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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.
Published. 1806. Lyricist (s) Jane Taylor. " Twinkle, Twinkle, Little Star " is an English lullaby. The lyrics are from an early-19th-century English poem written by Jane Taylor, "The Star". [1] The poem, which is in couplet form, was first published in 1806 in Rhymes for the Nursery, a collection of poems by Taylor and her sister Ann.
In popular music, half-time is a type of meter and tempo that alters the rhythmic feel by essentially doubling the tempo resolution or metric division /level in comparison to common-time. Thus, two measures of 44 approximate a single measure of 88, while a single measure of 4/4 emulates 2/2. Half-time is not to be confused with alla breve or ...
"Living in the Past" is a song by British progressive rock group Jethro Tull. It is one of the band's best-known songs, and it is notable for being written in the unusual 5 4 time signature. The use of quintuple meter is quickly noted from the beginning rhythmic bass pattern, though it can also be explained as a distinct 6 8 + 2 4 syncopated ...
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 ...
Parlophone / WEA (since 2013) Musical artist. Édith Piaf's voice. From the song "Hymne à l'amour". Édith Giovanna Gassion (19 December 1915 – 10 October 1963), known as Édith Piaf (French pronunciation: [edit pjaf]), was a French entertainer best known for performing songs in the cabaret and modern chanson genres.
After the song was initially recorded for the album Crosby, Stills & Nash in 1969, a much more enhanced version of the song was recorded for the album Déjà Vu by Crosby, Stills, Nash & Young, released in 1970. As a single, the song peaked at No. 16 on the Billboard Hot 100 charts that year. [2] On the Easy Listening chart, it peaked at No. 28 ...
The song is played at 117 beats per minute, has an unusual rhythmic feel, and uses different time signatures. Beats are played in groups of 2, 3 and 4, and time signature changes frequently. Parts with 5 4 and 4 4 bars alternate, with 3 4 transitions. [14] Most of the song uses simple time, where the beats are divided into two, but the middle ...