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Uncommon Time
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In music, the most encountered time signature is 4/4, boring old Common Time. There's also 2/4 and 2/2 ("cut time"), which aren't much different - all the bars still divide evenly into two, which makes these useful meters for marches; two beats per measure equals one measure per pair of steps. 3/4, sometimes called "three-quarter time" and the canonical meter for waltzes, is also fairly intuitive - if you've ever been taught to waltz by counting "step, two, three, step, two, three" then you know how it works. Regular time signatures are divided into the categories of 'simple' and 'compound' time. Simple has each beat divide into two, compound has each beat divide into three. 4/4 is referred to as 'simple quadruple time' (4/2 would also be this), 2/4 is 'simple duple' (along with 2/2, 2/1, 2/8, you get the idea); 6/8 is 'compound duple' (equivalent to 2/4 in simple), 9/8 'compound triple' (equivalent to 3/4) and 12/8 compound quadruple (equivalent to 4/4). Note that 9/8, depending on how it is divided, can be either an example of this trope or compound time.note within a note9/8 is by far most commonly seen in its compound triple form, where three beats of dotted crotchets divide into three quavers each. Music in Uncommon Time, however, does away with regular meters, and instead opts for totally unconventional rhythms that are often based on higher prime numbers, or at least that are not divisible by two or three. This can be done by choosing an oddball time signature such as 5/4 or 7/8 (most common of the irregular meters) and/or by switching time signatures rapidly. It can be done throughout the length of an entire song, or used as an effect in an otherwise common-time song. Still confused? Let's relate it to Poetry Forms. Poetry typically has "meter," described as the pattern of stressed and unstressed syllables in the verse's "feet" — for instance, the "iambic" in Gratuitous Iambic Pentameter is a "foot" of one unstressed syllable followed by one stressed syllables: "I want to be the one who licks those frogs. I've learned I hate the taste of cats and dogs." Uncommon Meter is when the number of syllables-per-feet changes over the course of the line: "Will you be my running mate? It would help me concentrate." In poetic terms, this would be two trochees followed by a dactyl. In musical terms, this would be 7/4 or 7/8, depending on how precisely the composer decided to engrave the work. (This is why 9/8 only sometimes counts: it can be three dactyls ("I do not understand music stuff") or three trochees and a dactyl ("It is going to drive me up the wall, then I'll lose my balance and then fall").) For those who have difficulty determining the meter of a song, try paying attention to its percussion track: In many songs the bass and snare drums are perfectly timed with each beat, because this establishes a metronome that the other singers/players rely on to keep their parts of the song in sync to. This, of course, does not help when the song uses polyrhythms (that is, having different instruments playing in conflicting rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter), as bands such as Meshuggah are known for. This trope is heavily associated with the Math Rock, Progressive Rock, Progressive Metal, and Technical Death Metal genres, to the point where there are only a handful of prominent acts in any of these genres who have never used it. It is also common in modern Classical Music, which is often credited as being due to the influence of Igor Stravinsky, particularly in The Rite of Spring. (Stravinsky was a rather large influence on many of these prog groups as well). By virtue of being strongly influenced by both progressive rock and classical music, it's also noticeably common in video game soundtracks. See also Wikipedia's list of musical works in unusual time signatures. |
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Mike Portnoy of Dream Theater, Liquid Tension Experiment, Transatlantic, etc. frequently plays with odd signatures as well. | |
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Metallica used a lot of this too. For example, the verses of "...And Justice for All" are in 7/4, while the verses of "Welcome Home (Sanitarium)" are in 10/4 divided into five measures of 2/4. "Blackened" frequently shifts between 7/4, 5/4 and 6/4 while also throwing in the occasional 5/8 and 7/8 towards the end. The "mystery bar" in the main riff of "Master of Puppets" is noted as 5/8 in the official transcription, but someone measured it and found out it's actually in 21/32… most likely accidentally. | |
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Michael Giacchino's main theme from Pixar's The Incredibles (the one you hear when the credits begins; fittingly enough it's called "The Incredits") is a pretty direct homage to Mission: Impossible, and appropriately is mostly in 5/4, but also jumps to 3/4 and 4/4 in some parts. | |
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Underoath's "We Are the Involuntary" jumps between 5/4, 4/4, and 3/4. "The Created Void" is in 5/4 with some 3/4. |
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"Superboy and the Invisible Girl" from Next to Normal is 6/8 followed by 5/8 most of the time. "Wish I Were Here" is 4/4 for most of the song, but at one part it switches to 7/8, then back to 4/4. |
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Cats has pieces of "Mungojerrie and Rumpleteaser" and "Skimbleshanks" in 7/8 and 13/8, respectively. | |
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The opening theme to Tokyo Ghoul √A, "無能" ("Munou") by österreich, is a mess of time signatures, alternating between 7/4, 6/4, 4/4, and so on. | |
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In The Hunger Games: Catching Fire, the theme playing just after the Hunger Games have begun is in 7/4. | |
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Here's a relatively simple example in comparison to some of this chaos: During the verses of "That's What You Get" by Paramore, the drummer plays in 4/4 under instruments and vocalist running 3/4. | |
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Wardruna's "Fehu" utilizes 5/4 meter throughout. | |
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The chorus to "Blue Memories" by Patty Loveless ends with a line that's in 10/4 (4+2+4). | |
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"Scream Thy Last Scream", written during Syd Barrett's Sanity Slippage and never officially released, features several time signature changes which throw it into this trope. | |
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While the original Metroid soundtracks occasionally contained examples of this trope (see below under video game soundtracks), Stemage's metal arrangements of them, solo and with his band Metroid Metal, take this trope up a notch, with nearly every song containing complicated time signature changes wherever Stemage thinks they will make the song flow more naturally. As a result, any given song is liable to have a section in 4/4 that changes to 7/8 for a couple of measures before going back to 4/4. This is a characteristic of nearly every song he has arranged for the project to the point where it could be considered a Signature Style and probably appears once a song or more. | |
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Cyriak: cows & cows & cows is mostly in 6/4 time, but there's a segment in the middle which uses 7/4. | |
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"On the Willows" from Godspell is in 5/4, and "Alas For You" from the same show is... all over the place. | |
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In Joseph and the Amazing Technicolor Dreamcoat, "Who's The Thief?" starts in 7/8. | |
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"Stay" in Amélie alternates between measures of 6/4 and 5/4. | |
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Inside Out has "We Can Still Stop Her", which is in 9/4 and plays as Riley leaves home for the bus station. | |
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Uncommon Time | |
Uncommon Time / int_2a8e6980 | comment |
Moonsorrow, another progressive folk metal band (this one from Finland), also like this trope a lot. "Tuleen ajettu maa", for example, is in 5/4 for most of its first several minutes, while "Karhunkynsi" extensively uses 10/4. This is nowhere close to being a complete list. | |
Uncommon Time / int_2a8e6980 | featureApplicability |
1.0 | |
Uncommon Time / int_2a8e6980 | featureConfidence |
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Moonsorrow (Music) | hasFeature |
Uncommon Time / int_2a8e6980 | |
Uncommon Time / int_2b7e8363 | type |
Uncommon Time | |
Uncommon Time / int_2b7e8363 | comment |
The frequency of this trope in this musical genre is parodied by Clickhole with Christ Cometh to My House and Eats All of My Food, which has nothing resembling rhyme or rhythm at all, yet still somehow manages to sound good, in the same way anti-humour is funny or Dadaist art is beautiful. | |
Uncommon Time / int_2b7e8363 | featureApplicability |
1.0 | |
Uncommon Time / int_2b7e8363 | featureConfidence |
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ClickHole (Website) | hasFeature |
Uncommon Time / int_2b7e8363 | |
Uncommon Time / int_2c9fb302 | type |
Uncommon Time | |
Uncommon Time / int_2c9fb302 | comment |
The main groove in "Message II (Survival)" by Grandmaster Flash and the Furious Five is 5/8 against 4/4. | |
Uncommon Time / int_2c9fb302 | featureApplicability |
1.0 | |
Uncommon Time / int_2c9fb302 | featureConfidence |
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Grandmaster Flash and the Furious Five (Music) | hasFeature |
Uncommon Time / int_2c9fb302 | |
Uncommon Time / int_2dc2a93e | type |
Uncommon Time | |
Uncommon Time / int_2dc2a93e | comment |
Hüsker Dü's "Masochism World" jumps all over the place (its verses use (4+5+4+4)/4, or 17/4, for example). Some of their other songs use it, too, though not as extensively; a few examples can be found on their page here. | |
Uncommon Time / int_2dc2a93e | featureApplicability |
1.0 | |
Uncommon Time / int_2dc2a93e | featureConfidence |
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Hüsker Dü (Music) | hasFeature |
Uncommon Time / int_2dc2a93e | |
Uncommon Time / int_30a5ebfd | type |
Uncommon Time | |
Uncommon Time / int_30a5ebfd | comment |
The first ending theme of Naruto ("Wind" by Akeboshi) is in 5/8 (alternating between 3/8 and 2/8). | |
Uncommon Time / int_30a5ebfd | featureApplicability |
1.0 | |
Uncommon Time / int_30a5ebfd | featureConfidence |
1.0 | |
Naruto (Manga) | hasFeature |
Uncommon Time / int_30a5ebfd | |
Uncommon Time / int_319e201b | type |
Uncommon Time | |
Uncommon Time / int_319e201b | comment |
English 70s stoner band Caravan have a song called "Hoedown" which does sound a lot like a hoedown, with upbeat key signatures, excited guitars, a country and western-sounding guitar solo, and... 7/8 time. | |
Uncommon Time / int_319e201b | featureApplicability |
1.0 | |
Uncommon Time / int_319e201b | featureConfidence |
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Caravan (Music) | hasFeature |
Uncommon Time / int_319e201b | |
Uncommon Time / int_32768882 | type |
Uncommon Time | |
Uncommon Time / int_32768882 | comment |
The song "You" has three bars of 6/8 followed by one bar of 5/8, a phrase which repeats throughout the song. Ironically, this song is on their least experimental album which is highly unpopular amongst fans, Pablo Honey. | |
Uncommon Time / int_32768882 | featureApplicability |
1.0 | |
Uncommon Time / int_32768882 | featureConfidence |
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Pablo Honey (Music) | hasFeature |
Uncommon Time / int_32768882 | |
Uncommon Time / int_39338fc3 | type |
Uncommon Time | |
Uncommon Time / int_39338fc3 | comment |
Much of "Bike" is in 4/4 time, but due to extra syllables thrown irregularly into its lyrics, the song is peppered with an unpredictable pattern of 5/4, 6/4 and 7/4 bars. | |
Uncommon Time / int_39338fc3 | featureApplicability |
1.0 | |
Uncommon Time / int_39338fc3 | featureConfidence |
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The Piper at the Gates of Dawn (Music) | hasFeature |
Uncommon Time / int_39338fc3 | |
Uncommon Time / int_3c53ffa8 | type |
Uncommon Time | |
Uncommon Time / int_3c53ffa8 | comment |
Rush makes use of several unusual time signatures. Moving Pictures alone has examples of 7/4, 5/4, and 3/4 time. Really, Rush is the poster band for this trope - it's all too easy to buy the folk myth that Neil Peart CAN'T play in 4/4. Part of Neil Peart's drum solo for many years was a section called "The Waltz", where he would play a 3/4 pattern with his feet and throw as many time signatures as he could over it with his hands. Including 4/4. "YYZ" has an intro in 10/8 time, but this could just be incidental, as the Morse code for YYZ (dah-dit-dah-dah, dah-dit-dah-dah, dah-dah-dit-dit) happens to fit into said time signature. "Subdivisions" seems to alternate between 7/8, 4/4, and 6/4 time signatures. Some time signatures only last a few bars before switching. "Losing It" has verses in 5/8, the chorus in 4/4, and alternating bars of 5/8 and 6/8 in the bridge. |
|
Uncommon Time / int_3c53ffa8 | featureApplicability |
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Uncommon Time / int_3c53ffa8 | featureConfidence |
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Rush (Band) (Music) | hasFeature |
Uncommon Time / int_3c53ffa8 | |
Uncommon Time / int_41052e2e | type |
Uncommon Time | |
Uncommon Time / int_41052e2e | comment |
The title song in Sunset Boulevard is in 5/8. | |
Uncommon Time / int_41052e2e | featureApplicability |
1.0 | |
Uncommon Time / int_41052e2e | featureConfidence |
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Sunset Boulevard | hasFeature |
Uncommon Time / int_41052e2e | |
Uncommon Time / int_42bb8b78 | type |
Uncommon Time | |
Uncommon Time / int_42bb8b78 | comment |
The main theme of Æon Flux is in 7/4. | |
Uncommon Time / int_42bb8b78 | featureApplicability |
1.0 | |
Uncommon Time / int_42bb8b78 | featureConfidence |
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Æon Flux | hasFeature |
Uncommon Time / int_42bb8b78 | |
Uncommon Time / int_43d5d8e7 | type |
Uncommon Time | |
Uncommon Time / int_43d5d8e7 | comment |
In Pippin, "Welcome Home" is in 5/4. "Love Song" disrupts its otherwise Common Time refrain of sorts with a bar of 6/4, and also uses 3/4 and 7/8 in the verse. | |
Uncommon Time / int_43d5d8e7 | featureApplicability |
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Uncommon Time / int_43d5d8e7 | featureConfidence |
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Pippin (Theatre) | hasFeature |
Uncommon Time / int_43d5d8e7 | |
Uncommon Time / int_46196a4 | type |
Uncommon Time | |
Uncommon Time / int_46196a4 | comment |
A short tune from The Kindaichi Case Files is mostly in 5/4, but switches to 8/4 for a couple bars. | |
Uncommon Time / int_46196a4 | featureApplicability |
1.0 | |
Uncommon Time / int_46196a4 | featureConfidence |
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The Kindaichi Case Files (Manga) | hasFeature |
Uncommon Time / int_46196a4 | |
Uncommon Time / int_47f0eac3 | type |
Uncommon Time | |
Uncommon Time / int_47f0eac3 | comment |
Metalocalypse: Dethklok occasionally uses odd time signatures. "I Tamper With the Evidence at the Murder Site of Odin" is primarily in 7/8, with the bridge in 4/4; "Dethsupport" constantly switches between 6/8 and 7/8; and "Go Forth and Die" features parts in 5/8. Dethalbum III continues this trend, where "I Ejaculate Fire" has a mid-section that switches between 7/4 and 8/4, and "Starved" is pretty much all over the place, including an intro with intermittent bars of 9/8 and a breakdown in 9/4 - and an outro that switches between these two riffs, with an additional beat thrown in each time it repeats. | |
Uncommon Time / int_47f0eac3 | featureApplicability |
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Uncommon Time / int_47f0eac3 | featureConfidence |
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Metalocalypse | hasFeature |
Uncommon Time / int_47f0eac3 | |
Uncommon Time / int_4924a2b1 | type |
Uncommon Time | |
Uncommon Time / int_4924a2b1 | comment |
In his collaborations with the Melvins, Jello Biafra has "Enchanted Thoughtfist" with verses in 7/4 and "Dawn of the Locusts" with significant portions of the song in 13/8. When industrial hip-hop group Dälek remixed the latter track, they put a 4/4 drumbeat under the whole song just to make it even more disorienting. Meanwhile, from his Nomeansno collaboration, "Sharks in the Gene Pool" goes through several time signature changes, with one of its riffs in 7/4, and several of his tracks with Lard (a collaboration with Ministry, who have also been known to use this trope) also provide examples (for example, "Sylvestre Matruschka" has verses in 5/4). | |
Uncommon Time / int_4924a2b1 | featureApplicability |
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Uncommon Time / int_4924a2b1 | featureConfidence |
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Melvins (Music) | hasFeature |
Uncommon Time / int_4924a2b1 | |
Uncommon Time / int_4ac68c19 | type |
Uncommon Time | |
Uncommon Time / int_4ac68c19 | comment |
Lindsey Stirling and The Piano Guys recorded a version of the Mission Impossible theme, which also incorporated Mozart's Piano Sonata in C, rearranged in a 5/4 time. | |
Uncommon Time / int_4ac68c19 | featureApplicability |
1.0 | |
Uncommon Time / int_4ac68c19 | featureConfidence |
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Lindsey Stirling (Music) | hasFeature |
Uncommon Time / int_4ac68c19 | |
Uncommon Time / int_4c394497 | type |
Uncommon Time | |
Uncommon Time / int_4c394497 | comment |
"Cause Disarray" from Mnemosyne has a section in 5/4. | |
Uncommon Time / int_4c394497 | featureApplicability |
1.0 | |
Uncommon Time / int_4c394497 | featureConfidence |
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Mnemosyne | hasFeature |
Uncommon Time / int_4c394497 | |
Uncommon Time / int_4fc1c922 | type |
Uncommon Time | |
Uncommon Time / int_4fc1c922 | comment |
"Thank Goodness" in Wicked sounds like mostly 5/8. "I Couldn't Be Happier" is in 5/8 mixed with 6/8, 3/4, 4/4, 2/4 and other time signatures. | |
Uncommon Time / int_4fc1c922 | featureApplicability |
1.0 | |
Uncommon Time / int_4fc1c922 | featureConfidence |
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Wicked (Theatre) | hasFeature |
Uncommon Time / int_4fc1c922 | |
Uncommon Time / int_5018e5dd | type |
Uncommon Time | |
Uncommon Time / int_5018e5dd | comment |
The choruses of "Shipoopi" from The Music Man - and, perhaps more notably, Family Guy - are in 10/4. | |
Uncommon Time / int_5018e5dd | featureApplicability |
1.0 | |
Uncommon Time / int_5018e5dd | featureConfidence |
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The Music Man (Theatre) | hasFeature |
Uncommon Time / int_5018e5dd | |
Uncommon Time / int_5022a2c4 | type |
Uncommon Time | |
Uncommon Time / int_5022a2c4 | comment |
The theme song to Xena is in 7/8 time with a break around the bridge of 9/8. | |
Uncommon Time / int_5022a2c4 | featureApplicability |
1.0 | |
Uncommon Time / int_5022a2c4 | featureConfidence |
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Xena: Warrior Princess | hasFeature |
Uncommon Time / int_5022a2c4 | |
Uncommon Time / int_583fae84 | type |
Uncommon Time | |
Uncommon Time / int_583fae84 | comment |
The bridge of "Hey Jude" (Past Masters) could be counted a number of ways. One way to count it is eleven measures of 4/4 followed by one of 2/4. | |
Uncommon Time / int_583fae84 | featureApplicability |
1.0 | |
Uncommon Time / int_583fae84 | featureConfidence |
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Past Masters (Music) | hasFeature |
Uncommon Time / int_583fae84 | |
Uncommon Time / int_58808436 | type |
Uncommon Time | |
Uncommon Time / int_58808436 | comment |
A couple of character songs from Higurashi: When They Cry have sections written in Uncommon Time, namely, Takano Miyo's "Bon ~Karma~" and Fuurude Rika's "Mugen Kairou". "Mugen Kairou" is in 5/4 except for its bridge and chorus, which is in 3/4; while the verse of "Bon ~Karma~" alternates between 3/4 and 4/4 measures -significant in that Miyo's name is written with the kanji for 3 and 4. | |
Uncommon Time / int_58808436 | featureApplicability |
1.0 | |
Uncommon Time / int_58808436 | featureConfidence |
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Higurashi: When They Cry (Visual Novel) | hasFeature |
Uncommon Time / int_58808436 | |
Uncommon Time / int_58f9634 | type |
Uncommon Time | |
Uncommon Time / int_58f9634 | comment |
The DVD insert for one pressing of This is Spın̈al Tap state that one of the band's drummers quit, saying he "couldn't take this 4/4 shit". | |
Uncommon Time / int_58f9634 | featureApplicability |
1.0 | |
Uncommon Time / int_58f9634 | featureConfidence |
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This is Spın̈al Tap | hasFeature |
Uncommon Time / int_58f9634 | |
Uncommon Time / int_5bc055d7 | type |
Uncommon Time | |
Uncommon Time / int_5bc055d7 | comment |
Brad Fiedel's main theme to The Terminator is in 13/16 (by accident). | |
Uncommon Time / int_5bc055d7 | featureApplicability |
1.0 | |
Uncommon Time / int_5bc055d7 | featureConfidence |
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Brad Fiedel (Music) | hasFeature |
Uncommon Time / int_5bc055d7 | |
Uncommon Time / int_5c600b17 | type |
Uncommon Time | |
Uncommon Time / int_5c600b17 | comment |
In the English dub of the Digimon Adventure episode "The Dancing Digimon", Joe's chant, "Bakemon, lose your power," repeats every three-and-a-half strikes of Sora's hat, and thus resembles 7/8 time. | |
Uncommon Time / int_5c600b17 | featureApplicability |
1.0 | |
Uncommon Time / int_5c600b17 | featureConfidence |
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Digimon Adventure | hasFeature |
Uncommon Time / int_5c600b17 | |
Uncommon Time / int_5df659bf | type |
Uncommon Time | |
Uncommon Time / int_5df659bf | comment |
Penguin Cafe Orchestra's "Perpetuum Mobile" is based on a 15/8 ostinato. | |
Uncommon Time / int_5df659bf | featureApplicability |
1.0 | |
Uncommon Time / int_5df659bf | featureConfidence |
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Penguin Cafe Orchestra (Music) | hasFeature |
Uncommon Time / int_5df659bf | |
Uncommon Time / int_5e2cf42 | type |
Uncommon Time | |
Uncommon Time / int_5e2cf42 | comment |
"Question!" by System of a Down continually shifts between 9/8, 10/8, 6/8 and 3/4, to the point that the band has had trouble playing it live. In general the band tends to use this pretty liberally, although "Question!" is probably their most extreme example. | |
Uncommon Time / int_5e2cf42 | featureApplicability |
1.0 | |
Uncommon Time / int_5e2cf42 | featureConfidence |
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System of a Down (Music) | hasFeature |
Uncommon Time / int_5e2cf42 | |
Uncommon Time / int_61b2927c | type |
Uncommon Time | |
Uncommon Time / int_61b2927c | comment |
"Everybody's Got Something to Hide Except for Me and My Monkey" (The White Album), at the end of its refrain, uses patterns of 3+3+4/4, or 10/4. | |
Uncommon Time / int_61b2927c | featureApplicability |
1.0 | |
Uncommon Time / int_61b2927c | featureConfidence |
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The White Album (Music) | hasFeature |
Uncommon Time / int_61b2927c | |
Uncommon Time / int_61e6f70d | type |
Uncommon Time | |
Uncommon Time / int_61e6f70d | comment |
Oneohtrix Point Never's "Cryo" is in 17/16. | |
Uncommon Time / int_61e6f70d | featureApplicability |
1.0 | |
Uncommon Time / int_61e6f70d | featureConfidence |
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Oneohtrix Point Never (Music) | hasFeature |
Uncommon Time / int_61e6f70d | |
Uncommon Time / int_62a7de21 | type |
Uncommon Time | |
Uncommon Time / int_62a7de21 | comment |
The opening theme of Azumanga Daioh, "Soramimi Cake", is mostly in common time, but spends most of its chorus in 7/4. | |
Uncommon Time / int_62a7de21 | featureApplicability |
1.0 | |
Uncommon Time / int_62a7de21 | featureConfidence |
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Azumanga Daioh (Manga) | hasFeature |
Uncommon Time / int_62a7de21 | |
Uncommon Time / int_6600bef5 | type |
Uncommon Time | |
Uncommon Time / int_6600bef5 | comment |
Pain of Salvation have several songs with uncommon time signatures. Notable examples include New Year's Eve whose opening riff starts in 21/16, a lot of The Perfect Element is in 7/8 (with interspersed 6/8 and 4/4), Idioglossia includes 15/16, 17/16, 7/16 and 10/16 measures. Rope Ends even has a guitar solo in 17/16! There are far too many songs to list here, so just check out their entire opus! | |
Uncommon Time / int_6600bef5 | featureApplicability |
1.0 | |
Uncommon Time / int_6600bef5 | featureConfidence |
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Pain of Salvation (Music) | hasFeature |
Uncommon Time / int_6600bef5 | |
Uncommon Time / int_679bcc34 | type |
Uncommon Time | |
Uncommon Time / int_679bcc34 | comment |
The main 'call-and-response' section in "Black Dog" from Led Zeppelin IV is in what sounds like (3/4 + 4/4 + 5/4). | |
Uncommon Time / int_679bcc34 | featureApplicability |
1.0 | |
Uncommon Time / int_679bcc34 | featureConfidence |
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Led Zeppelin IV (Music) | hasFeature |
Uncommon Time / int_679bcc34 | |
Uncommon Time / int_686cfaba | type |
Uncommon Time | |
Uncommon Time / int_686cfaba | comment |
Journey had "I'm Gonna Leave You" and "Nickel and Dime" back before they shifted to pop. | |
Uncommon Time / int_686cfaba | featureApplicability |
1.0 | |
Uncommon Time / int_686cfaba | featureConfidence |
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Journey (Band) (Music) | hasFeature |
Uncommon Time / int_686cfaba | |
Uncommon Time / int_6a4e2e01 | type |
Uncommon Time | |
Uncommon Time / int_6a4e2e01 | comment |
Avenged Sevenfold usually sticks to good ol' 4/4, with the occasional 6/8 (in "Acid Rain", the beginning or "Buried Alive" or most of "Save Me"), but they do have a couple of punctual examples, usually to create a slight sense of unease or unbalance. Being a more prog-oriented album, The Stage plays with this in several songs. The intro of "Almost Easy" and the verses of the aforementioned "Save Me" are in 6/4 (2+2+2); the actual time signature is given away by the kick pattern. The bridge of "A Little Piece of Heaven" just before the final chorus is in 5/4 to make it sound creepier. On The Stage, "Angels" (which is partly about the loss of faith in God) has verses in 7/4. Similarly, "Simulation", where the narrator is starting to realize he lives in a literal simulation, has verses in 15/8, making the tempo slightly off, like something's amiss. "Exist" has a part between the 3rd and 5th minute where each portion is composed of three 4/4 bars followed by a 5/4 bar, culminating in a polyrhythmic part where the guitars keep the aforementioned pattern while the drums stay in 5/4, which gives it a chaotic feel. The quiet middle-section guitar solo has no time signature. |
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Uncommon Time / int_6a4e2e01 | featureApplicability |
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Uncommon Time / int_6a4e2e01 | featureConfidence |
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Uncommon Time / int_6a4e2e01 | |
Uncommon Time / int_6c39a620 | type |
Uncommon Time | |
Uncommon Time / int_6c39a620 | comment |
The first opening theme of Ascendance of a Bookworm, "真�白" (Masshiro), begins with what appears to be 4/4 piano beat, before fully revealing itself to be in 5/4 throughout (except for some segments of 6/4 here and there). | |
Uncommon Time / int_6c39a620 | featureApplicability |
1.0 | |
Uncommon Time / int_6c39a620 | featureConfidence |
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Ascendance of a Bookworm | hasFeature |
Uncommon Time / int_6c39a620 | |
Uncommon Time / int_6cc3e430 | type |
Uncommon Time | |
Uncommon Time / int_6cc3e430 | comment |
The theme to Room 222, by Jerry Goldsmith, is written in 7/4. | |
Uncommon Time / int_6cc3e430 | featureApplicability |
1.0 | |
Uncommon Time / int_6cc3e430 | featureConfidence |
1.0 | |
Room 222 | hasFeature |
Uncommon Time / int_6cc3e430 | |
Uncommon Time / int_6eb8058d | type |
Uncommon Time | |
Uncommon Time / int_6eb8058d | comment |
In The Most Happy Fella, when Tony is learning to walk again, his limping walk is accompanied by incidental music in 5/4 time. | |
Uncommon Time / int_6eb8058d | featureApplicability |
1.0 | |
Uncommon Time / int_6eb8058d | featureConfidence |
1.0 | |
The Most Happy Fella (Theatre) | hasFeature |
Uncommon Time / int_6eb8058d | |
Uncommon Time / int_7149a731 | type |
Uncommon Time | |
Uncommon Time / int_7149a731 | comment |
The theme to Wonder Woman, first heard in Batman v Superman: Dawn of Justice, is a keening electric cello against emphatic drums in 7/4. | |
Uncommon Time / int_7149a731 | featureApplicability |
1.0 | |
Uncommon Time / int_7149a731 | featureConfidence |
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Wonder Woman (2017) | hasFeature |
Uncommon Time / int_7149a731 | |
Uncommon Time / int_744874cd | type |
Uncommon Time | |
Uncommon Time / int_744874cd | comment |
Gentle Giant's music has been parodied with this image◊. Not too far off from the actual content of their songs; they don't have a reputation as one of the most complex prog bands for nothing. | |
Uncommon Time / int_744874cd | featureApplicability |
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Uncommon Time / int_744874cd | featureConfidence |
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Gentle Giant (Music) | hasFeature |
Uncommon Time / int_744874cd | |
Uncommon Time / int_7528682b | type |
Uncommon Time | |
Uncommon Time / int_7528682b | comment |
"Within You Without You" (Sgt. Pepper's Lonely Hearts Club Band) perhaps takes the cake; it's based on Indian ragas with cycles of 10 and 16 beats. There's a more upbeat epic (sitar) rocking section that works out to be about in 5/4, but not always. | |
Uncommon Time / int_7528682b | featureApplicability |
1.0 | |
Uncommon Time / int_7528682b | featureConfidence |
1.0 | |
Sgt. Pepper's Lonely Hearts Club Band (Music) | hasFeature |
Uncommon Time / int_7528682b | |
Uncommon Time / int_770040a9 | type |
Uncommon Time | |
Uncommon Time / int_770040a9 | comment |
"She Said She Said" (Revolver) switches liberally between 3/4 and 4/4. | |
Uncommon Time / int_770040a9 | featureApplicability |
1.0 | |
Uncommon Time / int_770040a9 | featureConfidence |
1.0 | |
Revolver (Beatles Album) (Music) | hasFeature |
Uncommon Time / int_770040a9 | |
Uncommon Time / int_7832b74c | type |
Uncommon Time | |
Uncommon Time / int_7832b74c | comment |
From Steven Universe, Malachite's Leitmotif is a minimal classical sting with pulses in 7/8. | |
Uncommon Time / int_7832b74c | featureApplicability |
1.0 | |
Uncommon Time / int_7832b74c | featureConfidence |
1.0 | |
Steven Universe | hasFeature |
Uncommon Time / int_7832b74c | |
Uncommon Time / int_7ce87095 | type |
Uncommon Time | |
Uncommon Time / int_7ce87095 | comment |
The "Tar Sequence" from Cool Hand Luke is in 5/4, by Lalo Schifrin (who also created the Mission: Impossible theme in 5/4) | |
Uncommon Time / int_7ce87095 | featureApplicability |
1.0 | |
Uncommon Time / int_7ce87095 | featureConfidence |
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Cool Hand Luke | hasFeature |
Uncommon Time / int_7ce87095 | |
Uncommon Time / int_7e155b68 | type |
Uncommon Time | |
Uncommon Time / int_7e155b68 | comment |
Clutch has "The Elephant Riders". The intro and chorus are in 7/8 and the bridge alternates between 4/4 and 5/4. | |
Uncommon Time / int_7e155b68 | featureApplicability |
1.0 | |
Uncommon Time / int_7e155b68 | featureConfidence |
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Clutch (Music) | hasFeature |
Uncommon Time / int_7e155b68 | |
Uncommon Time / int_7e63a2e3 | type |
Uncommon Time | |
Uncommon Time / int_7e63a2e3 | comment |
Todd Rundgren used this a lot in his prog days. Two examples: his cover of "Cool Jerk" is in 7/8 (as a pun on its title), and the intro of "Don't You Ever Learn?" (which returns in the middle of the song) drops several beats at various points. The early Utopia albums also feature a lot of this; "Freak Parade" is a good example. | |
Uncommon Time / int_7e63a2e3 | featureApplicability |
1.0 | |
Uncommon Time / int_7e63a2e3 | featureConfidence |
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Todd Rundgren (Music) | hasFeature |
Uncommon Time / int_7e63a2e3 | |
Uncommon Time / int_7ed8c561 | type |
Uncommon Time | |
Uncommon Time / int_7ed8c561 | comment |
Given that Burt Bacharach's songs are considered definitive middle-of-the-road pop, he played around with tempo to a surprising extent, but in a way that casual listeners wouldn't pick up on. Many of his songs even change time signatures from one bar to the next. | |
Uncommon Time / int_7ed8c561 | featureApplicability |
1.0 | |
Uncommon Time / int_7ed8c561 | featureConfidence |
1.0 | |
Burt Bacharach (Music) | hasFeature |
Uncommon Time / int_7ed8c561 | |
Uncommon Time / int_80e4ec46 | type |
Uncommon Time | |
Uncommon Time / int_80e4ec46 | comment |
Saves the Day's "Rise" is mostly in 7/4, and "Tomorrow Too Late" mostly 10/4. | |
Uncommon Time / int_80e4ec46 | featureApplicability |
1.0 | |
Uncommon Time / int_80e4ec46 | featureConfidence |
1.0 | |
Saves The Day (Music) | hasFeature |
Uncommon Time / int_80e4ec46 | |
Uncommon Time / int_81b433f7 | type |
Uncommon Time | |
Uncommon Time / int_81b433f7 | comment |
Jekyll & Hyde has a great many in songs in 4/4 or 3/4, but the intro to "No One Must Ever Know" is 12/8. | |
Uncommon Time / int_81b433f7 | featureApplicability |
1.0 | |
Uncommon Time / int_81b433f7 | featureConfidence |
1.0 | |
Jekyll & Hyde (Theatre) | hasFeature |
Uncommon Time / int_81b433f7 | |
Uncommon Time / int_81e9453a | type |
Uncommon Time | |
Uncommon Time / int_81e9453a | comment |
"Kashmir" from Physical Graffiti has in the main section the drums playing in straight 4/4, while the strings, guitar and bass all play in 3/4. There's also a bar of 9/8 before the bridge. | |
Uncommon Time / int_81e9453a | featureApplicability |
1.0 | |
Uncommon Time / int_81e9453a | featureConfidence |
1.0 | |
Physical Graffiti (Music) | hasFeature |
Uncommon Time / int_81e9453a | |
Uncommon Time / int_86c9f9de | type |
Uncommon Time | |
Uncommon Time / int_86c9f9de | comment |
Hozier's "From Eden" is in 5/4. | |
Uncommon Time / int_86c9f9de | featureApplicability |
1.0 | |
Uncommon Time / int_86c9f9de | featureConfidence |
1.0 | |
Hozier (Music) | hasFeature |
Uncommon Time / int_86c9f9de | |
Uncommon Time / int_8ac10717 | type |
Uncommon Time | |
Uncommon Time / int_8ac10717 | comment |
Matilda has a couple. In "Revolting Children," the bridge and the "Never again!" section at the beginning are three measures of 7/8 followed by one 4/4. "The Hammer" starts in 5/4 before switching to 3/4; the chorus is in common time. |
|
Uncommon Time / int_8ac10717 | featureApplicability |
1.0 | |
Uncommon Time / int_8ac10717 | featureConfidence |
1.0 | |
Matilda (Theatre) | hasFeature |
Uncommon Time / int_8ac10717 | |
Uncommon Time / int_8b1deb48 | type |
Uncommon Time | |
Uncommon Time / int_8b1deb48 | comment |
Many Kansas songs. "The Spider", for example, begins in 11/16 and goes just about everywhere from there. Another example is "Miracles out of Nowhere", which follows a seemingly random pattern consisting of 4/4, 7/8, 9/8, 11/8, and 13/8 in the intro; there's also an instrumental break halfway through the song that is in 7/8 before a reprise of the intro. "Point of Know Return", one of their most famous songs, changes time signatures liberally; verses have 4+4+4+3/4 while choruses have 7+7+4+4/4, though there are some measures of straight 4/4 before the choruses. | |
Uncommon Time / int_8b1deb48 | featureApplicability |
1.0 | |
Uncommon Time / int_8b1deb48 | featureConfidence |
1.0 | |
Kansas (Music) | hasFeature |
Uncommon Time / int_8b1deb48 | |
Uncommon Time / int_8ba4613a | type |
Uncommon Time | |
Uncommon Time / int_8ba4613a | comment |
In Death Note, the first section of L's theme alternates time signatures for each measure in patterns of 4: the first measure is 7/8, the second is 3/4, the third is 7/8, and the fourth is 4/4. This rather unique pattern is repeated in Near's theme, further cementing the connection between the two. | |
Uncommon Time / int_8ba4613a | featureApplicability |
1.0 | |
Uncommon Time / int_8ba4613a | featureConfidence |
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Death Note (Manga) | hasFeature |
Uncommon Time / int_8ba4613a | |
Uncommon Time / int_8cb0da79 | type |
Uncommon Time | |
Uncommon Time / int_8cb0da79 | comment |
The "Mexican Dance" in Aaron Copland's Billy the Kid music is in 5/8, alternating with the occasional bar of 4/8. | |
Uncommon Time / int_8cb0da79 | featureApplicability |
1.0 | |
Uncommon Time / int_8cb0da79 | featureConfidence |
1.0 | |
Aaron Copland (Music) | hasFeature |
Uncommon Time / int_8cb0da79 | |
Uncommon Time / int_8e1ff6b8 | type |
Uncommon Time | |
Uncommon Time / int_8e1ff6b8 | comment |
ONE.: Several of the songs composed for the show fall under this category; the most extreme case of this is Whiskey Lounge, which uses a time signature of 13/16. | |
Uncommon Time / int_8e1ff6b8 | featureApplicability |
1.0 | |
Uncommon Time / int_8e1ff6b8 | featureConfidence |
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ONE (Web Animation) | hasFeature |
Uncommon Time / int_8e1ff6b8 | |
Uncommon Time / int_8e8c73c6 | type |
Uncommon Time | |
Uncommon Time / int_8e8c73c6 | comment |
Mayhem's "Slaughter of Dreams" is mostly in 7/4, which isn't all that surprising since it's from their days as a progressive black metal band, but what is susprising is that "Deathcrush" and "Chainsaw Gutsfuck", both from the incredibly primitive Deathcrush EP, both have segments in 5/4. | |
Uncommon Time / int_8e8c73c6 | featureApplicability |
1.0 | |
Uncommon Time / int_8e8c73c6 | featureConfidence |
1.0 | |
Mayhem (Music) | hasFeature |
Uncommon Time / int_8e8c73c6 | |
Uncommon Time / int_909ca4b1 | type |
Uncommon Time | |
Uncommon Time / int_909ca4b1 | comment |
The main theme of ReBoot is also 5/4. | |
Uncommon Time / int_909ca4b1 | featureApplicability |
1.0 | |
Uncommon Time / int_909ca4b1 | featureConfidence |
1.0 | |
ReBoot | hasFeature |
Uncommon Time / int_909ca4b1 | |
Uncommon Time / int_90f7114 | type |
Uncommon Time | |
Uncommon Time / int_90f7114 | comment |
Sweeney Todd: The Demon Barber of Fleet Street has two sections in (mostly) 5/8: the introductions to "Ladies in their Sensitivities" and "Pretty Women". | |
Uncommon Time / int_90f7114 | featureApplicability |
1.0 | |
Uncommon Time / int_90f7114 | featureConfidence |
1.0 | |
Sweeney Todd: The Demon Barber of Fleet Street (Theatre) | hasFeature |
Uncommon Time / int_90f7114 | |
Uncommon Time / int_9284ad43 | type |
Uncommon Time | |
Uncommon Time / int_9284ad43 | comment |
The cross-examination themes for Phoenix Wright: Ace Attorney – Dual Destinies, both the Moderato and Allegro variants, are in 7/4. | |
Uncommon Time / int_9284ad43 | featureApplicability |
1.0 | |
Uncommon Time / int_9284ad43 | featureConfidence |
1.0 | |
Phoenix Wright: Ace Attorney – Dual Destinies (Visual Novel) | hasFeature |
Uncommon Time / int_9284ad43 | |
Uncommon Time / int_9959e0f9 | type |
Uncommon Time | |
Uncommon Time / int_9959e0f9 | comment |
Slayer does this occasionally. "Metal Storm/Face the Slayer" starts in 4/4, transitions to 9/8, and then goes back to 4/4. "At Dawn They Sleep" starts in 5/4, then transitions to 4/4. Their usage of this trope has dropped off over time. | |
Uncommon Time / int_9959e0f9 | featureApplicability |
1.0 | |
Uncommon Time / int_9959e0f9 | featureConfidence |
1.0 | |
Slayer (Music) | hasFeature |
Uncommon Time / int_9959e0f9 | |
Uncommon Time / int_9a0cb5f4 | type |
Uncommon Time | |
Uncommon Time / int_9a0cb5f4 | comment |
Bob's Burgers: In "Presto Tina-O", Tina tries to sabotage Jimmy Jr.'s dancing-oriented magic act by replacing his dance music with a CD of nigh-undanceable "polyrhythmic synth jazz", which Tina describes as being in 9/8 time. | |
Uncommon Time / int_9a0cb5f4 | featureApplicability |
1.0 | |
Uncommon Time / int_9a0cb5f4 | featureConfidence |
1.0 | |
Bob's Burgers | hasFeature |
Uncommon Time / int_9a0cb5f4 | |
Uncommon Time / int_9ab064e6 | type |
Uncommon Time | |
Uncommon Time / int_9ab064e6 | comment |
A section of "The Barricade" in Les Misérables (you at the barricade listen to this...) changes its time signature every measure (6/8, 9/8, 9/8, 6/8, 12/8, IIRC). | |
Uncommon Time / int_9ab064e6 | featureApplicability |
1.0 | |
Uncommon Time / int_9ab064e6 | featureConfidence |
1.0 | |
Les Misérables (Theatre) | hasFeature |
Uncommon Time / int_9ab064e6 | |
Uncommon Time / int_9c2c7fc | type |
Uncommon Time | |
Uncommon Time / int_9c2c7fc | comment |
Pat Metheny embraces every time signature known to man. Not only does much of his work modulate through varying common times, but through multiple uncommons. For example, one of his earlier compositions in Pat Metheny Group, "The First Circle", cycles around a 22/8 riff with 12/8, 6/8 and 4/4 utilized. Two consecutive songs on Letter from Home are titled "45/8" after its uncommon time (which, for an exercise in how far they could stretch the concept, is pretty catchy); and '5-5-7", after the 5/4 - 5/4 - 7/4 pattern of the main riff (the song also uses 6/4, 6/8 and 3/4.) | |
Uncommon Time / int_9c2c7fc | featureApplicability |
1.0 | |
Uncommon Time / int_9c2c7fc | featureConfidence |
1.0 | |
Pat Metheny (Music) | hasFeature |
Uncommon Time / int_9c2c7fc | |
Uncommon Time / int_9e6d1645 | type |
Uncommon Time | |
Uncommon Time / int_9e6d1645 | comment |
In Teletubbies, the music that plays during the Magic Tree event is in 5/4 time. | |
Uncommon Time / int_9e6d1645 | featureApplicability |
1.0 | |
Uncommon Time / int_9e6d1645 | featureConfidence |
1.0 | |
Teletubbies | hasFeature |
Uncommon Time / int_9e6d1645 | |
Uncommon Time / int_a1a4b035 | type |
Uncommon Time | |
Uncommon Time / int_a1a4b035 | comment |
Battle for Dream Island: The song Minutes follows a 16/4 mixed meter, split into 5+7+4/4. | |
Uncommon Time / int_a1a4b035 | featureApplicability |
1.0 | |
Uncommon Time / int_a1a4b035 | featureConfidence |
1.0 | |
Battle for Dream Island (Web Animation) | hasFeature |
Uncommon Time / int_a1a4b035 | |
Uncommon Time / int_a38296c0 | type |
Uncommon Time | |
Uncommon Time / int_a38296c0 | comment |
In Peter Grimes, the round "Old Joe has gone fishing" is in 7/4. | |
Uncommon Time / int_a38296c0 | featureApplicability |
1.0 | |
Uncommon Time / int_a38296c0 | featureConfidence |
1.0 | |
Peter Grimes (Theatre) | hasFeature |
Uncommon Time / int_a38296c0 | |
Uncommon Time / int_a502f630 | type |
Uncommon Time | |
Uncommon Time / int_a502f630 | comment |
In Béla Bartók's music, this frequently occurs under the heading "Bulgarian Rhythm": The Six Dances in Bulgarian Rhythm from Mikrokosmos are respectively in (4+2+3)/8, (2+2+3)/8, (2+3)/8, (3+2+3)/8, (2+2+2+3)/8 and (3+3+2)/8. The Scherzo alla bulgarese from the Fifth String Quartet is in (4+2+3)/8; its trio varies between (3+2+2+3)/8, (2+3+2+3)/8 and (2+3+3+2)/8, but is really too fast for the average listener to bother counting metrical divisions. The Intermezzo interrotto from the Concerto for Orchestra has a main theme alternating between 2/4 and 5/8. It rather sneakily shifts into Common Time after a modulation, but this turns out to be the setup for a musical joke. |
|
Uncommon Time / int_a502f630 | featureApplicability |
1.0 | |
Uncommon Time / int_a502f630 | featureConfidence |
1.0 | |
Béla Bartók (Music) | hasFeature |
Uncommon Time / int_a502f630 | |
Uncommon Time / int_a506a38b | type |
Uncommon Time | |
Uncommon Time / int_a506a38b | comment |
Wayne's World features two versions of the Mission: Impossible theme in 5/4. | |
Uncommon Time / int_a506a38b | featureApplicability |
1.0 | |
Uncommon Time / int_a506a38b | featureConfidence |
1.0 | |
Wayne's World | hasFeature |
Uncommon Time / int_a506a38b | |
Uncommon Time / int_a695c23a | type |
Uncommon Time | |
Uncommon Time / int_a695c23a | comment |
One of the chase scenes in Mission: Impossible – Rogue Nation has a segment in 7/4. "Here it is" | |
Uncommon Time / int_a695c23a | featureApplicability |
1.0 | |
Uncommon Time / int_a695c23a | featureConfidence |
1.0 | |
Mission: Impossible – Rogue Nation | hasFeature |
Uncommon Time / int_a695c23a | |
Uncommon Time / int_a80d6aec | type |
Uncommon Time | |
Uncommon Time / int_a80d6aec | comment |
Krallice, being a Progressive Black Metal band, use this a lot; it kind of comes with the territory. One example is "Over Spirit", which contains a riff in 5/4. Similarly, "Wretched Wisdom" contains a riff in 9/4. Other songs get more complicated, which has earned them comparisons to Math Rock in some circles. A variant of this trope that also sometimes shows up is the usage of patterns of unusual numbers of Common Time measures (e.g., patterns of five, seven, or nine measures). And at other times they'll subvert it; for example, "Intraum" contains one segment with alternating bars of 9/8 and 7/8... which add up to 16/8. | |
Uncommon Time / int_a80d6aec | featureApplicability |
1.0 | |
Uncommon Time / int_a80d6aec | featureConfidence |
1.0 | |
Krallice (Music) | hasFeature |
Uncommon Time / int_a80d6aec | |
Uncommon Time / int_a8150af4 | type |
Uncommon Time | |
Uncommon Time / int_a8150af4 | comment |
"The Mystics" theme in The Lord of the Rings: The Rings of Power has no melody and features just whispered vocals in the 3/4 time signature. | |
Uncommon Time / int_a8150af4 | featureApplicability |
1.0 | |
Uncommon Time / int_a8150af4 | featureConfidence |
1.0 | |
The Lord of the Rings: The Rings of Power | hasFeature |
Uncommon Time / int_a8150af4 | |
Uncommon Time / int_a8d08998 | type |
Uncommon Time | |
Uncommon Time / int_a8d08998 | comment |
Dennis Linde was fond of slipping 6/4 and 7/4 bars into his usually 4/4 songs, including "Janie Baker's Love Slave" and "Heaven Bound (I'm Ready)" by Shenandoah; "Queen of My Double Wide Trailer" by Sammy Kershaw; "Night Is Fallin' in My Heart" by Diamond Rio; "Down in a Ditch" by Joe Diffie; etc. | |
Uncommon Time / int_a8d08998 | featureApplicability |
1.0 | |
Uncommon Time / int_a8d08998 | featureConfidence |
1.0 | |
Shenandoah (Music) | hasFeature |
Uncommon Time / int_a8d08998 | |
Uncommon Time / int_aafcffd | type |
Uncommon Time | |
Uncommon Time / int_aafcffd | comment |
In the musical verson of Titanic, the intro to "Staircase" and its accompanying underscoring are in 7/8. The song itself is a frenetic 4/4 that feels more like 8/8 in practice. | |
Uncommon Time / int_aafcffd | featureApplicability |
1.0 | |
Uncommon Time / int_aafcffd | featureConfidence |
1.0 | |
Titanic (Theatre) | hasFeature |
Uncommon Time / int_aafcffd | |
Uncommon Time / int_ab923e30 | type |
Uncommon Time | |
Uncommon Time / int_ab923e30 | comment |
"Desperately Wanting" by Better Than Ezra goes into 7/4 during part of the bridge. | |
Uncommon Time / int_ab923e30 | featureApplicability |
1.0 | |
Uncommon Time / int_ab923e30 | featureConfidence |
1.0 | |
Better Than Ezra (Music) | hasFeature |
Uncommon Time / int_ab923e30 | |
Uncommon Time / int_b30ae4db | type |
Uncommon Time | |
Uncommon Time / int_b30ae4db | comment |
Game of Thrones: At certain points during the Battle Of Castle Black, the soundtrack goes from the regular 4/4 to a descending 5/4. And it is awesome. | |
Uncommon Time / int_b30ae4db | featureApplicability |
1.0 | |
Uncommon Time / int_b30ae4db | featureConfidence |
1.0 | |
Game of Thrones | hasFeature |
Uncommon Time / int_b30ae4db | |
Uncommon Time / int_b368933c | type |
Uncommon Time | |
Uncommon Time / int_b368933c | comment |
In Babe, composer Nigel Westlake adapted the fourth movement of the Camille Saint-Säens' third symphony as the main theme, which often switches between 4/4 and 7/4, as opposed to the original 9/4 and 6/4. | |
Uncommon Time / int_b368933c | featureApplicability |
1.0 | |
Uncommon Time / int_b368933c | featureConfidence |
1.0 | |
Babe | hasFeature |
Uncommon Time / int_b368933c | |
Uncommon Time / int_b36eacfb | type |
Uncommon Time | |
Uncommon Time / int_b36eacfb | comment |
As mentioned in the Film tab, "When Your Mind's Made Up" from Once is in 5/4. | |
Uncommon Time / int_b36eacfb | featureApplicability |
1.0 | |
Uncommon Time / int_b36eacfb | featureConfidence |
1.0 | |
Once | hasFeature |
Uncommon Time / int_b36eacfb | |
Uncommon Time / int_b3d5552a | type |
Uncommon Time | |
Uncommon Time / int_b3d5552a | comment |
The second half of Panopticon's "The Long Road, Pt. II: Capricious Miles" is in 7/4. | |
Uncommon Time / int_b3d5552a | featureApplicability |
1.0 | |
Uncommon Time / int_b3d5552a | featureConfidence |
1.0 | |
Panopticon (Music) | hasFeature |
Uncommon Time / int_b3d5552a | |
Uncommon Time / int_b3f687d1 | type |
Uncommon Time | |
Uncommon Time / int_b3f687d1 | comment |
In one FoxTrot strip, Jason changes all of Peter's guitar music to 400,000/4 time, so when Peter counts off, he has to go all the way to 400,000 before he can begin playing. | |
Uncommon Time / int_b3f687d1 | featureApplicability |
1.0 | |
Uncommon Time / int_b3f687d1 | featureConfidence |
1.0 | |
FoxTrot (Comic Strip) | hasFeature |
Uncommon Time / int_b3f687d1 | |
Uncommon Time / int_b4737fde | type |
Uncommon Time | |
Uncommon Time / int_b4737fde | comment |
Tower Heist's main theme is written in 7/4. | |
Uncommon Time / int_b4737fde | featureApplicability |
1.0 | |
Uncommon Time / int_b4737fde | featureConfidence |
1.0 | |
Tower Heist | hasFeature |
Uncommon Time / int_b4737fde | |
Uncommon Time / int_b616c936 | type |
Uncommon Time | |
Uncommon Time / int_b616c936 | comment |
The Kid A song "In Limbo" uses... several time signatures... simultaneously. | |
Uncommon Time / int_b616c936 | featureApplicability |
1.0 | |
Uncommon Time / int_b616c936 | featureConfidence |
1.0 | |
Kid A (Music) | hasFeature |
Uncommon Time / int_b616c936 | |
Uncommon Time / int_b6172f9c | type |
Uncommon Time | |
Uncommon Time / int_b6172f9c | comment |
Most of MGMT's "Electric Feel" is in 6/4, along with an instrumental bridge in 4/4. | |
Uncommon Time / int_b6172f9c | featureApplicability |
1.0 | |
Uncommon Time / int_b6172f9c | featureConfidence |
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MGMT (Music) | hasFeature |
Uncommon Time / int_b6172f9c | |
Uncommon Time / int_b6173fe7 | type |
Uncommon Time | |
Uncommon Time / int_b6173fe7 | comment |
The bridges of Live's "Shit Towne," while perhaps not strictly Uncommon, are in 9+9+12/4 (a total of 30/4), all triple-compounds. The rest of the song is in 3/4 and 4/4. | |
Uncommon Time / int_b6173fe7 | featureApplicability |
1.0 | |
Uncommon Time / int_b6173fe7 | featureConfidence |
1.0 | |
Live (Music) | hasFeature |
Uncommon Time / int_b6173fe7 | |
Uncommon Time / int_b618276f | type |
Uncommon Time | |
Uncommon Time / int_b618276f | comment |
The main riff for the song "Ithyphallic" by Nile is in 7/4, but the song has numerous time changes and tempo changes, using 4/4, 5/4, 3/4, 6/4, and 7/4, and tempos ranging from 255 BPM to 60 BPM. Also, the song "Papyrus Containing the Spell to Preserve Its Possessor Against Attacks From He Who Is in the Water" has, as its most odd time signatures, 11/8, 5/8, 9/8, 7/8, and a couple of bars of 17/16. |
|
Uncommon Time / int_b618276f | featureApplicability |
1.0 | |
Uncommon Time / int_b618276f | featureConfidence |
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Nile (Music) | hasFeature |
Uncommon Time / int_b618276f | |
Uncommon Time / int_b82b4cc | type |
Uncommon Time | |
Uncommon Time / int_b82b4cc | comment |
Mahavishnu Orchestra's "Vital Transformation" from The Inner Mounting Flame is mostly in 9/8, as is the title track from Birds of Fire. Then "Celestial Terrestrial Commuters", on the latter album, is in 19/16, while "The Dance of Maya" from the former album opens with a segment in (3+4+3)/4 or 10/4 before switching to a segment in (3+3+3+3+3+3+2)/8 or 20/8, before it overlays the two in a particularly confusing segment. This is far from an exhaustive list, even on these two albums; the first Mahavishnu Orchestra (which also recorded The Lost Trident Sessions) was pretty much one of those bands that preferred to use compound meters to anything resembling Common Time. There are at most a handful of tracks in their recorded output that don't use compound meters. (One of the band members reportedly commented that none of them knew for sure what time signature any of their songs were in, because they were too busy keeping track of the rhythms of their own parts to pay attention to such trivialities as what time signatures anyone else's were in.) | |
Uncommon Time / int_b82b4cc | featureApplicability |
1.0 | |
Uncommon Time / int_b82b4cc | featureConfidence |
1.0 | |
John McLaughlin (Music) | hasFeature |
Uncommon Time / int_b82b4cc | |
Uncommon Time / int_ba084d45 | type |
Uncommon Time | |
Uncommon Time / int_ba084d45 | comment |
Hamilton has "Meet Me Inside", which starts out in 7/8, giving the sense that each measure is cut off by the next and everyone's talking over each other. The signature abruptly switches over to 4/4 at the Title Drop, signaling that Washington's arrival has shaken things up, and that the action's over. | |
Uncommon Time / int_ba084d45 | featureApplicability |
1.0 | |
Uncommon Time / int_ba084d45 | featureConfidence |
1.0 | |
Hamilton (Theatre) | hasFeature |
Uncommon Time / int_ba084d45 | |
Uncommon Time / int_ba211c5d | type |
Uncommon Time | |
Uncommon Time / int_ba211c5d | comment |
In Funny Girl, the patter sections from "I'm the Greatest Star" and "Don't Rain on My Parade" (the music for both being recycled from the Subways are for Sleeping Cut Song "A Man with a Plan") have one bar of 1/2 following every two bars of 2/2; these 2/2 bars are themselves irregularly divided by a 3-3-2 rhythm. | |
Uncommon Time / int_ba211c5d | featureApplicability |
1.0 | |
Uncommon Time / int_ba211c5d | featureConfidence |
1.0 | |
Funny Girl (Theatre) | hasFeature |
Uncommon Time / int_ba211c5d | |
Uncommon Time / int_bd0677 | type |
Uncommon Time | |
Uncommon Time / int_bd0677 | comment |
Traffic comes in with parts of Roll Right Stones. | |
Uncommon Time / int_bd0677 | featureApplicability |
1.0 | |
Uncommon Time / int_bd0677 | featureConfidence |
1.0 | |
Traffic (Band) (Music) | hasFeature |
Uncommon Time / int_bd0677 | |
Uncommon Time / int_beff0ed5 | type |
Uncommon Time | |
Uncommon Time / int_beff0ed5 | comment |
Hans Zimmer's theme for Angels & Demons, 160 BPM was written in 7/8 with sections of 4/4 and 6/8. | |
Uncommon Time / int_beff0ed5 | featureApplicability |
1.0 | |
Uncommon Time / int_beff0ed5 | featureConfidence |
1.0 | |
Hans Zimmer (Music) | hasFeature |
Uncommon Time / int_beff0ed5 | |
Uncommon Time / int_bf6380e | type |
Uncommon Time | |
Uncommon Time / int_bf6380e | comment |
Ralph Vaughan Williams in his youth wrote Heroic Elegy and Triumphal Epilogue in 7/8 time. Not so bad, except that it also starts with a syncopated triplet and another syncopated quaver immediately following, and keeps this up as an ostinato for over ten minutes. Unsurprisingly, it never became a favorite of any conductor. | |
Uncommon Time / int_bf6380e | featureApplicability |
1.0 | |
Uncommon Time / int_bf6380e | featureConfidence |
1.0 | |
Ralph Vaughan Williams (Music) | hasFeature |
Uncommon Time / int_bf6380e | |
Uncommon Time / int_bf6690ba | type |
Uncommon Time | |
Uncommon Time / int_bf6690ba | comment |
In Rainbow Rocks, the Dazzlings' final song "Welcome to the Show" starts off in 15/8 and stays there for about a minute before switching to 4/4. | |
Uncommon Time / int_bf6690ba | featureApplicability |
1.0 | |
Uncommon Time / int_bf6690ba | featureConfidence |
1.0 | |
My Little Pony: Equestria Girls – Rainbow Rocks | hasFeature |
Uncommon Time / int_bf6690ba | |
Uncommon Time / int_c006ffb1 | type |
Uncommon Time | |
Uncommon Time / int_c006ffb1 | comment |
Blondie, believe it or not, has an example here, and in one of their best known songs to boot. One part of the instrumental section of "Heart of Glass" skips a beat in three out of eight measures, meaning that there is a popular disco song with a few measures of Uncommon Time in it. (The exact pattern, if you're wondering, is 4+3+4+3+4+3+4+4/4, meaning that there's a 29-beat pattern instead of the standard 32. This no doubt tripped up quite a few people on the dance floor without them knowing exactly why). | |
Uncommon Time / int_c006ffb1 | featureApplicability |
1.0 | |
Uncommon Time / int_c006ffb1 | featureConfidence |
1.0 | |
Blondie (Band) (Music) | hasFeature |
Uncommon Time / int_c006ffb1 | |
Uncommon Time / int_c01df100 | type |
Uncommon Time | |
Uncommon Time / int_c01df100 | comment |
Pink Floyd also has "Mother" and "Two Suns in the Sunset" (both 5/4). | |
Uncommon Time / int_c01df100 | featureApplicability |
1.0 | |
Uncommon Time / int_c01df100 | featureConfidence |
1.0 | |
The Wall (Music) | hasFeature |
Uncommon Time / int_c01df100 | |
Uncommon Time / int_c43df4d8 | type |
Uncommon Time | |
Uncommon Time / int_c43df4d8 | comment |
Doctor Who The music playing as the "ghosts" shimmer into Cybermen in "Army of Ghosts" is in 5/4. The Eleventh Doctor's theme is almost entirely in 7/4. 7 + 4= 11. |
|
Uncommon Time / int_c43df4d8 | featureApplicability |
1.0 | |
Uncommon Time / int_c43df4d8 | featureConfidence |
1.0 | |
Doctor Who | hasFeature |
Uncommon Time / int_c43df4d8 | |
Uncommon Time / int_c55c0e7 | type |
Uncommon Time | |
Uncommon Time / int_c55c0e7 | comment |
Cream's "White Room" has an intro and bridge in 5/4. The verses are in Common Time. "Deserted Cities of the Heart"'s verses have two measures of 4/4, one of 3/4, and one of 4/4. |
|
Uncommon Time / int_c55c0e7 | featureApplicability |
1.0 | |
Uncommon Time / int_c55c0e7 | featureConfidence |
1.0 | |
Cream (Music) | hasFeature |
Uncommon Time / int_c55c0e7 | |
Uncommon Time / int_c73d2aa | type |
Uncommon Time | |
Uncommon Time / int_c73d2aa | comment |
"The Money Kept Rolling In" from Evita is similarly in 7/8. | |
Uncommon Time / int_c73d2aa | featureApplicability |
1.0 | |
Uncommon Time / int_c73d2aa | featureConfidence |
1.0 | |
Evita (Music) | hasFeature |
Uncommon Time / int_c73d2aa | |
Uncommon Time / int_c75d67d | type |
Uncommon Time | |
Uncommon Time / int_c75d67d | comment |
Ramin Djawadi's score for Person of Interest really likes unusual time signatures, especially 5/4. | |
Uncommon Time / int_c75d67d | featureApplicability |
1.0 | |
Uncommon Time / int_c75d67d | featureConfidence |
1.0 | |
Person of Interest | hasFeature |
Uncommon Time / int_c75d67d | |
Uncommon Time / int_c7b62e5f | type |
Uncommon Time | |
Uncommon Time / int_c7b62e5f | comment |
"What Does He Want Of Me?" from Man of La Mancha is in 7/8. | |
Uncommon Time / int_c7b62e5f | featureApplicability |
1.0 | |
Uncommon Time / int_c7b62e5f | featureConfidence |
1.0 | |
Man of La Mancha (Theatre) | hasFeature |
Uncommon Time / int_c7b62e5f | |
Uncommon Time / int_c9fecd11 | type |
Uncommon Time | |
Uncommon Time / int_c9fecd11 | comment |
The original version of the theme music to The Bill was in 7/4, or (6/8 + 4/4). Listen to it here. | |
Uncommon Time / int_c9fecd11 | featureApplicability |
1.0 | |
Uncommon Time / int_c9fecd11 | featureConfidence |
1.0 | |
The Bill | hasFeature |
Uncommon Time / int_c9fecd11 | |
Uncommon Time / int_cc22fae4 | type |
Uncommon Time | |
Uncommon Time / int_cc22fae4 | comment |
"Sensitivity" from Once Upon a Mattress is in 5/4. | |
Uncommon Time / int_cc22fae4 | featureApplicability |
1.0 | |
Uncommon Time / int_cc22fae4 | featureConfidence |
1.0 | |
Once Upon a Mattress (Theatre) | hasFeature |
Uncommon Time / int_cc22fae4 | |
Uncommon Time / int_cc32f7c3 | type |
Uncommon Time | |
Uncommon Time / int_cc32f7c3 | comment |
Black Sabbath has "Sabbra Cadabra," which is mostly in 12/8, except for the intro riff, which is actually (and surprisingly) in alternating bars of 35/24 and 12/8. | |
Uncommon Time / int_cc32f7c3 | featureApplicability |
1.0 | |
Uncommon Time / int_cc32f7c3 | featureConfidence |
1.0 | |
Black Sabbath (Music) | hasFeature |
Uncommon Time / int_cc32f7c3 | |
Uncommon Time / int_cd83267d | type |
Uncommon Time | |
Uncommon Time / int_cd83267d | comment |
"What We Ain't Got" by Jake Owen is largely 7/4 (3+4). | |
Uncommon Time / int_cd83267d | featureApplicability |
1.0 | |
Uncommon Time / int_cd83267d | featureConfidence |
1.0 | |
Jake Owen (Music) | hasFeature |
Uncommon Time / int_cd83267d | |
Uncommon Time / int_cdafa8c | type |
Uncommon Time | |
Uncommon Time / int_cdafa8c | comment |
Common in Zeuhl, which probably isn't surprising as the music is deliberately intended to feel alien. It is not uncommon for songs to change meter and tempo every four measures or more frequently. Magma naturally use it a lot, as the genre's progenitors, but perhaps the most ridiculous examples are found in Japanese band Koenji Hyakkei's discography, in which apparently some segments of songs are intended to be counted with beats of varying lengths. One example of this is in the song "Ozone Fall" (which is coincidentally one of the band's few songs to have a comprehensible title, though the lyrics are in the band's usual Conlang). "Fettim Paillu" is apparently another. Sister band Ruins does this a lot too, to the point where it often seems like they have more segments in 7/4 than in any other meter. | |
Uncommon Time / int_cdafa8c | featureApplicability |
1.0 | |
Uncommon Time / int_cdafa8c | featureConfidence |
1.0 | |
Magma (Music) | hasFeature |
Uncommon Time / int_cdafa8c | |
Uncommon Time / int_d0743f3 | type |
Uncommon Time | |
Uncommon Time / int_d0743f3 | comment |
"Chameleon" by Petra opens with a riff in 5/4 time, then jumps into 7/8, before transitioning into ordinary 4/4 for the vocal parts. The 7/8 part comes back for the guitar solo before the last verse. | |
Uncommon Time / int_d0743f3 | featureApplicability |
1.0 | |
Uncommon Time / int_d0743f3 | featureConfidence |
1.0 | |
Petra (Music) | hasFeature |
Uncommon Time / int_d0743f3 | |
Uncommon Time / int_d0877eb | type |
Uncommon Time | |
Uncommon Time / int_d0877eb | comment |
For added fun, the Leo Kottke and Mike Gordon song "The Collins Missile" has the vocals in 4/4 but the music in 5/4, such that the point at which the vocals come in constantly shifts. | |
Uncommon Time / int_d0877eb | featureApplicability |
1.0 | |
Uncommon Time / int_d0877eb | featureConfidence |
1.0 | |
Phish (Music) | hasFeature |
Uncommon Time / int_d0877eb | |
Uncommon Time / int_d0efee3a | type |
Uncommon Time | |
Uncommon Time / int_d0efee3a | comment |
"All You Need Is Love" (Magical Mystery Tour) alternates between 7/4 during the verses and 4/4 in the chorus. | |
Uncommon Time / int_d0efee3a | featureApplicability |
1.0 | |
Uncommon Time / int_d0efee3a | featureConfidence |
1.0 | |
Magical Mystery Tour (Music) | hasFeature |
Uncommon Time / int_d0efee3a | |
Uncommon Time / int_d15bc24d | type |
Uncommon Time | |
Uncommon Time / int_d15bc24d | comment |
BIGMAMA's "Royalize" is in 11/8. For most of the song, it switches between 6+5/8 and 5+6/8 every measure; it ends up sounding like it's switching between 6/8 and 5/8 every two measures, but the pattern is consistent. The outro is still in 11/8, but is consistently 6+5/8. | |
Uncommon Time / int_d15bc24d | featureApplicability |
1.0 | |
Uncommon Time / int_d15bc24d | featureConfidence |
1.0 | |
BIGMAMA (Music) | hasFeature |
Uncommon Time / int_d15bc24d | |
Uncommon Time / int_d383246 | type |
Uncommon Time | |
Uncommon Time / int_d383246 | comment |
Sting loves this trope. In the ending of "Walking on the Moon" by The Police, the guitar and bass maintain their 4/4 riff while the drums go into a triplet-based time signature. It fits smoothly from a listening standpoint, but would be hell to play. "Straight To My Heart" on his second solo album ...Nothing Like the Sun is in 7/4 Fourth album Ten Summoner's Tales has plenty: "Love Is Stronger Than Justice (The Munificent Seven)" has the verses in 7/4 (as a nod to the Magnificent Seven), but the chorus in 4/4, to make it a country song "St. Augustine in Hell" is in 7/8, with a spoken interlude in 3/4 Despite all of this, "Seven Days" is, of course, in 5/4. "I Hung My Head" from the album Mercury Falling is in 9/8 time that sounds like alternating 4/4 and 5/4. Brand New Day is similarly full of this stuff: "Big Lie Small World" is in 9/8 time with the occasional extra bar just for fun. The middle eight starts off in 4/4 but reverts back to 9/8 quickly. "Fill Her Up" starts in 4/4 time and then shifts into 7/4 halfway through. "Like a Beautiful Smile", from the UK-only version of Sacred Love, is mostly in 7/4 apart from every fourth bar in the verse and the chorus, which revert to 4/4. |
|
Uncommon Time / int_d383246 | featureApplicability |
1.0 | |
Uncommon Time / int_d383246 | featureConfidence |
1.0 | |
Sting (Music) | hasFeature |
Uncommon Time / int_d383246 | |
Uncommon Time / int_d38ae6d | type |
Uncommon Time | |
Uncommon Time / int_d38ae6d | comment |
The intro to Sum 41's "Nothing on My Back" is in 7/4. | |
Uncommon Time / int_d38ae6d | featureApplicability |
1.0 | |
Uncommon Time / int_d38ae6d | featureConfidence |
1.0 | |
Sum 41 (Music) | hasFeature |
Uncommon Time / int_d38ae6d | |
Uncommon Time / int_d40d7dea | type |
Uncommon Time | |
Uncommon Time / int_d40d7dea | comment |
The second half of Oxygène Part 5 has a 5/8 meter(or perhaps a polyrhythm of 5/8 against 2/4). | |
Uncommon Time / int_d40d7dea | featureApplicability |
1.0 | |
Uncommon Time / int_d40d7dea | featureConfidence |
1.0 | |
Oxygène (Music) | hasFeature |
Uncommon Time / int_d40d7dea | |
Uncommon Time / int_d461f757 | type |
Uncommon Time | |
Uncommon Time / int_d461f757 | comment |
The Battlestar Galactica (2003) score by Bear McCreary uses some unusual time signatures for leitmotifs. The most prominent is Six's theme, which is in 9/8 time (although it's worth noting that Richard Gibbs actually wrote this leitmotif). An example of a McCreary piece that uses Uncommon Time is "Black Market", which is (if memory serves) in 7/4. | |
Uncommon Time / int_d461f757 | featureApplicability |
1.0 | |
Uncommon Time / int_d461f757 | featureConfidence |
1.0 | |
Battlestar Galactica (2003) | hasFeature |
Uncommon Time / int_d461f757 | |
Uncommon Time / int_d46cc708 | type |
Uncommon Time | |
Uncommon Time / int_d46cc708 | comment |
Ed, Edd n Eddy has Double D playing the steel pedal guitar, an instrument he hates but his mom enjoys (according to the series bible). He's amazingly skilled as it goes from 12/16 to 2/4 to 7/16 in the span of a second and goes from there. | |
Uncommon Time / int_d46cc708 | featureApplicability |
1.0 | |
Uncommon Time / int_d46cc708 | featureConfidence |
1.0 | |
Ed, Edd n Eddy | hasFeature |
Uncommon Time / int_d46cc708 | |
Uncommon Time / int_d7cb75d7 | type |
Uncommon Time | |
Uncommon Time / int_d7cb75d7 | comment |
Arcata, CA's Ash Borer have "Lacerated Spirit", of which at least one section has three measures of 4/4 followed by a measure of 3/4, amounting to 15/4. A later section of the same song is in 7/8. | |
Uncommon Time / int_d7cb75d7 | featureApplicability |
1.0 | |
Uncommon Time / int_d7cb75d7 | featureConfidence |
1.0 | |
Ash Borer (Music) | hasFeature |
Uncommon Time / int_d7cb75d7 | |
Uncommon Time / int_d8c2cfe4 | type |
Uncommon Time | |
Uncommon Time / int_d8c2cfe4 | comment |
A few of the main themes in Ant-Man are in 7/4. This time signature also features heavily in Ant-Man and the Wasp, including on the standout track "Hot Wheels", while the main theme to that film is in 5/4. | |
Uncommon Time / int_d8c2cfe4 | featureApplicability |
1.0 | |
Uncommon Time / int_d8c2cfe4 | featureConfidence |
1.0 | |
Ant-Man | hasFeature |
Uncommon Time / int_d8c2cfe4 | |
Uncommon Time / int_d93841e2 | type |
Uncommon Time | |
Uncommon Time / int_d93841e2 | comment |
Kayo Dot really likes this trope. Almost every song on Hubardo has at least one compound meter section. Other albums use it, too, though maybe not to the same extent. | |
Uncommon Time / int_d93841e2 | featureApplicability |
1.0 | |
Uncommon Time / int_d93841e2 | featureConfidence |
1.0 | |
Kayo Dot (Music) | hasFeature |
Uncommon Time / int_d93841e2 | |
Uncommon Time / int_d99024a2 | type |
Uncommon Time | |
Uncommon Time / int_d99024a2 | comment |
Genesis: The Peter Gabriel era has "Firth of Fifth," which goes all over the place. It starts in 2/4, then every couple of measures or so switches between that, 16/16, 13/16, and 15/16. When the lyrics start it goes into the standard 4/4 time. Then there's a flute solo that briefly slides into 5/4. Then another instrumental switching between the original 4 time signatures again before settling back on 4/4. The song then ends on a 13/16 piano solo into the fade-out. The Phil Collins era has "Turn It On Again", which is written in 13/8. The song was originally conceived as part of a side-length suite that was broken up to avoid comparisons to "Supper's Ready". |
|
Uncommon Time / int_d99024a2 | featureApplicability |
1.0 | |
Uncommon Time / int_d99024a2 | featureConfidence |
1.0 | |
Genesis (Band) (Music) | hasFeature |
Uncommon Time / int_d99024a2 | |
Uncommon Time / int_dbb1ca7f | type |
Uncommon Time | |
Uncommon Time / int_dbb1ca7f | comment |
The Promenade from Pictures at an Exhibition by Modest Mussorgsky (no, that's not a descriptor. That's his name) alternates between 5/4 and 6/4 for its first few measures. Word of God says that this meter is supposed to simulate a natural walking pattern. | |
Uncommon Time / int_dbb1ca7f | featureApplicability |
1.0 | |
Uncommon Time / int_dbb1ca7f | featureConfidence |
1.0 | |
Pictures at an Exhibition (Music) | hasFeature |
Uncommon Time / int_dbb1ca7f | |
Uncommon Time / int_dce379bf | type |
Uncommon Time | |
Uncommon Time / int_dce379bf | comment |
Some of Philip Glass' score to Koyaanisqatsi uses this trope. For example, there are segments of "Pruitt Igoe" in 7/4 and other strange metres. Its sequel, Powaqqatsi, takes it further. Anthem Part 1 is in 5/4 time; Anthem Part 3 goes back in forth between 5/4 and 13/8 (3+3+3+2+2). And it's glorious. | |
Uncommon Time / int_dce379bf | featureApplicability |
1.0 | |
Uncommon Time / int_dce379bf | featureConfidence |
1.0 | |
Philip Glass (Music) | hasFeature |
Uncommon Time / int_dce379bf | |
Uncommon Time / int_ddfd12ff | type |
Uncommon Time | |
Uncommon Time / int_ddfd12ff | comment |
Kendrick Lamar's song "For Free?" off of To Pimp a Butterfly is a spoken-word rap over jazz instrumentation- though the transcription notates it as common time with nintuplets over the entire song, so basically 9/8, it might make more sense to notate it without a time signature. | |
Uncommon Time / int_ddfd12ff | featureApplicability |
1.0 | |
Uncommon Time / int_ddfd12ff | featureConfidence |
1.0 | |
Kendrick Lamar (Music) | hasFeature |
Uncommon Time / int_ddfd12ff | |
Uncommon Time / int_e1f3a6b1 | type |
Uncommon Time | |
Uncommon Time / int_e1f3a6b1 | comment |
"Autopsy" by Fairport Convention is in 3/4, 4/4 and 5/4. Their version of "Tam Lin" alternates between 7/4 and 6/4. The instrumental coda to "Matty Groves" also seems to use this, but is in a much more complicated time signature. | |
Uncommon Time / int_e1f3a6b1 | featureApplicability |
1.0 | |
Uncommon Time / int_e1f3a6b1 | featureConfidence |
1.0 | |
Fairport Convention (Music) | hasFeature |
Uncommon Time / int_e1f3a6b1 | |
Uncommon Time / int_e25322af | type |
Uncommon Time | |
Uncommon Time / int_e25322af | comment |
Strong Bad's "Trogdor" is partly in 9/4. | |
Uncommon Time / int_e25322af | featureApplicability |
1.0 | |
Uncommon Time / int_e25322af | featureConfidence |
1.0 | |
Homestar Runner (Web Animation) | hasFeature |
Uncommon Time / int_e25322af | |
Uncommon Time / int_e293455a | type |
Uncommon Time | |
Uncommon Time / int_e293455a | comment |
Buffy the Vampire Slayer's Musical Episode "Once More With Feeling" is mostly sane... except for the deliberately off-kilter "Something To Sing About". The cast noted that nobody told Joss that you're not supposed to go from 4/4 to 7/8 (and 5/8, and a bit of 2/4, and 6/8 at the end) mid-song - or, for that matter, mid-line... "The Parking Ticket" is mostly in 3/2. |
|
Uncommon Time / int_e293455a | featureApplicability |
1.0 | |
Uncommon Time / int_e293455a | featureConfidence |
1.0 | |
Buffy the Vampire Slayer | hasFeature |
Uncommon Time / int_e293455a | |
Uncommon Time / int_e4733a2e | type |
Uncommon Time | |
Uncommon Time / int_e4733a2e | comment |
One riff of Immortal's "Cold Winds of Funeral Dust" has a measure of 6/4 followed by a measure of 7/4. | |
Uncommon Time / int_e4733a2e | featureApplicability |
1.0 | |
Uncommon Time / int_e4733a2e | featureConfidence |
1.0 | |
Immortal | hasFeature |
Uncommon Time / int_e4733a2e | |
Uncommon Time / int_e6eba2f5 | type |
Uncommon Time | |
Uncommon Time / int_e6eba2f5 | comment |
Jesus Christ Superstar has a portion of "Heaven on their Minds" (the opening number) in 7/8, the entirety of "Everything's Alright" in 5/4, and parts of "The Temple" in 7/4. "Trial Before Pilate (Including the Thirty-Nine Lashes)" goes through 41 different time signature changes, from 4/4 to 5/4 to 7/8 to 2/8 to nearly everything in between. |
|
Uncommon Time / int_e6eba2f5 | featureApplicability |
1.0 | |
Uncommon Time / int_e6eba2f5 | featureConfidence |
1.0 | |
Jesus Christ Superstar (Music) | hasFeature |
Uncommon Time / int_e6eba2f5 | |
Uncommon Time / int_e80048fd | type |
Uncommon Time | |
Uncommon Time / int_e80048fd | comment |
Sister project Silver Mt. Zion also uses this from time to time. "13 Blues for Thirteen Moons" opens in 5/4 before switching to 9/4 for the latter two-thirds of the song. "Iron Bridge to Thunder Bay" is in 7/4. "Microphones in the Trees" is in 5/4. | |
Uncommon Time / int_e80048fd | featureApplicability |
1.0 | |
Uncommon Time / int_e80048fd | featureConfidence |
1.0 | |
Silver Mt. Zion (Music) | hasFeature |
Uncommon Time / int_e80048fd | |
Uncommon Time / int_e8c34944 | type |
Uncommon Time | |
Uncommon Time / int_e8c34944 | comment |
The opening section for Mike Oldfield's "Tubular Bells" switches between 7/8 and 8/8. This opening riff is used as a soundtrack in The Exorcist. | |
Uncommon Time / int_e8c34944 | featureApplicability |
1.0 | |
Uncommon Time / int_e8c34944 | featureConfidence |
1.0 | |
Mike Oldfield (Music) | hasFeature |
Uncommon Time / int_e8c34944 | |
Uncommon Time / int_eb068245 | type |
Uncommon Time | |
Uncommon Time / int_eb068245 | comment |
Schoolhouse Rock!: "Naughty Number Nine", appropriately enough, is played in a 9/8 time signature. | |
Uncommon Time / int_eb068245 | featureApplicability |
1.0 | |
Uncommon Time / int_eb068245 | featureConfidence |
1.0 | |
Schoolhouse Rock! | hasFeature |
Uncommon Time / int_eb068245 | |
Uncommon Time / int_ec6b71cf | type |
Uncommon Time | |
Uncommon Time / int_ec6b71cf | comment |
Rage Against the Machine have "Year of tha Boomerang", which has a riff in 5/4. | |
Uncommon Time / int_ec6b71cf | featureApplicability |
1.0 | |
Uncommon Time / int_ec6b71cf | featureConfidence |
1.0 | |
Rage Against the Machine (Music) | hasFeature |
Uncommon Time / int_ec6b71cf | |
Uncommon Time / int_ecde384c | type |
Uncommon Time | |
Uncommon Time / int_ecde384c | comment |
School-Live! has a track called "Reitan na Senkoku", which is in 6/4. | |
Uncommon Time / int_ecde384c | featureApplicability |
1.0 | |
Uncommon Time / int_ecde384c | featureConfidence |
1.0 | |
School-Live! (Manga) | hasFeature |
Uncommon Time / int_ecde384c | |
Uncommon Time / int_ef38cbdd | type |
Uncommon Time | |
Uncommon Time / int_ef38cbdd | comment |
Venetian Snares is the all-time king of this, having used it so much he damn near inverts it. How crazy does he get? "Nineteen 1319" alternates 13/4 and 19/4 time. "Mercy Funk" has probably more time signature changes than any other Venetian Snares' song. Running at a high speed 180 bpm, it starts with 8 bars of 11/4 then switches to alternating bars of 5/4 and 13/8 (or 23/8 together) until 2'32". It then holds 5/4 until 3'50", where a single 7/4 bar is followed by 7 bars of the 23/8 plus one 19/8 bar. At 4'23" there follows a sequence of 16 bars of 13/8, 8 bars of 7/4, a cycle of 3 bars of 7/4 and a bar of 15/8 (or 57/8 together), repeated twice, then 7/4 until the end. For him, Common Time is the least common signature—he prefers 7/4. He appears to have a follower in Scottish musician Acrnym. |
|
Uncommon Time / int_ef38cbdd | featureApplicability |
1.0 | |
Uncommon Time / int_ef38cbdd | featureConfidence |
1.0 | |
Venetian Snares (Music) | hasFeature |
Uncommon Time / int_ef38cbdd | |
Uncommon Time / int_ef9246b4 | type |
Uncommon Time | |
Uncommon Time / int_ef9246b4 | comment |
"The Rite of Spring" is a good example of him playing havoc with time signatures: "The Naming and Honoring of the Chosen One" changes, in consecutive measures, from 9/8 to 5/8 to 7/8 to 3/8 to 4/8 to 7/4 to 3/4. The theme of the concluding "Sacrificial Dance" uses an irregular mixture of 2/16, 3/16, 4/16 (or 2/8) and 5/16. | |
Uncommon Time / int_ef9246b4 | featureApplicability |
1.0 | |
Uncommon Time / int_ef9246b4 | featureConfidence |
1.0 | |
The Rite of Spring (Theatre) | hasFeature |
Uncommon Time / int_ef9246b4 | |
Uncommon Time / int_f029a63f | type |
Uncommon Time | |
Uncommon Time / int_f029a63f | comment |
half•alive's "Move Me" is mostly in 7/4 with the second half switching to 4/4. | |
Uncommon Time / int_f029a63f | featureApplicability |
1.0 | |
Uncommon Time / int_f029a63f | featureConfidence |
1.0 | |
half•alive (Music) | hasFeature |
Uncommon Time / int_f029a63f | |
Uncommon Time / int_f0a21fcc | type |
Uncommon Time | |
Uncommon Time / int_f0a21fcc | comment |
Part of "Network" by Skaven of the Future Crew, featured in Bejeweled, has a polyrhythm of 7/16:3/8. | |
Uncommon Time / int_f0a21fcc | featureApplicability |
1.0 | |
Uncommon Time / int_f0a21fcc | featureConfidence |
1.0 | |
Bejeweled (Video Game) | hasFeature |
Uncommon Time / int_f0a21fcc | |
Uncommon Time / int_f0c816fb | type |
Uncommon Time | |
Uncommon Time / int_f0c816fb | comment |
The theme playing for a while around 40 minutes through in the Breaking Bad episode "...And the Bag's in the River" is in 11/8 (6+5). | |
Uncommon Time / int_f0c816fb | featureApplicability |
1.0 | |
Uncommon Time / int_f0c816fb | featureConfidence |
1.0 | |
Breaking Bad | hasFeature |
Uncommon Time / int_f0c816fb | |
Uncommon Time / int_f1da64b5 | type |
Uncommon Time | |
Uncommon Time / int_f1da64b5 | comment |
The Uruk-Hai theme from Howard Shore's The Lord of the Rings score, heard most prominently in the track "Amon Hen" on The Fellowship of the Ring OST, has 5/4 time. Shore explained that he was aiming to give Saruman's army a mechanical-sounding accompaniment. At one point in The Two Towerswhen? As the Three Hunters chase the Uruks (after the scene where Éomer is banished). It's not on the OST, but you can hear it in The Banishment of Éomer in the Complete Recordings, and a previous version in The Eaves of Fangorn in the Rarities Archive. this theme is combined with others giving us a 5/4 version of the Fellowship theme. | |
Uncommon Time / int_f1da64b5 | featureApplicability |
1.0 | |
Uncommon Time / int_f1da64b5 | featureConfidence |
1.0 | |
The Lord of the Rings | hasFeature |
Uncommon Time / int_f1da64b5 | |
Uncommon Time / int_f53fe2fa | type |
Uncommon Time | |
Uncommon Time / int_f53fe2fa | comment |
The theme to the Mission: Impossible TV series is in 5/4, with composer Lalo Schofrin saying only someone with odd-numbered legs could dance to it properlynote 4/4 is often used for dance music as two partners have four legs to move to the beat. 5/4 would require a fifth to somehow be added to the mix. It was changed to 4/4 for the movies. Lindsey Stirling and The Piano Guys recorded a version of the Mission Impossible theme, which also incorporated Mozart's Piano Sonata in C, rearranged in a 5/4 time. |
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Uncommon Time / int_f53fe2fa | featureApplicability |
1.0 | |
Uncommon Time / int_f53fe2fa | featureConfidence |
1.0 | |
Mission: Impossible | hasFeature |
Uncommon Time / int_f53fe2fa | |
Uncommon Time / int_f554e011 | type |
Uncommon Time | |
Uncommon Time / int_f554e011 | comment |
Emi's theme from Katawa Shoujo, "Standing Tall," is in 9/4 time. | |
Uncommon Time / int_f554e011 | featureApplicability |
1.0 | |
Uncommon Time / int_f554e011 | featureConfidence |
1.0 | |
Katawa Shoujo (Visual Novel) | hasFeature |
Uncommon Time / int_f554e011 | |
Uncommon Time / int_f6c25e1b | type |
Uncommon Time | |
Uncommon Time / int_f6c25e1b | comment |
In the opera The Turn of the Screw, Variation V and the ensuing Latin lesson scene are scored in a brisk 5/4. | |
Uncommon Time / int_f6c25e1b | featureApplicability |
1.0 | |
Uncommon Time / int_f6c25e1b | featureConfidence |
1.0 | |
The Turn of the Screw | hasFeature |
Uncommon Time / int_f6c25e1b | |
Uncommon Time / int_f6e5bd7f | type |
Uncommon Time | |
Uncommon Time / int_f6e5bd7f | comment |
The intro to Repo! The Genetic Opera's "Legal Assassin" is in 5/4, and the verses are in 9/4. The chorus and post-verse sections are in Common Time. | |
Uncommon Time / int_f6e5bd7f | featureApplicability |
1.0 | |
Uncommon Time / int_f6e5bd7f | featureConfidence |
1.0 | |
Repo! The Genetic Opera | hasFeature |
Uncommon Time / int_f6e5bd7f | |
Uncommon Time / int_f9025486 | type |
Uncommon Time | |
Uncommon Time / int_f9025486 | comment |
In West Side Story, the "Scherzo" section of the Dream Ballet uses a mixture of time signatures. "America" is entirely in 6/8, but it uses a musical technique called "hemiola" that alters the emphasis of the measure, making it sound like it's switching into 3/4 and back out again (or, to continue our poetic analogy, from two dactyls to three trochees). |
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Uncommon Time / int_f9025486 | featureApplicability |
1.0 | |
Uncommon Time / int_f9025486 | featureConfidence |
1.0 | |
West Side Story (Theatre) | hasFeature |
Uncommon Time / int_f9025486 | |
Uncommon Time / int_fb173de | type |
Uncommon Time | |
Uncommon Time / int_fb173de | comment |
The song "Notes" from The Phantom of the Opera is partly in 15/16. The obligatory 7/8 section comes from the Don Juan Opera Within An Opera. | |
Uncommon Time / int_fb173de | featureApplicability |
1.0 | |
Uncommon Time / int_fb173de | featureConfidence |
1.0 | |
The Phantom of the Opera (Theatre) | hasFeature |
Uncommon Time / int_fb173de | |
Uncommon Time / int_fca0567c | type |
Uncommon Time | |
Uncommon Time / int_fca0567c | comment |
The main section of Conan the Barbarian (1982)'s main theme alternates between 6/4 and 5/4, with the percussionless middle section in 4/4. | |
Uncommon Time / int_fca0567c | featureApplicability |
1.0 | |
Uncommon Time / int_fca0567c | featureConfidence |
1.0 | |
Conan the Barbarian (1982) | hasFeature |
Uncommon Time / int_fca0567c | |
Uncommon Time / int_fed7cb7a | type |
Uncommon Time | |
Uncommon Time / int_fed7cb7a | comment |
Even by metal standards, the avant-garde black metal band Jute Gyte takes this to an extreme, frequently using polyrhthms of multiple simultaneous tempi. The liner notes to 2017's Oviri explain the shenanigans on that album (note that Jute Gyte also employs a 24-note scale, rather than the 12-note scale found in nearly all Western music): | |
Uncommon Time / int_fed7cb7a | featureApplicability |
1.0 | |
Uncommon Time / int_fed7cb7a | featureConfidence |
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Jute Gyte (Music) | hasFeature |
Uncommon Time / int_fed7cb7a |
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