❗️EXTRA DISCUSSION: Some of you have mentioned that “2+2=5” and also my arrangement of “Frere Jacques” could be transcribed in 7/8, rather than 7/4. This is true, however both options are valid in these examples. One advantage of transcribing in 7/4 is that it shows that the quarter note is the main pulse, not the eighth note. Ultimately, the choice between 7/4 and 7/8 is down to context, and the context sometimes doesn’t dictate either way. 👍🏼
It could even be written in 7/16, 7/32, 7/64, or 7/1. A few hundred years ago, time sigs were more varied, but over time, standards emerged. And since time sigs do not convey tempo, there's really no reason to use 16/16, 8/8 or 2/2 when 4/4 works for all, and is much simplier.
@@Shermanbay I've struggled for many years to understand what essential information is conveyed by the bottom number in a time signature. I've yet to hear a coherent explanation of why it is necessary or desirable. Why does cut time exist? Why wouldn't you just write it in 2/4? Why is it necessary or beneficial to have the “flexibility” of having non-quarter notes get one beat? What do you gain from that? What essential information is conveyed by the denominator? I could decide that natural language needs to have the “flexibility” of assigning some words their opposite meaning. Perhaps every paragraph should be marked with a “meaning signature”: #1 if yes means yes and no means no, #2 if yes means no and no means yes. Think of the freedom! The example is ludicrous, but the point is valid: there is no conceivable value in such a scheme. So it is with time signatures. IF YOU WANT TO WRITE A NOTE THAT GETS ONE BEAT, WRITE A QUARTER NOTE! The raison d'etre of the denominator is entirely a mass delusion, as far as I can tell (although I've heard an amazing variety of nonsensical explanations from musicians of all stripes). It is time to admit that the bottom number in a time signature conveys no meaning at all, and to stop using it. All we need to know is the number of beats per measure. A quarter note gets one beat. Period.
@@hnnymn Please consider the history and notational development over time. While it is common for one beat to equal one quarter note now, there is nothing inherently logical or compelling to make that happen. Written music from a few hundred years ago hadn't yet been standardized and was still evolving. The denominator is absolutely necessary in order to interpret the numerator properly.
2+2=5 Is also a Quantum Mechanics answer for a long long mathematical equation that Stephen Hawkings put forward to explain the miniscule amount of space dust in the universe and how it adds into Quantum Mechanics. So 2+2=5 but only in Quantum Mechanics and The Universe :) Thanks for a very cool piece that helped this music listener get a wee bit more knowledgeable about my music ( all 5,301 Tapes, Records, C.D's and downloads ) Be well and be safe.
@@Shermanbay yeah I agree, the denominator isn't particularly useful anymore. I think it should be substituted for a number that tells us how many 16th note subdivisions the beat has. So for 4/4, it would be identical, but in music like say Tigran Hamasyan where he has quintuple divisions, rather than a big scary time signature like 20/16, you just have 4/5 - 4 beats that each divide into 5. Or in the 7/4 "shuffle" examples in the video, rather than 21/8, it's just 7/3.
There's something so irresistible about 7/4. It really grooves. Like it it gives you more space to throw in those ghost notes and accents. It feels liberating, but not waffly or awkward.
Yeah because of how they subdivided the beats! 4+3 or 3+4 is more acceptable to the listener than say 2+3+2, but you still get the upbeat effect. The accents makes music more danceable or more mathematic and difficult or interesting to decipher!
One song that alludes to the sense of the 'missed beat' in 7/4 is King Gizzard's 'Mr. Beat' (a play on words). The song is in 7/4 and sounds as if they are skipping a beat. King Gizz always manages to keep their music danceable somehow
@@Tookashet heh, I expanded this comment just to say this. Even better when the lyric is literally "once I'm Mr Beat, only miss a beat" just to ram the point home
That Brubeck footage was cool. I saw him perform live in concert when he was about 83 or 84 yrs old. He shuffled across the stage looking very much his age. But within 2 minutes of starting to play I could have bet my first born he was 40 years younger just by how his movement changed. One of the most amazing musical memories ever
Me too, Cactus. He was flying out to Poland from the UK the next day. He did Unsquare Dance with a clarinet solo. Made me wonder why he didn't give Paul Desmond a solo in the original.
*me, having literally no idea how music works and is also musically deaf, and sometimes can't even tell two guitars apart in a track, let alone the beat:* fascinating!
I must add the comment Alex made about this. He hinted that they would write a riff and just take notes out to make it sound weird or out of standard time. I've done this myself :)
Money is the only pop song I ever noticed to be in 7/4. I also noticed the time changes, but I never noticed how cleverly it all lined up. This channel is making me want to get back into composition
Some of my personal favourites: * 2+2=5 - Radiohead * March of the Pigs - Nine Inch Nails * Outshined - Soundgarden * Them Bones - Alice in Chains * The Sound of Muzak - Porcupine Tree * Possum Kingdom - The Toadies * Times Like These - The Foo Fighters * Lord of Lightning - King Gizzard & The Lizard Wizard * Spiders - Slipknot
When I was younger (so much younger), I was at a disco, not sober, dancing to Blondie’s big new hit Heart Of Glass. I was thrilled by the verse that dropped a beat, sometimes. What a goof on disco, I laughed. I did not think, “7/4, how irregular.” Same with the All You Need Is Love, it feels like an odd jump, a dropped beat. I never counted seven. Sometimes, I guess the time signature is just a way to write down what’s already happening in a musician’s head.
Coldplay have two songs that go into 7/4: *Death and All His Friends* for one and *Glass of Water* is the other. Death and All His Friends has a unique split where the beats are grouped in 5 and 2 instead of the usual 3 and 4.
Bruh I’m not sure glass of water is even 7/4, I can’t seem to ever work out what it actually is and I’ve been at it for years hahah. My ears/mind seem to change on it with each listen - would really love to hear what’s going thru their in-ears when it’s done live. Coolest track ever
My take on the 2 bars of 4/4 in Solsbury Hill has always been that it's meant to feel like 'home', since in the lyrics that's the point where he's going home.
I know a little bit, but my brain struggles to conceptualize beyond 4/4 and 3/4. Honestly, I can't tell the difference between 4/4, 2/4, 12/8, etc. Am I just missing a critical lesson??
I’ve been taking theory lessons since I was 8/9 and am minoring in music next year to teach. If you ever want help understanding theory I could definitely give you a lesson. I love sharing my love of music theory
Kyle Richards the main difference is how the accents are. The example I’ve learned from is 3/4 and 6/8. If you take 3/4 and divide it into eighth notes, you would have three groups of two, and the split of 6/8 is two groups of three, giving 3/4 a more driving feel than 6/8’s relaxed feel. 12/8 has 12 eighth notes per bar and is probably split into three sets of four
@@bluemookie for 12/8, it's basically 4/4 but just the quarter notes are split into 3. So 12 8th notes. Just think instead of 1 2 3 4, 123 123 123 123. You could write a bar of 12/8 in 4/4 but it would just be more of a headache it is easier to feel it in 12/8. Look at laid to rest - Lamb of god (even if you don't like the music, it's an easy song to see 12/8) and you'll see that writing it in 12/8 is far easier to read than it would be in 4/4. The same with 2/4, it is just easier to feel it in 2/4 but it could be written in 4/4. As you can do with all even time signatures. That's the difference between odd/compound and even time.
Are you aware of Milcho Leviev? He joined the Don Ellis Orchestra and brought in e.g. Bulgarian Bulge (was that 33/8 or 35/8? I don't recall.) and played the intro to Blues in Elf Flat as The Moonlight Sonata in 11 (3+3+3+2). That blues intro still knocks me out!
@@JosephMensman1/4 signature would likely fail to sound like itself, because how you group the bars of 1/4 would make it sound like another timing altogether, be it 3/4, 4/4, or whatever have you. You'd essentially just be removing the distinction between bars and beats, and your mind would probably group the bars/beats anyway.
What I find especially interesting is when composers make common time signatures sound odd and off-kilter. You would never guess that Black Dog by Led Zeppelin was in 4/4 unless you counted the beats.
it seems pretty weird to omit "i am the doctor", which is such a clean 7/8 rhythmically (though it changes to 4/4 sometimes), while spending so much time on "solsbury hill", which is very much divided in 6/8, 8/8 instead of a 7/4.
I'm surprised he didn't mention it either. It's a good example of one that isn't 3 + 4. The fast tempo and 1/4th notes make it feel more like a 4/4 with the 4th beat cut in half. Like you said, makes it feel energetic, almost like the next measure can't wait to start
I really like 7/4. At first, you expect the song to have a continuous flowing rhythm, but at the end, it throws you a surprise, cutting off the last beat and throws you into a surprised groove.
right! la villa strangiato for instance, 7/4( during the 1st guitarsolo). but the most famous 7/4 song is of course Music, by john miles, (the 1st instrumental break). also liste n to Toto's version of Sunshine of your love).
@@Herby701 - Rush tends to alternate time signatures frequently, but I think the most audibly obvious use of 7/4 or 7/something is in the opening riff of "Limelight", after the first couple of bars. The repeated guitar motif before and in between the vocals is clearly a 7-beat (however it happens to be written).
Happy to see the Bulgarian dance here. Bulgarian folklore does very often include 7/8, 9/8 and 11/8 time signatures. This makes odd signatures really sound quite catchy to us when played by people from the as I say "Western World". I personally like that and often say "hey, that sounds like a Bulgarian dance!"
You couldve given Soundgarden a mention, I think they are one of the most interesting bands to use unusual time signatures, and they do it so naturally it never feels forced or gimmicky like it often does with other bands.
Uh, listen. You can study music for YEARS and you still don't know shit about music. I know. That's what makes it so fun to explore. Like a cave. You don't know where it goes.
Yeah, you're not supposed to enjoy it; you're supposed to know shit about it. Listen, your opinion, your tastes, your appreciation of music are all JUST AS VALID as those of us that understand this complex stuff. Rock on!
@@ala0284 I've had years of music, but I still know shit about it. No one ever taught me theory. It was here play this. But I'm not a musician. Never could be. But I love to try and learn. I work hard to be as awful as I am. I don''t care. The joy is in the doing. This was why punk was such a joy. I could get up there and make those people dance, and maybe, just maybe, they'd be happy for a while.
Its interesting to think about how each of these songs can make 7/4 feel like either an “extra beat” or a “missing beat” time signature. As you alluded to, 7/8 is a common folk-dance rhythm in Balkan countries. The subdivision of “2+2+3” creates the feeling of “short, short, long” beats, which is integral to the feeling of the dance.
I was once in Turkey and we rode a big tourist boat, there were a lot of Turks who played and sang their music, and I was so amazed that they used 9/8 (divided not by 3), 7/8 and even 11/8 and mixes of these in their traditional music, and it also wasn't so obvious before I started counting. I was a big prog metal fan and thought that nothing popular or traditional can have odd meters.
I've seen 25/16 in Balkan dance. The point is that this folk music uses more complex approach: beats in a bar aren't equal. Suppose we have 6/8, there will be 6 beats of eight's note in a bar. In Balkan folk we can meet 6 beats in a bar, but 3 are quarter, 2 are eight and one is sixteen, thus formally getting 17/16 time signature. It's all based on dance moves. So the correct notation could be 3½/4 instead of 7/8 and 3+3/2/4 instead of 9/8 etc. There's also exist microtiming, musical speech like Zappa, ad libitum etc. Precisely transcribed it'll make sheets absolutely unreadable, so all sheets are kinda approximation
Ach! That 2,2,2,3 and 2,2,2,4 stuff, etc. is the mind-blowing Serbian stuff I heard a DJ on WFMU play in the 1990s that I'd like to hear again. My mother's mother and stepfather had Yugoslav records but mostly Croatian material that sounds fairly conventional. One of them turned out to be a translation of "Buffalo Gals" that I didn't recognize but my friends did!
I'm in a classical performance group that focuses on late 20th century / early 21st century music, and our director specializes in selecting music with odd time signatures. She's coached us extensively on 2+2+3, 2+3+2, and 3+2+2 subdivisions. Los Robles Master Chorale (performance recordings here on TH-cam)
I was one of the ones who was yelling Pink Floyd’s Money, but you got to it. I’ve heard it so many times and I didn’t know why it sounded off in a good way, until somebody explained it to me. Now it makes sense. Liked your transposition of Frere Jacques and how you incorporated a half step down in one of the chords at the end, giving it a minor sounding chord, then went up to a major chord for the resolution at the end of the song. Also liked the rhythm, too. Never heard it like that before, kinda funky.
As a musician, I was completely absorbed by this video. It was amazing to see these songs broken down but the kicker for me was the 7/4 arrangement of Frere Jacques! Brilliantly done!
The Canadian group Rush had a lot of #1 songs playing on the Radio that included odd meters: Limelight, Subdivision and a few others. On their records they had quite a large number of songs with odd signatures including songs with sections in 10 / 8.. I saw quite a lot of people in bars dancing to Rush songs with odd meters. We could name other musicians using a lot of odd time signature (Zappa, etc ...) but Rush probably is the most popular rock band doing it and getting a large amount of air play with that kind of complex music.
@@FRN2013 Maybe the heavy guitar riff. It does have a ternary fell to it. Like: ||: 3/4 | 3/4 | 4/4 | 2/4 :| But it will fit in bars of 4/4 with strange accent.
I'm glad you included Pink Floyd's Money. It's a song that I got sick of over time from hearing it too much, and then one day, I realized, as I was counting, it was in 7/4 and I came to love it again, just for the unorthodox character. If you really like ueven meters, check out a band called Redemption, I especially recommend a song called memory, which has a lot of 7/4 and 5/4, and a band called Fates Warning, which I believe features the same singer.
Thanks for mentioning Redemption - I had never heard them. Having checked out a couple of their songs, I'll be busy listening to their albums this week!
“I Am the Doctor” for Doctor Who Series 5 is mostly in a 7. I’ve actually taken a ballet class where the instructor had us dance to Pink Floyd’s Money. I love odd meter!!
David’s gorgeous 7/4 arrangement of “Frère Jacques” was what mainly spurred me to buy the _Tuplets for Toddlers_ record for my niece and nephew, when it was released. Maybe it helps that my sister, brother-in-law, and I are all musicians, but the kids loved it.
Van Der Graaf Generator changing time signature every bar 4 times in a row, no repeats. There is probably a 7/4 in there, no 3/4 or 4/4. To be honest, the song was about a descent in mental chaos.
I am a self taught musician, recently started recording at home. I have been trying to study theory and realized I don't suck as bad as I thought. My songs are often in odd time signatures and that is why they are hard to arrange.
I'd like to see more discussion of the "polyrhythm" of using guitar in an odd time, with drums in common time. Songs like "Kashmir" and Helmet's "In the Meantime" make use of this, allowing the rhythms to line up again.
George Harrison massively uses odd time signatures, and it really adds an identity to his songs. Brilliant video as always ! And that 7/4 frère Jacques is eerely beautiful...
@@evanreza4712 I know! Outshined and Spoon Man has that killer beat that when I first heard of them I couldn't quite keep up. The Day I Tried To Live I find more chaotic with the constant switching form 7/4 to 4/4, gives the listener that bewildered feeling. Also include Them Bones by Alice in Chains of course.
“Rusty Cage” first part of the song is in 4/4 but the second, slow, part is in six-bar phrases consisting of three bars of 3/4 followed by one bar of 5/4, followed by a bar of 3/4 and a bar of 2/4 (3+3+3+5+3+2... is that 16/4???). The band admitted they just never paid attention to time signatures and this was a “total accident”.
The literal best piece of music ever to be written in 74 is David’s frere jaques. Knew it before I watched the video, knew it while I was watching and still know it now I’ve finished. Superb reharminization, lovely chords, and you’ve made 74 sound natural. Great job, love it
Lovely... You took a complex subject and made it understandable to a neophyte like me. I also loved your "Frere Jacques.” I keep playing it over and over. Well done
Strangely enough i've always thought of Limelight as alternating measures of 4/4 and 3/4, though i guess its basially the same thing. Rick Beato made a good video about it
@@StevenStJohn-kj9eb Yes, Rush probably wouldn't stoop to being so simple and conventional as to have a song one time signature throughout. I can't think of one of their songs that doesn't include a time change of some sort.
Limelight by Rush will always be what I think of when I hear 7/4. The chorus still confuses me unless I really concentrate, because it changes the progression on beats that make it almost sound 4/4
Limelight started me liking Rush because I already liked a whole LOT of jazz songs in 7/4. Rush used 7/4 more often than essentially any other rock band. Time Stand Still has around 25 measures in 7/4.
bz ng I guess in the sense that 2 measures of 7/8 will have the same number of quarter note beats as 7/4, but that’s like saying 3/4 and 4/4 are the same because 4 bars of 3/4 have the same number of beats as 3 bars of 4/4. The groove of 2+2=5 is very different from the rest of the songs on the list because the “7/4” bar is divided evenly in two, and I think it’s most obvious in the hi-hat. Maybe I’m hearing something that isn’t there, but it sounds like the hi-hat is accenting a 7/8 “quick-quick-slow” pattern. I’d personally call it 7/8 instead of 7/4.
UK's 'Rendezvous 6:02' is such a lovely example of this time signature being used. As a UK fan, I will also mention 'In the Dead of Night' - just another beauty.
Crazy, I had this song in mind, and I was trying to figure out what time signature it was in. The fact that you used this song as the example just answered my question. Thanks!
Can you please talk about the seven four time signature when it's played solely in the percussion because it's a very complicated thing to do and it has an incredible sound
The Bulgarian folk dance rythm 15/16 is quite neat, really. Feels almost straight, just a sense of forward push before every new upbeat/bar/phrase. Grouped as 2+2+2+2+3+2+2.
Glad you played Eleno Mome, it's one of the songs I drum to in a Balkan band. Most of those tunes are made up of 5,7,9,11,13 beats. One of our favourite effects, live, is to turn a 7/8 into a 4/4 in the middle, which takes people from dancing to the weird thing, to jumping up and down wildly, and then, because we are sadists, we suddenly snap back into 7/8 for the last few bars of the song.
I just recently transcribed Wendy Carlos's Tron soundtrack and found it to be a very brilliant piece in 7/4. I would have never known until I found some sheet music, like oh now it makes complete sense. Such a moving piece, Ending Titles track.
Interesting video. I've always been fascinated by odd time signatures and in fact the very first song I ever wrote, many years ago, was in 7/4 time. I've recorded a number of pieces using 5, 7 and 11 beats to a bar, and I have fragments of ideas in my head for 13 and 17 that may or may not ever see the light of day! I always found the 1-2-3 / 1-2 rhythm of Take Five rather cheesy so my goal when writing is to try to make each bar a musically integral unit rather than a combination or 2s, 3s and 4s. As you can imagine this is very hard and I don't usually succeed to the degree I'm aiming for.
I like your version of frere Jacques more than the traditional, but then, Time Out is my favourite album of all time. Thank you for exploring this topic. It helped a non-musician understand.
You are correct, though as David said about other songs in this video, it might be easier to follow when counting if you think about it as a group of 6 followed by a 5. Its unusual time signature for a rock song was one of the things that endeared it to Frank Zappa - the master of odd time signatures! - who included it in the repertoire of his 1984 band.
I once had a nearly successful audition as a bassist for a local hair metal band - but messed it up at the end by attempting to start a jam on Whipping Post. The guitarist barely picked it up, the drummer was out of it by the third measure, and the keyboardist/singer just about blew a circuit.
After to listening to Money for decades, ever since it was new, I had no idea it was 7/4 until I sat down and tried to play it (drums) about 10 years ago. I was so confused :) I had played for decades but never really studied music and this experience was the beginning of my quest to understand music more. I will never get to an upper level but I have learned more in the last decade than I had ever learned in my past. I LOVED Times Like These the instant that I heard it and bought the CD (rare for me). I didn't think about it being in 7/4 until today. I knew it was different and it is very obvious to me today. Love the channel!!
My contribution: ’Do you want it all’ by Two Door Cinema Blub. The 7/4 time really hives the song a sort of eagerness and energy, it’s both chill and hype at the same time :) a great listen!
David makes some of the most interesting videos on the internet. More interesting in that he brings attention to things you weren’t even aware of. Excellent.
For me too although I can't say that I didn't like it before. I just always thought it was a dull children's song ^^ But in that version there's so much more to it! 😊
@@margheritamuller8708 Yeah I'm aware of that 🤗 Liked to sing it in French as a kid to get a feeling for the language 😊 And in school we sang it together.
Solsbury Hill is a horn theme of 3 repeated twice with an extra beat lead in following, but then shifts to a melody of 4 paired with the theme of three. It's such a clever arrangement because it feels so natural to the listener's ears despite the 'odd' time signature, because the musical units feels so natural themselves. To me it's far more impressive than songs where you really feel the lurching awkwardness of the signature imposing itself on the song as it often comes across in jazz. "Money" is kinds of unique in that it doesn't disguise the odd meter at all, but uses its accents to create a propulsion (the shuffle) that the odd meter then embellishes.
Paranoid Android actually uses a mix of 4/4 and 7/8 which makes the bars of 7/8 sounds like they are skipping off the last eighth note. I actually analysed it in this video th-cam.com/video/76q5wv7kMEg/w-d-xo.html
@@DavidBennettPiano That was really good :) I have a lot of admiration for Radiohead, or anyone else able to do it, for being able to make odd time signatures feel natural. I find it extraordinarily difficult myself.
I grew up on ELP, Yes, Genesis, Rush, etc. One of my first aha moments came when I realized that The Fish (Schindleria Praematurus) is 7/4 in the rhythm and 14/2 (28/4) in the melody. I play keyboards and these polyrhythm time signatures are the most fun to play. I wonder how classical audiences responded when they first heard The Planets by Holst open with Mars: The Bringer of War in 5/4?
Ah thank you! I had Unsquare Dance as an earworm but didn't know what it was called or who it was by. Googling "jazzy piano piece with bass" was unsurprisingly not narrowing it down, until I discovered your videos on odd time signatures - I was sure it had one. Thanks for enlightening me - it was getting really frustrating not knowing what it was!
Yoooo that 7/4 Frère Jacques that you secretly had playing in the background really hammered home what the power of an odd time signature can be. Checking out that video immediately.
“Living In The Past” by Jethro Tull is in 5/4, and in the Devo song “Blockhead” (from their album Duty Now For The Future) has verses in 11/8 and choruses in 4/4.
And yet it still manages to sound amazing. I also really love how the constant switching between 5/8 and 7/8 time really has that push/pull feel to it. And then it just feels so satisfying when they go into the 6/8 - 7/8 thing. Just goes to show how much of a difference only one extra beat can make.
How about another game of “Spin the Wheel”: Dream Theater’s “Act II: Scene Seven: I. The Dance Of Eternity”. In total, the time signature changes 108 times in only about 6 1/2 minutes
![เปิด อาณาจักร หมื่นล้าน "สาระตั้ม" l [Nickynachat]](http://i.ytimg.com/vi/3XE0nPF4YkQ/mqdefault.jpg)
❗️EXTRA DISCUSSION: Some of you have mentioned that “2+2=5” and also my arrangement of “Frere Jacques” could be transcribed in 7/8, rather than 7/4. This is true, however both options are valid in these examples. One advantage of transcribing in 7/4 is that it shows that the quarter note is the main pulse, not the eighth note.
Ultimately, the choice between 7/4 and 7/8 is down to context, and the context sometimes doesn’t dictate either way. 👍🏼
It could even be written in 7/16, 7/32, 7/64, or 7/1. A few hundred years ago, time sigs were more varied, but over time, standards emerged. And since time sigs do not convey tempo, there's really no reason to use 16/16, 8/8 or 2/2 when 4/4 works for all, and is much simplier.
@@Shermanbay I've struggled for many years to understand what essential information is conveyed by the bottom number in a time signature. I've yet to hear a coherent explanation of why it is necessary or desirable.
Why does cut time exist? Why wouldn't you just write it in 2/4? Why is it necessary or beneficial to have the “flexibility” of having non-quarter notes get one beat? What do you gain from that? What essential information is conveyed by the denominator?
I could decide that natural language needs to have the “flexibility” of assigning some words their opposite meaning. Perhaps every paragraph should be marked with a “meaning signature”: #1 if yes means yes and no means no, #2 if yes means no and no means yes. Think of the freedom!
The example is ludicrous, but the point is valid: there is no conceivable value in such a scheme.
So it is with time signatures. IF YOU WANT TO WRITE A NOTE THAT GETS ONE BEAT, WRITE A QUARTER NOTE!
The raison d'etre of the denominator is entirely a mass delusion, as far as I can tell (although I've heard an amazing variety of nonsensical explanations from musicians of all stripes).
It is time to admit that the bottom number in a time signature conveys no meaning at all, and to stop using it. All we need to know is the number of beats per measure. A quarter note gets one beat. Period.
@@hnnymn Please consider the history and notational development over time. While it is common for one beat to equal one quarter note now, there is nothing inherently logical or compelling to make that happen. Written music from a few hundred years ago hadn't yet been standardized and was still evolving.
The denominator is absolutely necessary in order to interpret the numerator properly.
2+2=5 Is also a Quantum Mechanics answer for a long long mathematical equation that Stephen Hawkings put forward to explain the miniscule amount of space dust in the universe and how it adds into Quantum Mechanics. So 2+2=5 but only in Quantum Mechanics and The Universe :) Thanks for a very cool piece that helped this music listener get a wee bit more knowledgeable about my music ( all 5,301 Tapes, Records, C.D's and downloads ) Be well and be safe.
@@Shermanbay yeah I agree, the denominator isn't particularly useful anymore. I think it should be substituted for a number that tells us how many 16th note subdivisions the beat has. So for 4/4, it would be identical, but in music like say Tigran Hamasyan where he has quintuple divisions, rather than a big scary time signature like 20/16, you just have 4/5 - 4 beats that each divide into 5. Or in the 7/4 "shuffle" examples in the video, rather than 21/8, it's just 7/3.
Can't be a David Bennett video without mentioning The Beatles or Radiohead
Can't be a David Bennett video without someone mentioning that he mentions The Beatles or Radiohead.
@@tudorftbl can't be a David bennett video with out someone mentioning that someone was mentioning that he mentions Radiohead and Beatles
--or-- and
Maybe cause THEY R AWESOME!
What do u want, oasis?
Its not his fault radiohead and the beatles literally experimented with everything thats why he always metions them they are ALWAYS relevant
Songs that use 7/4 time.
1 million prog rock fans enter the chat!
There are 1 million prog rock fans? :)
Yeah, that's why I'm here.. Hoping to here an analysis of Dance on a Volcano by Genesis Lol!
@@Pandamasque One for each of Rick Wakemans wizard outfits.
I'm waiting find, dream theater, genesis, and King Crimson.
@@WarrenCromartie2 Rick Beato did one.
There's something so irresistible about 7/4. It really grooves. Like it it gives you more space to throw in those ghost notes and accents. It feels liberating, but not waffly or awkward.
most of these 7/4 just sounds like you're playing a regular 4/4, but jumping to next chord on the upbeat
7/4 often sounds like 4/4 but skipping a beat every two bars!
Yeah because of how they subdivided the beats! 4+3 or 3+4 is more acceptable to the listener than say 2+3+2, but you still get the upbeat effect. The accents makes music more danceable or more mathematic and difficult or interesting to decipher!
One song that alludes to the sense of the 'missed beat' in 7/4 is King Gizzard's 'Mr. Beat' (a play on words). The song is in 7/4 and sounds as if they are skipping a beat. King Gizz always manages to keep their music danceable somehow
@@Joe_Friday810 I've either read or heard something to that effect, whatever the case is, it's good shit haha
@@Tookashet heh, I expanded this comment just to say this. Even better when the lyric is literally "once I'm Mr Beat, only miss a beat" just to ram the point home
That Brubeck footage was cool. I saw him perform live in concert when he was about 83 or 84 yrs old. He shuffled across the stage looking very much his age. But within 2 minutes of starting to play I could have bet my first born he was 40 years younger just by how his movement changed. One of the most amazing musical memories ever
Me too, Cactus. He was flying out to Poland from the UK the next day.
He did Unsquare Dance with a clarinet solo. Made me wonder why he didn't give Paul Desmond a solo in the original.
Yeah totally! I love Brubeck, Unsquare Dance is an amazing song imho
I saw Brubeck live in 1982 or so when he had Jerry Bergonzi playing tenor with the quartet. The contrast in styles was wonderful.
Excuse me dad, but could you please stop betting me all the time? It's begun getting to me.
-Your first-born son
*me, having literally no idea how music works and is also musically deaf, and sometimes can't even tell two guitars apart in a track, let alone the beat:* fascinating!
Even Jesus doesn't understand how music works
Musically deaf?
@@Julian-ns3it just an expression that means someone isn't musically inclined or trained at all
Same! I can't tell what time signature something is in to save my life, but it's all very intriguing.
@@computernaut like everything it takes practice !
Solesbury Hill flows so nicely, I never gave it a thought.
It's that bass drum that holds down the beat that does it.
It lends itself easily to that bouncy English-Irish countryside dance. Vertical pogo-stick hop.
@@kennethlatham3133 The 'dance' that must never be named.....
@@gittebjerrebraae8382 ?????
Robert Fripp was involved, he loves a nice strange time signature. Fripp also played the banjo on this song.
Rush songs "La Villa Strangiato," "Xanadu," "Tom Sawyer," and "Subdivisions" have major parts in 7/4.
Exactly, the main riff from "Limelight" too
they all have major parts in my heart
Red Barchetta too
Jeez, knowing Rush, they probably slipped into "pi/4 time" at some point. (He says affectionately.)
I must add the comment Alex made about this. He hinted that they would write a riff and just take notes out to make it sound weird or out of standard time. I've done this myself :)
Money is the only pop song I ever noticed to be in 7/4. I also noticed the time changes, but I never noticed how cleverly it all lined up. This channel is making me want to get back into composition
Literally went to this video just to see if he mentioned Money haha
I love how that song literally has money noises in 7/4 time. it’s so genius.
Pop?
@@bvq330 non-orchestral
@@a_literal_brick Oh
Some of my personal favourites:
* 2+2=5 - Radiohead
* March of the Pigs - Nine Inch Nails
* Outshined - Soundgarden
* Them Bones - Alice in Chains
* The Sound of Muzak - Porcupine Tree
* Possum Kingdom - The Toadies
* Times Like These - The Foo Fighters
* Lord of Lightning - King Gizzard & The Lizard Wizard
* Spiders - Slipknot
Did you know the main riff of Blackened by Metallica is in 7/4?
Alice in Chains needs more love.
2+2=5 over Paranoid Android?
Ink by Finch! The song switches between 7/4 and 9/4 back and forth!
Thank you, I added all of your choices in my spotify playlist: open.spotify.com/playlist/6KWZWbPUW0ZcGiqmOBkZGk?si=7lmvXxnQRHScs6ToOfqqEg
When I was younger (so much younger), I was at a disco, not sober, dancing to Blondie’s big new hit Heart Of Glass. I was thrilled by the verse that dropped a beat, sometimes. What a goof on disco, I laughed. I did not think, “7/4, how irregular.”
Same with the All You Need Is Love, it feels like an odd jump, a dropped beat. I never counted seven.
Sometimes, I guess the time signature is just a way to write down what’s already happening in a musician’s head.
I often think of that one too.
I immediately thought 'oh, that's in 7'. There's a BeeGees song that does that too.
spot on!
I, too, am thrilled about the 7/4 parts in Heart of Glass. It absolutely makes the song way cooler than it could ever be in solid 4/4.
So much younger than today?
Coldplay have two songs that go into 7/4: *Death and All His Friends* for one and *Glass of Water* is the other. Death and All His Friends has a unique split where the beats are grouped in 5 and 2 instead of the usual 3 and 4.
Bruh I’m not sure glass of water is even 7/4, I can’t seem to ever work out what it actually is and I’ve been at it for years hahah. My ears/mind seem to change on it with each listen - would really love to hear what’s going thru their in-ears when it’s done live. Coolest track ever
@@zoey2211 it is 7/8 in the chorus part. Count it in 1/8th notes, not 1/4 notes, and its pretty easy to tell.
how do u notice that? i kinda new to this
I'm googling this next
15:52
"All we need is more writers like Brubeck, Peter Gabriel, or Pink Floyd..."
Oh well, that should be easy.
That statement stands alone, in any discussion about music
@@stanmanjam I second that.
he really said that, it's almost a blasphemy!
My take on the 2 bars of 4/4 in Solsbury Hill has always been that it's meant to feel like 'home', since in the lyrics that's the point where he's going home.
*Me, who doesnt know shit about music theory despite trying my hardest to learn:* interesting.
I know a little bit, but my brain struggles to conceptualize beyond 4/4 and 3/4. Honestly, I can't tell the difference between 4/4, 2/4, 12/8, etc. Am I just missing a critical lesson??
I’ve been taking theory lessons since I was 8/9 and am minoring in music next year to teach. If you ever want help understanding theory I could definitely give you a lesson. I love sharing my love of music theory
Kyle Richards the main difference is how the accents are. The example I’ve learned from is 3/4 and 6/8.
If you take 3/4 and divide it into eighth notes, you would have three groups of two, and the split of 6/8 is two groups of three, giving 3/4 a more driving feel than 6/8’s relaxed feel.
12/8 has 12 eighth notes per bar and is probably split into three sets of four
Haha begginer
@@bluemookie for 12/8, it's basically 4/4 but just the quarter notes are split into 3. So 12 8th notes. Just think instead of 1 2 3 4, 123 123 123 123. You could write a bar of 12/8 in 4/4 but it would just be more of a headache it is easier to feel it in 12/8. Look at laid to rest - Lamb of god (even if you don't like the music, it's an easy song to see 12/8) and you'll see that writing it in 12/8 is far easier to read than it would be in 4/4. The same with 2/4, it is just easier to feel it in 2/4 but it could be written in 4/4. As you can do with all even time signatures. That's the difference between odd/compound and even time.
“Take seven” just doesn’t have the same ring to it.
UnSquare Dance would not have the ring as would Pentagon Dance,
I usually take sevens at work.
As a Bulgarian, and a long-time Prog, and Jazz fan I have always found uneven meters exciting and enjoyable
Esoteric
best comment! i love 5/4 the most
As a Bulgarian, you ahould know that your Balkan and Greek neighbours and relatives have been singing and dancing in odd meters for centuries.
Are you aware of Milcho Leviev? He joined the Don Ellis Orchestra and brought in e.g. Bulgarian Bulge (was that 33/8 or 35/8? I don't recall.) and played the intro to Blues in Elf Flat as The Moonlight Sonata in 11 (3+3+3+2). That blues intro still knocks me out!
That Frere Jacques in 7/4 is nothing short of amazing. Brilliant!
Thanks Peter!!
I was just thinking the same thing as I heard it. Brilliant!
Spot on! And the unexpected harmonisation makes it even tastier :)
I've heard it in minor also.
That arrangement at the end was bafflingly good and calming. I wasn’t ready for it :) Rearranging nursery rhymes sounds fun
It's calming but still jubilant, it's amazing
I like it better than the original somehow. It has a whimsical feel to it
I got major post rock vibes. Super well done, simple, beautiful. My fav out of the bunch on that album.
Random but can you write a song in 1/4 even if it would sound bad?
@@JosephMensman1/4 signature would likely fail to sound like itself, because how you group the bars of 1/4 would make it sound like another timing altogether, be it 3/4, 4/4, or whatever have you. You'd essentially just be removing the distinction between bars and beats, and your mind would probably group the bars/beats anyway.
What I find especially interesting is when composers make common time signatures sound odd and off-kilter. You would never guess that Black Dog by Led Zeppelin was in 4/4 unless you counted the beats.
Me seeing the title: oh I bet he’s gonna talk about Money
I saw the title and thought "I bet he's gonna talk about Money and Unsquare Dance"
Me too.
And Estimated Prophet (which is kinda 14/8, but still).
I thought: "All You Need Is Love"
I thought Freewill, although my favorite 7/4 is "Room 222 Theme" by Jerry Goldsmith.
“I am the Doctor” by Murray Gold (from Doctor Who series) is also written in 7/4 which makes this track incredibly energetic.
Immediately what came to mind. Figuring out how to play this and realising it was in 7/4 was an absolute mindfuck
it seems pretty weird to omit "i am the doctor", which is such a clean 7/8 rhythmically (though it changes to 4/4 sometimes), while spending so much time on "solsbury hill", which is very much divided in 6/8, 8/8 instead of a 7/4.
I'm surprised he didn't mention it either. It's a good example of one that isn't 3 + 4. The fast tempo and 1/4th notes make it feel more like a 4/4 with the 4th beat cut in half. Like you said, makes it feel energetic, almost like the next measure can't wait to start
Ah, there it is, I had to scroll this far for the Doctor!
I really like 7/4. At first, you expect the song to have a continuous flowing rhythm, but at the end, it throws you a surprise, cutting off the last beat and throws you into a surprised groove.
"Everyone's talking about the Beatles and Radiohead and Pink Floyd and prog rock and Brubeck..."
"All we are say-ing, is give Rush a chance."
right! la villa strangiato for instance, 7/4( during the 1st guitarsolo). but the most famous 7/4 song is of course Music, by john miles, (the 1st instrumental break). also liste
n to Toto's version of Sunshine of your love).
@@Herby701 - Rush tends to alternate time signatures frequently, but I think the most audibly obvious use of 7/4 or 7/something is in the opening riff of "Limelight", after the first couple of bars. The repeated guitar motif before and in between the vocals is clearly a 7-beat (however it happens to be written).
@@losthor1zon disagree; the first 5 notes are an upbeat: if you count the 4/4 bar as: 1 ne, 2 e, 3 e, 4 e, the guitar starts on 2 e.
Did I hear someone say "Subdivisions?" 😁
A part in natural science is in 7/4 one of my favorite rush rifts to play on guitar.
Your “Frere Jacques” arrangement may be the most beautiful thing I've ever heard
My favourite piece in 7/4 is I Am The Doctor from Doctor Who 😊 7/4 is an awesome time signature!!
Wow, your knowledge of Music Theory is at PhD level. Unbelievable depth of analysis and synthesis. Seriously enjoyable to watch and learn from you.
Agree completely.
Happy to see the Bulgarian dance here. Bulgarian folklore does very often include 7/8, 9/8 and 11/8 time signatures. This makes odd signatures really sound quite catchy to us when played by people from the as I say "Western World". I personally like that and often say "hey, that sounds like a Bulgarian dance!"
I'm grateful for this.
I'd like to explore.
Could you suggest a good starting point?
Best wishes- whether or not you respond.
You couldve given Soundgarden a mention, I think they are one of the most interesting bands to use unusual time signatures, and they do it so naturally it never feels forced or gimmicky like it often does with other bands.
Spoonman is first song I thought of after seeing this video
Outshined as well
@@lukesteiner8934 MY WAVE!!
True.
But this bloke doesn’t seem like he would be much of a Soundgarden fan
Yeah also what about Them Bones by Alice In Chains?!
It was at this moment I knew that I don’t know shit about music.
Uh, listen. You can study music for YEARS and you still don't know shit about music. I know. That's what makes it so fun to explore. Like a cave. You don't know where it goes.
Yeah, you're not supposed to enjoy it; you're supposed to know shit about it.
Listen, your opinion, your tastes, your appreciation of music are all JUST AS VALID as those of us that understand this complex stuff. Rock on!
I like the fact that i dont know shit about music but i can appreciate music to the same level as a music graduate thanks to my ears and brain
@@ala0284 I've had years of music, but I still know shit about it. No one ever taught me theory. It was here play this. But I'm not a musician. Never could be. But I love to try and learn. I work hard to be as awful as I am. I don''t care. The joy is in the doing. This was why punk was such a joy. I could get up there and make those people dance, and maybe, just maybe, they'd be happy for a while.
@@kennethlatham3133 That is a nice thing to say but sometimes I feel pretty stupid listening to some of these videos.
"And because the sight of 21/8 would give musical performers IBS" - killed me
😄😆😅😂
As a percussionist, when he showed it in 21/8 I felt immense relief and understanding 😅💀
I'm a cellist and I get that IBS feeling when the music changes from bass to treble clef.
Its interesting to think about how each of these songs can make 7/4 feel like either an “extra beat” or a “missing beat” time signature.
As you alluded to, 7/8 is a common folk-dance rhythm in Balkan countries. The subdivision of “2+2+3” creates the feeling of “short, short, long” beats, which is integral to the feeling of the dance.
I was once in Turkey and we rode a big tourist boat, there were a lot of Turks who played and sang their music, and I was so amazed that they used 9/8 (divided not by 3), 7/8 and even 11/8 and mixes of these in their traditional music, and it also wasn't so obvious before I started counting. I was a big prog metal fan and thought that nothing popular or traditional can have odd meters.
@@BORN753 Yes, and folk songs in 11 have a gentle, rocking feel to them.
I've seen 25/16 in Balkan dance. The point is that this folk music uses more complex approach: beats in a bar aren't equal. Suppose we have 6/8, there will be 6 beats of eight's note in a bar. In Balkan folk we can meet 6 beats in a bar, but 3 are quarter, 2 are eight and one is sixteen, thus formally getting 17/16 time signature. It's all based on dance moves. So the correct notation could be 3½/4 instead of 7/8 and 3+3/2/4 instead of 9/8 etc. There's also exist microtiming, musical speech like Zappa, ad libitum etc. Precisely transcribed it'll make sheets absolutely unreadable, so all sheets are kinda approximation
Ach! That 2,2,2,3 and 2,2,2,4 stuff, etc. is the mind-blowing Serbian stuff I heard a DJ on WFMU play in the 1990s that I'd like to hear again. My mother's mother and stepfather had Yugoslav records but mostly Croatian material that sounds fairly conventional. One of them turned out to be a translation of "Buffalo Gals" that I didn't recognize but my friends did!
I'm in a classical performance group that focuses on late 20th century / early 21st century music, and our director specializes in selecting music with odd time signatures. She's coached us extensively on 2+2+3, 2+3+2, and 3+2+2 subdivisions. Los Robles Master Chorale (performance recordings here on TH-cam)
This rendition of Frere Jacques almost makes me cry everytime I hear... so hopeful, so full of determination. I loved it
I was one of the ones who was yelling Pink Floyd’s Money, but you got to it. I’ve heard it so many times and I didn’t know why it sounded off in a good way, until somebody explained it to me. Now it makes sense.
Liked your transposition of Frere Jacques and how you incorporated a half step down in one of the chords at the end, giving it a minor sounding chord, then went up to a major chord for the resolution at the end of the song. Also liked the rhythm, too. Never heard it like that before, kinda funky.
As a musician, I was completely absorbed by this video. It was amazing to see these songs broken down but the kicker for me was the 7/4 arrangement of Frere Jacques! Brilliantly done!
The Canadian group Rush had a lot of #1 songs playing on the Radio that included odd meters: Limelight, Subdivision and a few others. On their records they had quite a large number of songs with odd signatures including songs with sections in 10 / 8..
I saw quite a lot of people in bars dancing to Rush songs with odd meters.
We could name other musicians using a lot of odd time signature (Zappa, etc ...) but Rush probably is the most popular rock band doing it and getting a large amount of air play with that kind of complex music.
@@FRN2013 No. 4/4
@@FRN2013 Maybe the heavy guitar riff. It does have a ternary fell to it. Like:
||: 3/4 | 3/4 | 4/4 | 2/4 :|
But it will fit in bars of 4/4 with strange accent.
What about Tom Sawyer, Limelight, Spirit of the Radio, also contain odd and switching timesignatures?
Yeah you can "dance" to that music, but It ain't pretty. lol
@@hansnijntjes Yes those do have odd time signature in some sections.
My school played Times Like These for a concert. It was written with every bar alternating between 3/4 and 4/4. It wasn’t really hard to adapt to
I'm glad you included Pink Floyd's Money. It's a song that I got sick of over time from hearing it too much, and then one day, I realized, as I was counting, it was in 7/4 and I came to love it again, just for the unorthodox character.
If you really like ueven meters, check out a band called Redemption, I especially recommend a song called memory, which has a lot of 7/4 and 5/4, and a band called Fates Warning, which I believe features the same singer.
I had some sheet music of Money, and it was actually given as 4/4 3/4, ie one bar of 4 beats alternating with one of 3.
Thanks for mentioning Redemption - I had never heard them. Having checked out a couple of their songs, I'll be busy listening to their albums this week!
@@172Break if you want another band fond of odd time signatures, there's Dream Theater. Absolute titans of prog metal.
“I Am the Doctor” for Doctor Who Series 5 is mostly in a 7. I’ve actually taken a ballet class where the instructor had us dance to Pink Floyd’s Money. I love odd meter!!
Wow, that's one of my favourite pieces of music and I never noticed!
David’s gorgeous 7/4 arrangement of “Frère Jacques” was what mainly spurred me to buy the _Tuplets for Toddlers_ record for my niece and nephew, when it was released. Maybe it helps that my sister, brother-in-law, and I are all musicians, but the kids loved it.
7/4: exist
Prog bands: it's a free real estate
Prog bands: 21/8...? Now we’re talking!
Joe R M 21/32 ftw
Joe R M I wrote a song recently that uses 21/8 and 18/8 time.
I listen to a lot of prog, but I've never been able to follow Gentle Giant because they change time signatures so fast and flawlessly
@@Symphonicrockfran the riff in the end of in a glass house is something like: 7/8 10/8 8/8 4/8
Every Prog fan in the comments: "Why didn't you include [insert random prog band that used 7/4 (so basically all of them)]" :D
Absolutely! Dream Theater lives in the 'odd' meter space -- often engaging in metric modulation -- a fairly advanced, classical concept.
HEY!
Some of us are here to Represent Industrial too, in the discussions on odd time signatures.
do we need Math rock rep as well?
Van Der Graaf Generator changing time signature every bar 4 times in a row, no repeats. There is probably a 7/4 in there, no 3/4 or 4/4. To be honest, the song was about a descent in mental chaos.
Nah, not me. What I was wondering is why discuss the very simple 7/4 when you can torture your brain trying to decipher Tool's Pneuma LOL
man I have never learned as much about music as I am learning from this channel. Thank you very much David!
I am a self taught musician, recently started recording at home. I have been trying to study theory and realized I don't suck as bad as I thought. My songs are often in odd time signatures and that is why they are hard to arrange.
Me too! I seem to be always stuck in 3/4!
I'd like to see more discussion of the "polyrhythm" of using guitar in an odd time, with drums in common time. Songs like "Kashmir" and Helmet's "In the Meantime" make use of this, allowing the rhythms to line up again.
burnvictim77 seen polyphia GOAT
Zepplin was great at polyrhythm, and what made Bonham fantastic was he would drum in the odd time...."fool in the Rain"
Polyrhythm: When the djembe player gets drunk and keeps adding or missing beats, seemingly at random.
Is this what's happening in Nirvana's "Swap Meet"!?
@@MrByebyelove The riff is just syncopated I think. It's all 4/4
George Harrison massively uses odd time signatures, and it really adds an identity to his songs. Brilliant video as always ! And that 7/4 frère Jacques is eerely beautiful...
Omg i noticed that! So cool
Everyone's talking about the Beatles, Radiohead and Pink Floyd and all I want to hear is some Soundgarden.
Next video: why "Fell On Black Days" is actually in 5/4 with a quarter note tag after every bar
@@evanreza4712 I know! Outshined and Spoon Man has that killer beat that when I first heard of them I couldn't quite keep up. The Day I Tried To Live I find more chaotic with the constant switching form 7/4 to 4/4, gives the listener that bewildered feeling. Also include Them Bones by Alice in Chains of course.
The day I tried to love is my go to for counting it out to people. They obviously feel it as 4/4 + a 3/4 which is its own topic in itself.
AND some Alice in Chains!
“Rusty Cage” first part of the song is in 4/4 but the second, slow, part is in six-bar phrases consisting of three bars of 3/4 followed by one bar of 5/4, followed by a bar of 3/4 and a bar of 2/4 (3+3+3+5+3+2... is that 16/4???). The band admitted they just never paid attention to time signatures and this was a “total accident”.
"because the sight of 21:8 would probably give most performers IBS"
that was fantastic. David, I had to stop the video to laugh.
Same dude. Literally laughed out loud.
I've used 21/8.
Excuse me, just need the bathroom
i think metallica has some 21/8 stuff written as such on the drum score
I think Keep it Greasy by Frank Zappa switches between 19/16 and 21/16.
@@Lord_Skeptic ins is a bowel disfunction which can cause stomach pain.
My favorite example is 'The sound of Muzak' by Porcupine Tree. It has a cool riff and a signature drum beat that hard to get out of the head.
Great song!
The literal best piece of music ever to be written in 74 is David’s frere jaques.
Knew it before I watched the video, knew it while I was watching and still know it now I’ve finished. Superb reharminization, lovely chords, and you’ve made 74 sound natural. Great job, love it
Snow White and the Seven Fourths
Band name!
Come on now. Start that band and play only songs in 7/4 rhythm. It will be a sensation!
Silly penguin 🤣🤣🤣
@@russcoleman2338 Another band name!
Brilliant
Lovely... You took a complex subject and made it understandable to a neophyte like me. I also loved your "Frere Jacques.” I keep playing it over and over. Well done
Rush and Genesis had some odd meter usages as well.
“Limelight” and “Firth of Fifth” for example
"Natural Science" as well.
Strangely enough i've always thought of Limelight as alternating measures of 4/4 and 3/4, though i guess its basially the same thing. Rick Beato made a good video about it
There's probably dozens of examples for Rush. Tom Sawyer kicks into 7/4 in the instrumental. The instrumental of The Trees has a 5/4 section.
@@StevenStJohn-kj9eb Yes, Rush probably wouldn't stoop to being so simple and conventional as to have a song one time signature throughout. I can't think of one of their songs that doesn't include a time change of some sort.
Best line of the video: “The sight of 21/8 would probably give most performers IBS.” 😂 around 9:20.
I laughed me arse off xD
That WAS a good one. The way he just casually said it.
Shit like that makes me jot down the composer's name, so I can later Google where they live. I just wanna talk.
Why would 21/8 give someone IBS
@@Lord_Skeptic , because of COVID
Limelight by Rush will always be what I think of when I hear 7/4. The chorus still confuses me unless I really concentrate, because it changes the progression on beats that make it almost sound 4/4
Limelight started me liking Rush because I already liked a whole LOT of jazz songs in 7/4. Rush used 7/4 more often than essentially any other rock band. Time Stand Still has around 25 measures in 7/4.
Alright, my predictions: 2+2=5 by Radiohead, All you need is Love by the beatles and Money by Pink Floyd
right
ethans reloading 2+2=5 is in 7/8
@@mehmed6529 it's the same
bz ng I guess in the sense that 2 measures of 7/8 will have the same number of quarter note beats as 7/4, but that’s like saying 3/4 and 4/4 are the same because 4 bars of 3/4 have the same number of beats as 3 bars of 4/4. The groove of 2+2=5 is very different from the rest of the songs on the list because the “7/4” bar is divided evenly in two, and I think it’s most obvious in the hi-hat. Maybe I’m hearing something that isn’t there, but it sounds like the hi-hat is accenting a 7/8 “quick-quick-slow” pattern. I’d personally call it 7/8 instead of 7/4.
@@mehmed6529 Money is 7/8 as well.
7/4 is such an interesting signature. I'll have to play around with it.
you can start by jamming along with Soundgarden's "Spoonman"
count in Swedish! en, två, tre, fyr, fem, sex, sju.
UK's 'Rendezvous 6:02' is such a lovely example of this time signature being used.
As a UK fan, I will also mention 'In the Dead of Night' - just another beauty.
*glances thumbnail*
"Woah is it possible that David made a vid without the Beatles? "
John in the corner: Allow me to introduce myself
John is everywhere. He’s always watching
this is Spooktober, John has been revived
@@karina-ww9pp i swear i see john in almost every beatles songs comment section.
@@kyoshitheavatar2414 as I said, he is always watching
Aren't them those guys who ruined rock music? - Beavis & Butt-Head - 😂😂😂😂😂😂😂
10 minutes in and already 1000 views! People are really anticipating new content from your channel! Congratulations!
Crazy, I had this song in mind, and I was trying to figure out what time signature it was in. The fact that you used this song as the example just answered my question. Thanks!
Ganondorf’s song while your fighting him in the pipe organ room on Ocarina of Time. That’s one crazy time signature!
your re-arrangement of frere jaques has such a warm character to it, so different, not "just a nursery rhyme"!
Can you please talk about the seven four time signature when it's played solely in the percussion because it's a very complicated thing to do and it has an incredible sound
Love how you gave Frère Jacques such a feeling of urgency in 7/4! It was really wonderful!
The arrangement at the end was REALLY good! Nice job!
The Bulgarian folk dance rythm 15/16 is quite neat, really. Feels almost straight, just a sense of forward push before every new upbeat/bar/phrase. Grouped as 2+2+2+2+3+2+2.
I like how in all the “Song that...” videos John or Paul is in the thumbnail.
Glad you played Eleno Mome, it's one of the songs I drum to in a Balkan band. Most of those tunes are made up of 5,7,9,11,13 beats. One of our favourite effects, live, is to turn a 7/8 into a 4/4 in the middle, which takes people from dancing to the weird thing, to jumping up and down wildly, and then, because we are sadists, we suddenly snap back into 7/8 for the last few bars of the song.
I just recently transcribed Wendy Carlos's Tron soundtrack and found it to be a very brilliant piece in 7/4. I would have never known until I found some sheet music, like oh now it makes complete sense. Such a moving piece, Ending Titles track.
Thanks for posting, I was just going to mention Wendy Carlos's Tron. ;-)
That rearrangement at the end is gorgeous. Makes me want to write a continuation to it. 🙂
Thank you!
The Rush song "Limelight" uses 7/4 time in part of the chorus. Also the Genesis suite "Supper's Ready" has a section called "Apocalypse in 9/8".
Interesting video. I've always been fascinated by odd time signatures and in fact the very first song I ever wrote, many years ago, was in 7/4 time. I've recorded a number of pieces using 5, 7 and 11 beats to a bar, and I have fragments of ideas in my head for 13 and 17 that may or may not ever see the light of day! I always found the 1-2-3 / 1-2 rhythm of Take Five rather cheesy so my goal when writing is to try to make each bar a musically integral unit rather than a combination or 2s, 3s and 4s. As you can imagine this is very hard and I don't usually succeed to the degree I'm aiming for.
I like your version of frere Jacques more than the traditional, but then, Time Out is my favourite album of all time. Thank you for exploring this topic. It helped a non-musician understand.
The Dave Brubeck Quartet released another album, Time Further Out. Unsquare Dance is from the latter.
My favorite weird time signature song is "whipping post" by the allman brothers band, which (from my understanding) is kinda written in 11/4
You are correct, though as David said about other songs in this video, it might be easier to follow when counting if you think about it as a group of 6 followed by a 5. Its unusual time signature for a rock song was one of the things that endeared it to Frank Zappa - the master of odd time signatures! - who included it in the repertoire of his 1984 band.
Great song!
I once had a nearly successful audition as a bassist for a local hair metal band - but messed it up at the end by attempting to start a jam on Whipping Post. The guitarist barely picked it up, the drummer was out of it by the third measure, and the keyboardist/singer just about blew a circuit.
Count 123 123 123 12
@@rogerturner5504 Yes,that is the way.
It’s such a joyful feeling to see my two fav bands (like yours) in your videos, thank you!
I really like what you've done with Frere Jacques. hauntingly beautiful. I wish you would post an uninterrupted version so I could share.
Adam Neely is involved in every youtube music collaboration I have ever seen
After to listening to Money for decades, ever since it was new, I had no idea it was 7/4 until I sat down and tried to play it (drums) about 10 years ago. I was so confused :) I had played for decades but never really studied music and this experience was the beginning of my quest to understand music more. I will never get to an upper level but I have learned more in the last decade than I had ever learned in my past.
I LOVED Times Like These the instant that I heard it and bought the CD (rare for me). I didn't think about it being in 7/4 until today. I knew it was different and it is very obvious to me today.
Love the channel!!
I'm missing björk
Right? Nowhere in recency to be found
what song(s) of her are 7/4?
Tjarlie I think they just meant in general, because I don’t know of any songs of hers that are in 7. She has used 17/8 though
@@malcolmbeverly8967 Wait... What? Björk never stops to amaze me :^0
Nevits P yeah, it’s pretty crazy. The songs are moon and crystalline in case anyone’s wondering btw. They both bounce between 4/4 and 17/8
My contribution: ’Do you want it all’ by Two Door Cinema Blub. The 7/4 time really hives the song a sort of eagerness and energy, it’s both chill and hype at the same time :) a great listen!
blub
David makes some of the most interesting videos on the internet. More interesting in that he brings attention to things you weren’t even aware of. Excellent.
The arrangement for frere jacques is amazing. 👍🏽
Your "Frere Jacque" sounds GORGEOUS!
watching from Kenya. Your content is so cool, informative and such a breathe of fresh air. keep at it. Thank you so much
Thank you!
I'd never liked Frere Jacques melody, but your rearrangement brought it to life for me. Amazing stuff! Take my thumbs up!
For me too although I can't say that I didn't like it before. I just always thought it was a dull children's song ^^ But in that version there's so much more to it! 😊
It was a ‘round’ where singers had to join in halfway through - not a nursery song. A bit like rose,rose,rose is an english round
@@margheritamuller8708 Yeah I'm aware of that 🤗 Liked to sing it in French as a kid to get a feeling for the language 😊 And in school we sang it together.
Stephan Krain that’s lovely. I got records from my grandmother: Rondes et chansons de France - there are lots of TH-cam versions posted by fenicnarfab
Solsbury Hill is a horn theme of 3 repeated twice with an extra beat lead in following, but then shifts to a melody of 4 paired with the theme of three. It's such a clever arrangement because it feels so natural to the listener's ears despite the 'odd' time signature, because the musical units feels so natural themselves. To me it's far more impressive than songs where you really feel the lurching awkwardness of the signature imposing itself on the song as it often comes across in jazz. "Money" is kinds of unique in that it doesn't disguise the odd meter at all, but uses its accents to create a propulsion (the shuffle) that the odd meter then embellishes.
TH-cam first started with 5/4 video, then it gave me 6/4, today I get 7/4, it just gets bigger and bigger each time
Re: Radiohead, I think parts of “Paranoid Android” are also in 7/4.
Paranoid Android actually uses a mix of 4/4 and 7/8 which makes the bars of 7/8 sounds like they are skipping off the last eighth note. I actually analysed it in this video th-cam.com/video/76q5wv7kMEg/w-d-xo.html
@@DavidBennettPiano That was really good :) I have a lot of admiration for Radiohead, or anyone else able to do it, for being able to make odd time signatures feel natural. I find it extraordinarily difficult myself.
@@CLaw-tb5gg Radiohead and The Beatles were two of the best at it 👍
I grew up on ELP, Yes, Genesis, Rush, etc. One of my first aha moments came when I realized that The Fish (Schindleria Praematurus) is 7/4 in the rhythm and 14/2 (28/4) in the melody. I play keyboards and these polyrhythm time signatures are the most fun to play. I wonder how classical audiences responded when they first heard The Planets by Holst open with Mars: The Bringer of War in 5/4?
Ah thank you! I had Unsquare Dance as an earworm but didn't know what it was called or who it was by. Googling "jazzy piano piece with bass" was unsurprisingly not narrowing it down, until I discovered your videos on odd time signatures - I was sure it had one. Thanks for enlightening me - it was getting really frustrating not knowing what it was!
Ok. 'Frere Jacques' in 7/4 time just sounds plain old cool.
The first appearance of the Gb6-Chord in "Frère Jacques" alway makes me believe that there's got to be a better world.. Thank you, David.
Yoooo that 7/4 Frère Jacques that you secretly had playing in the background really hammered home what the power of an odd time signature can be. Checking out that video immediately.
“Living In The Past” by Jethro Tull is in 5/4, and in the Devo song “Blockhead” (from their album Duty Now For The Future) has verses in 11/8 and choruses in 4/4.
Rush's Free Will alternates 6, 7, and 8 beat measures before settling into 4.
True geniuses. Limelight, Tom Sawyer also have sections of 7/4.
@@littlelamb2112 it’s actually 7/8
@@magicalmelon5673 So sorry. The point is, they're some of the best of the genre.
Brilliant! Thanks. Yes! bring on more songs with odd time sigs. The rhythms are sooo much more interesting and captivating!
Check out “Schism” by Tool. They played spin the wheel of Time Signatures on that one. (And several of their other songs)
And yet it still manages to sound amazing. I also really love how the constant switching between 5/8 and 7/8 time really has that push/pull feel to it. And then it just feels so satisfying when they go into the 6/8 - 7/8 thing. Just goes to show how much of a difference only one extra beat can make.
Thank you, the beat sounded so familiar. Finally found out why.
How about another game of “Spin the Wheel”: Dream Theater’s “Act II: Scene Seven: I. The Dance Of Eternity”. In total, the time signature changes 108 times in only about 6 1/2 minutes
I think Forty-Six and 2 spends a lot more time in 7/4
@@EthanCowlbeck it’s literally in 4/4 the whole song asides the end
7/4 Shoreline by Broken Social Scene is a real jam!
Was looking for this comment!
@@duderally Welcome home!