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This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
Most time signatures consist of two numerals, one stacked above the other: The lower numeral indicates the note value that the signature is counting. This number is always a power of 2 (unless the time signature is irrational), usually 2, 4 or 8, but less often 16 is also used, usually in Baroque music. 2 corresponds to the half note (minim), 4 to the quarter note (crotchet), 8 to the eighth ...
Some of Maurice Ravel's music incorporated septuple meter: for example, the brief "Danse générale" from Part I of Daphnis et Chloé is in 7 4 (subdivided as 3+4), the finale of the Piano Trio freely alternates between 5 4 and 7 4, and the main theme of the finale of his Sonata for Violin and Cello is in "quasi 7 4" (notated as a recurring 2 4 ...
What makes Jones’ version of the bossa nova special to his sound is his usual use of top-tier jazz musicians (Lalo Schifrin plays piano, Rahsaan Roland Kirk plays flute) and a cuíca providing ...
Written in 7 4 time , the piece is an example of Brubeck's exploration of time signatures that were uncommon in jazz music of the era. According to Brubeck, it was written during a single trip from his home to the recording studio and was recorded the same day.
"Money" has been described as a progressive rock, [3] blues rock, [4] and hard rock song. [5] Much of the song has an unusual time signature, 7 4. [6] [a] Waters wrote the central riff on an acoustic guitar, and chose the time signature as it fitted the "bluesy feel" of the song. [11]
The song is mostly written in 7 4 time, an unusual time signature that has been described as "giving the song a constant sense of struggle". [2] The meter settles into 4 4 time only for the last two measures (bars) of each chorus. [10] It is performed in the key of B major with a tempo of 102 beats per minute, with Gabriel's vocals ranging from ...
4 time. [99] Dmitri Shostakovich set Fugues 12, 17, and 19 from his Twenty-Four Preludes and Fugues for piano, Op. 87 (1950–1951) entirely in 5 4 time, and also interspersed this time signature with other meters in Preludes 9, 20, and 24, and in Fugues 15 and 16 from the same collection. [100]
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