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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 ...
(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 (2003) "III Ways to Epica" by Kamelot
The Way-Out Record for Children is the fourth album of children's music by Canadian electronic musician Bruce Haack with his collaborator Esther Nelson. It was recorded in 1967 and released in 1968 by their record label Dimension 5, and was the fourth in a series of children's records they created together with Ted Pandel.
This page was last edited on 2 February 2016, at 08:19 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
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.
Whereas the term prolation is used to describe the rhythmic structure on a small scale, tempus (or 'time') describes the division of the breve, which is on a larger scale. [4] As with prolation, tempus also corresponds roughly to the modern concept of time signature, and describes the relationship between the breve and semibreve. [citation needed]
The verse of the theme to Valley of the Dolls uses the time signatures 4 4, 3 4, 2 4, 4 4, 4 4, effectively producing 17 4. The rhythmic proportions of Stockhausen's Klavierstück IX are governed by the Fibonacci series, resulting in time signatures of e.g. {{Time signature|21|8}}, {{Time signature|34|8}}, {{Time signature|42|8}}, {{Time ...
It seems to me that there are three categories: (A) all time signatures involved are common (e.g. 2/4 vs 3/4), and the inclusion of such works here is debatable; (B) only one is uncommon (e.g. 4/4 vs 24/16), and it is clear that these should go under their uncommon time signature; (C) more than one is uncommon (e.g. 11/8 vs 13/8), and it's not ...
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