by Daughtry
  • (2006) "Jerry Likes My Corn" by Scott Frankel (music) and Michael Korie (lyrics) from the musical Grey Gardens
  • (2006) "Just Might Have Her Radio On" by Trent Tomlinson
  • (2007) "A Different World" by Bucky Covington - verse
  • (2007) "Most Girls" by Lea - bridge
  • (2007) "Fine Mattress" by Wruice Deuce
  • (2007) "222" by Paul McCartney
  • (2007) "Red Fox" by Tomahawk

7/8[edit]

uneven triple meter, with beats dividing 2+2+3, 2+3+2, or 3+2+2

Primarily in 7/8[edit]

Partially in 7/8[edit]

  • (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]
  • (1970) "Devotion" by John McLaughlin
  • (1972) "Goodbye" by Chicago- two verses in the beginning and the instrumental after.
  • (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) "Jocko Homo" by Devo – Verses and intro are in 7/8, chorus and bridge are in 4/4.
  • (1978) "La Villa Strangiato (An Exercise in Self-Indulgence)" by Rush – the entire "A Lerxst in Wonderland" section and 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).
  • (1980) "No One Together" by Kansas – parts of the interlude
  • (1981) "Frame by Frame" by King Crimson - verse is in 7/8
  • (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) "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) "Lost Machine" by Voivod
  • (1993) "Saint Augustine in Hell" by Sting
  • (1993) "Love Is Stronger Than Justice (The Munificent Seven)" by Sting - verse only. [1]
  • (1994) "The Day I Tried to Live" by Soundgarden - verse and much of chorus alternate as one measure of 7/8 and one of 4/4.
  • (1994) "March of the Pigs" by Nine Inch Nails - verse and intro varies from 7/8 and 4/4.
  • (1994) "I'm Broken" by Pantera - verses
  • (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.
  • (1995) "Die To Live" by Steve Vai - alternates between 7/4 (or 7/8?) and 4/4.
  • (1996) "That, That Is" by Yes - contains several sections of 7/8.
  • (1997) "Mindfield" by Tidal Wave - midsection including guitar solo
  • (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.
  • (1997) "Providence" by Godspeed You! Black Emperor - The movement "Dead Metheny" is in 7/8, roughly 2:45 to 10:51 on the cd version.
  • (1998) "Bad Religion" by Godsmack - end of the song.
  • (1998) "Spark" by Tori Amos, 6/8 and 7/8 verses
  • (1999) "Closing In" by The Living End - riff from 1:00 to 1:24
  • (1999) "Infinity Machine" by I Mother Earth
  • (1999) "Better World" by Toto
  • (2000) "Negative Space" by Spineshank
  • (2001) "Rise n' Shine (Epic Doobie Nightmare #1)" by Estradasphere, during the section where the right speaker cuts in and out.
  • (2002) "And All That Could Have Been" by Nine Inch Nails - verses.
  • (2002) "Seven-Eight" by Funky Rx - entire song.
  • (2002) "The Sound of Muzak" by Porcupine Tree – verse and instrumental. (Polyrhythmic override on the hi hat gives the impression it is in 7/4 but is in fact 7/8).
  • (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.
  • (2003) "Gravity" by A Perfect Circle - most of the song, with the ending written in 8/8.
  • (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.
  • (2005) "Avenue X" by Jonathan Newman - several brief phrases scattered throughout piece.
  • (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
  • (2007) "Era Vulgaris" by Queens of the Stone Age - Middle 8
  • (2007) "Bird In a Cage" by Dynamic Monotone - last measure of last bridge
  • (?) "Riding on the Wind" by Guo Wenjing - first and last 3 to 4 minutes in 7/8 (2+3+2 and 3+2+2) as well as occasional phrases in 5/8.
  • (2007) "Quarter Past" by The Fall of Troy - Pop/punk style part of the chorus.

9/4 or 9/8[edit]

(not simply compound triple meter)

Partially in 9/2[edit]

Partially in 9/4 or 9/8[edit]

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

10/4[edit]

Partially in 10/4[edit]

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

10/8[edit]

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

Partially in 10/8[edit]

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

Partially in 10/16[edit]

11/4[edit]

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

Partially in 11/4[edit]

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

11/8[edit]

Partially in 11/8[edit]

  • (1969) "Whipping Post" by The Allman Brothers Band - intro and post-choruses in 11/8, rest of song in 12/8.
  • (1972) "Words (Between the Lines of Age)" by Neil Young - arpeggio/guitar solo sections in 11/8, verses and choruses in 4/4 (or 8/8, relative to the 11/8)
  • (1974) "Vision is a Naked Sword" by Mahavishnu Orchestra - mostly 11/8, with sections in 8/8.
  • (1975) "Lonely Street" by Kansas - mostly 11/8 (6/8 + 5/8) with some measures of 12/8.
  • (1976) "Nuclear Burn" by Brand X
  • (1976) "Life & Times" by Billy Cobham - midsection
  • (1976) "Black Napkins" by Frank Zappa - towards the end of the song, measure of 4/8, followed by a measure of 3/8, followed by a measure of 11/8, then into free time for the rest of the song.
  • (1977) "Awaken" by Yes - phrased as 4/4 + 3/8.
  • (1978) "Circumstances" by Rush - instrumental bridge partially in 11/8 (5/8 + 3/4)
  • (1997) "Losing a Whole Year" by Third Eye Blind - coda starting at 3'03" (5/8 + 6/8).
  • (1982) "Losing It" by Rush - electric violin solo section in 11/8 (6/8 + 5/8).
  • (1991) "Love Is a Fist" by Mr Bungle
  • (1993) "You" by Radiohead - second half of the chorus riff (6/8 + 5/8)
  • (1993) "Intolerance" by Tool - introduction is 11/8 and 4/4
  • (1997) "Puedo Escribir" by Sixpence None the Richer - first two-thirds of the song in 11/8.
  • (1997) "The Eyes of Medusa" by Symphony X - main riff in 11/8.
  • (2000) "Cut Self Not" by Faraquet from the album The View From This Tower
  • (2002) "Breathe" by Disturbed
  • (2002) "Solitary Shell" by Dream Theater (beginning of instrumental section)
  • (2002) "Aggression then Silence" by Gruvis Malt - the first half, "Aggression", is in 11/8.
  • (2003) Bridge to "Happy with What You Have to Be Happy With" by King Crimson. The third and sixth lines are in 12/8.
  • (2004) "Blood and Thunder" by Mastodon - the instrumental section.
  • (2005) "Sacrifice unto Sebek" by Nile (The riff alternates between 11/8 and 7/8. Although the song has several different changes in time signature, this alternating time is what comprises most of the song).
  • (2006) "Falling In Between" by Toto
  • (2006) "Epiphany of a Mushroom Man" by Pomme De Chien - 1 bar near the drum solo is in 11/8.
  • (2006) "Your Retrospective..." by Minus Won
  • (2006) "Variation On Commemorative Transfiguration and Communion At Magruder Park" by Sufjan Stevens - right before the vocals come in.
  • (2006) "Sawblades and Shotglasses" by Silent Epidemic - intro and revenge of intro.
  • (2006) "A Revelation Part 2" by Flux - after 7 measures of 6/8 in each bar.
  • (2006) "Rosetta Stoned" by Tool
  • (2006) "Skeletons at the feast" by Spock's beard - Mostly 11/8, Some parts in 6/8 and 4/4.
  • (2010) "Let the Rain" by Sara Bareilles - all choruses and outro are in 11/8, subdivided as 5/8 then 6/8.

11/16[edit]

Partially in 11/16[edit]

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

13/4[edit]

Partially in 13/4[edit]

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

13/8[edit]


Partially in 13/8[edit]

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

13/16[edit]

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

14/4[edit]

Partially in 14/4[edit]

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

14/8[edit]

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

15/4[edit]

Partially in 15/4[edit]

15/8[edit]


Partially in 15/8[edit]

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

(chorus only).

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

15/16[edit]

Partially in 15/16[edit]

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

16/4[edit]

16/8[edit]

17/4[edit]

Partially in 17/4[edit]

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

17/8[edit]

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

Partially in 17/8[edit]

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

17/16[edit]

Partially in 17/16[edit]

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

18/8[edit]

  • (1973) "Birds of Fire" by Mahavishnu Orchestra - guitar plays 5+5+5+3 while drums play 6+6+6. Violin from time to time plays 3+3+2+3+3+2+2. From the book: John McLaughlin and the Mahavishnu Orchestra (out of print).

19/2[edit]

19/8[edit]

  • (1966) "33 222 1 222" by Don Ellis Orchestra
  • (1969) "After the Flood" by Van der Graaf Generator - intro only.
  • (1969) "Binky's Beam" by John McLaughlin (This song is often mis-titled "Binky's Dream")
  • (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
  • (1997) "Downpour" by Converge
  • (2004) "Nineteen 1319" by Venetian Snares
  • (2005) "Damn That Jello!" by Abstrakt Collision
  • (2006) "Hevy Revy" by the Lawless Percussion and Jazz Ensemble - actually notated as 5/4 + 9/8 alternation.
  • (2006) "6086555670238378989670371734243169622657830773351885970528324860512791691264" (from "The Sublime Numbers") by Matthew Prins - (7/8 + 7/8 + 5/8),
  • (2007) "Chicken Sacrifice" by Vomitron

19/16[edit]

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

20/8[edit]

20/16[edit]

Partially in 20/16[edit]

21/8[edit]

21/16[edit]

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

23/4[edit]

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

23/16[edit]

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

25/8[edit]

  • (2001) "The Promise" by Art Rock Circus from "A Passage to Clear"
  • (2007) "Paradise Lost" by Symphony X from "Paradise Lost"

25/16[edit]

27/4[edit]

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

27/8[edit]

27/16[edit]

28/8[edit]

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

29/4[edit]

31/16[edit]

33/16[edit]

41/16[edit]

Partially in a single unusual time signature[edit]

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

6/8[edit]

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

7/16[edit]

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

9/16[edit]

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

14/4[edit]

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

14/8[edit]

15/4[edit]

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

18/4[edit]

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

18/8[edit]

  • (2003) "This Dying Soul" by Dream Theater - final two main verses are played as two measures of 15/16 and 21/16.
  • (1973) "Birds Of Fire" by Mahavishnu Orchestra - arpeggiated chord throughout the song played as 5+5+5+3. Violin riff is easier to breakdown as 3+3+2+3+3+2+2.

21/4[edit]

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

21/16[edit]

23/4[edit]

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

23/8[edit]

29/8[edit]

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

29/16[edit]

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


Unusual time signature combinations[edit]

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

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

Multiple unusual time signatures[edit]

Pre-2000[edit]

  • (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) "Shine On You Crazy Diamond" by Pink Floyd - Parts 1 -5 are in 6/4 + 4/4 (last part of Part 5), Part 6 is in 12/4, Part 7 is in 6/4 and Parts 8 and 9 are in 4/4
  • (1975) "Have a Cigar" by Pink Floyd - The final descent and ascent of the synthesizer motif played at the beginning and the end (solo) part of the song has a structure of 4/4 + 5/4.
  • (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.
  • (1977) "Dogs" by Pink Floyd - Synthesizer solo section is in 6/4 or 12/4 time while the rest of the piece is in 4/4 time.
  • (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 - The opening and closing segments are played as 5/8 + 5/8 + 3/8 + 3/8 + 3/8 + 3/8 + 7/8 + 2/8 + 3/8 + 3/8 + 2/8 + 3/8 + 5/8 + 1/8 + 3/8 + 3/8 + 5/8 + 5/8 + 3/8 + 5/8 + 5/8 + 4/8.
  • (1981) "Hear About it Later" by Van Halen - 3/4 + 4/4
  • (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).
  • (1982) "Transit Cop" by Beastie Boys 6/4+6/4+8/4
  • (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).
  • (1981) "Tehillim" by Steve Reich - time signature changes from measure to measure.
  • (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) "Blue Blooded Woman" by Alan Jackson - primarily in 4/4, several lines of 6/4 (expressed as 4/4 + 2/4) in verses.
  • (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
  • (1989) "The Ytse Jam" by Dream Theater has totally unusual time signatures. Just the bit right after intro (the main melody) is in 4/4 + 3/4 + 2/4 + 7/8
  • (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).
  • (1992) "Soul-crusher" by White Zombie - intro/end riff 7+7+7+7+3
  • (1993) "Intolerance" by Tool - introduction is 11/8 and 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 + 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) "Heaven Bound (I'm Ready)" by Shenandoah - alternates between 6/4 (expressed as 2/4 + 4/4) and 4/4 when chorus is repeated in fadeout.
  • (1995) "Dreaming of You" by Selena - one measure of 5/4 in each chorus.
  • (1995) "Right Hand Man" by Joan Osborne - 7/4 time, and notable because the drummer overlays a straight 4/4, with the backbeat flipping on alternate measures.
  • (1996) "Mr Rogers" by Korn - intro 4 + 4 + 4 + 5/8).
  • (1996) "Jimmy" by Tool - 3/4, 3/4, 4/4
  • (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.
  • (1997) "The Tourist" by Radiohead - 4 measures of 3/4, then 2 measures of 3/4, followed by 2 measures of 3/4 combined with 1 measure of 4/4, ended by 4 measures of 3/4 --- the chorus then has 3 measures of 6/8
  • (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 and later[edit]

  • (2001) "American Sleep" by Clutch (band) - Intro is in 4/4, verse and other parts alternate between 11/8 and 15/8, chorus is in 6/8.
  • (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) "What I Need" by Jonathan Mover (einstein too) - 17/16 + 13/16 + 15/16
  • (2001) "Pharmacopeia" by Mudvayne- intro breakdown 6/4, 4/4, rest is 4/4.
  • (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 [(3+3+2)x4 +(3+4)+(3+3+3)+(3+4)+(3+3+2)]
  • (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) "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 14/4 (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. Also, the tail end of the "Umbilical Syllables" section alternates between 23/8 and 16/8.)
  • (2005) "Nothin' Bout Love Makes Sense" by Leann Rimes (4/4, 6/4, 7/4) .
  • (2006) "Ice Storming" by Aloha (chorus in 7/8, verses in 9/8, rest in 6/8)
  • (2006) "Mountain" by Aloha (verse- 12+11+12+15; chorus- 4/4; post-chorus- 4+4+4+2)
  • (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) "Big Girls Don't Cry" by Fergie - pre chorus 4/4 + 6/4
  • (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) "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

Multiple unusual time signatures[edit]

Pre-2000[edit]

(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]
  • (1967) "I Say a Little Prayer", written by Burt Bacharach, as performed by Dionne Warwick. The verses feature 1 2/4 measure bookended by 4/4 measures. The chorus features 1 3/4 measure bookended by 4/4 measures.
  • (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.
  • (1970) "Perpetual Change" by Yes - has at least three unusual meters: 10/4 in the intro played as 4+4+2, 7/4 in an organ solo, and a couple of 14/4 sections played as 3+3+3+3+2. The rest of the song is mostly in 3/4 with 4/4 interludes.
  • (1971) "Heart of the Sunrise" by Yes - contains 5/8, 9/8 and others
  • (1971) "The Dance Of Maya" by Mahavishnu Orchestra...time signature begins 10/4 as 3+3+1+3, changes to 20/8 as 6+6+6+2, then both parts are played simultaneously.
  • (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
  • (1973) "Firth of Fifth" by Genesis. Chorus in 2/4 with piano/synthesizer solos at beginning and middle containing strains of 2/4, 4/4, 13/16, and 15/16.
  • (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) "Packard Goose" by Frank Zappa from the album Joe's Garage. Song intro one bar of 4/4 and one bar of 9/8. Mix between 3/4 and 12/8 during verses. Solo section in 12/8 with drums in 5/8 some of the time. Last section in 4/4.
  • (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
  • (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.
  • (1996) "Down in a Ditch" by Joe Diffie - portion of chorus is in 7/4 (3/4 + 4/4); also features a bar of 6/4 at the end (2/4 + 4/4).
  • (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) "OK Feel Good" by Jonathan Newman - contains 3/4, 4/4, 5/4, and alternation between 7/16 and 3/8
  • (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) "Another Dimension" by Liquid Tension Experiment - mostly in 4/4; contains short sections in 10/4 and 7/8, among others
  • (1999) "When The Water Breaks" by Liquid Tension Experiment - contains 7/8, 5/8, and 7/4, among others
  • (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, 7/8, and 15/8
  • (2000) "Dance of Tosho & Slavi/Randy's Desert Adventure" by Estradasphere - 7/8 followed by 9/8, and then back to 7/8 (much of the 7/8 is played as though it was 21/8)
  • (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.

2000 and later[edit]

  • (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. Chorus is 9/8 + 8/8 + 7/8 (based in part on the Fibonacci sequence The extended intro repeat is in 6/8 with drummer in 5/8.)
  • (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 song changes time measures 47 times: 5/4, 6/4, 3/8, 13/8, 10/8, 6/4, 3/8, 13/8, 10/8, 6/4, 11/8, 6/4, 3/8, 13/8, 11/8, 7/4, 12/8 and 15/8 (alternating 12 times), 4/4, 2/4, 4/4, 9/8, 10/8, 3/8, 13/8, 10/8, 9/8, 13/8, 9/8 and 5/8 (alternating 4 times), 9/8, 6/8, 6/4, and finally 4/4.
  • (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.
  • (2001) "Meteorite Showers" by Estradasphere contains 3/4, 4/4, 7/8, 12/8, 21/8 (swing 7/4), and 5/4.
  • (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) "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) "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 polyrhythms, 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
  • (2004) The theme to Doom 3 by Tweaker (band) - The chorus section is a loop in 21/8 (6+4+6+5).
  • (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.
  • (2006) "King of Minneapolis Pts. I & II" by Bomb the Music Industry! uses mixtures of 6/4, 7/4, and 4/4 in its first half. The most common mix is 14/4, played as either 4+4+6 or 6+4+4.
  • (2006) "Tetragrammaton" by The Mars Volta - intro and verse are in 6/8, choruses in 9/8, various bridges and interludes in 6/8 and 4/8, an alternate verse in 17/8 or simply four measures of 4/8 with an extra 8th note, the end of each alternate verse is in 12/8 and then 4/8, and more 4/8 parts before going into the final outro in 6/8.
  • (2007) "Anesthetize" by Porcupine Tree contains 4/4, 11/4, 19/8, often with a 5/4 or 3/4 polyrhythm
  • (2007)"Chlorophilia" by solfezZz contains 19/8, 29/8, 31/16 with a 20/8 and 21/8 polyrhythm

Unknown[edit]

This section should contain only cited listings.
  • (1990) "Amarok" by Mike Oldfield features a myriad of time signatures over the one hour piece.
  • (1995) "Prize" by Wanderlust features an "unconventional time signature" ([5]).
  • (2000) "Wandering Child" by Gov't Mule features "oddball time signature" ([6]).

See also[edit]

Sources[edit]

  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%7Cwork=%7C
  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 2006-05-15. 
  15. ^ "Metrical Structure of "Breathless"". Elephant Talk Archives. Retrieved 2006-05-15. 

External links[edit]