History Main / UncommonTime

6th Dec '17 10:26:28 AM DEIDATVM
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* 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 & western-sounding guitar solo, and... [[BreadEggsMilkSquick 7/8 time]].

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* English 70s stoner band Caravan Music/{{Caravan}} have a song called "Hoedown" which does sound a lot like a hoedown, with upbeat key signatures, excited guitars, a country & western-sounding guitar solo, and... [[BreadEggsMilkSquick 7/8 time]].
2nd Dec '17 3:55:10 PM CassandraLeo
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* The folk song "Peggy-O" (also called "The Bonnie Lass o' Fyvie", "Fennario", "The Maid of Fife", and a number of other titles) is often performed in unusual meter signatures, although arrangements vary. Music/BobDylan's arrangement on his debut album uses CommonTime, but Music/SimonAndGarfunkel's, also on their debut album, is mostly in 10/4 (there are a few connecting passages of 4/4). Music/TheGratefulDead's, which was a staple of their live set, is even more complicated, using patterns of 5+4+5+7/4 (i.e., 21/4); as mentioned above, they really loved this trope, so this probably won't come as a surprise. Despite the wildly different arrangements between these versions, though, the melody generally remains pretty similar. Interestingly, when Dylan began performing the song again in concerts in the '90s, he began using the Dead's arrangement and lyrics.

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* The folk song "Peggy-O" (also called "The Bonnie Lass o' Fyvie", "Fennario", "The Maid of Fife", and a number of other titles) is often performed in unusual meter signatures, although arrangements vary. Music/BobDylan's arrangement on his debut album uses CommonTime, but Music/SimonAndGarfunkel's, also on their debut album, is mostly in 10/4 (there are a few connecting passages of 4/4). Music/TheGratefulDead's, which was a staple of their live set, is even more complicated, using patterns of 5+4+5+7/4 (i.e., 21/4); as mentioned above, they really loved this trope, so this probably won't come as a surprise. Despite the wildly different arrangements (and even lyrics) between these versions, though, the melody generally remains pretty similar. Interestingly, when Dylan began performing the song again in concerts in the '90s, he began using the Dead's arrangement melody and lyrics.lyrics, though he kept a simpler rhythmic foundation.
2nd Dec '17 3:52:32 PM CassandraLeo
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* The folk song "Peggy-O" (also called "The Bonnie Lass o' Fyvie", "Fennario", "The Maid of Fife", and a number of other titles) is often performed in unusual meter signatures, although arrangements vary. Music/BobDylan's arrangement on his debut album uses CommonTime, but Music/SimonAndGarfunkel's, also on their debut album, is mostly in 10/4 (there are a few connecting passages of 4/4). Music/TheGratefulDead's, which was a staple of their live set, is even more complicated, using patterns of 5+4+5+7/4 (i.e., 21/4); as mentioned above, they really loved this trope, so this probably won't come as a surprise. Despite the wildly different arrangements between these versions, though, the melody generally remains pretty similar.

to:

* The folk song "Peggy-O" (also called "The Bonnie Lass o' Fyvie", "Fennario", "The Maid of Fife", and a number of other titles) is often performed in unusual meter signatures, although arrangements vary. Music/BobDylan's arrangement on his debut album uses CommonTime, but Music/SimonAndGarfunkel's, also on their debut album, is mostly in 10/4 (there are a few connecting passages of 4/4). Music/TheGratefulDead's, which was a staple of their live set, is even more complicated, using patterns of 5+4+5+7/4 (i.e., 21/4); as mentioned above, they really loved this trope, so this probably won't come as a surprise. Despite the wildly different arrangements between these versions, though, the melody generally remains pretty similar. Interestingly, when Dylan began performing the song again in concerts in the '90s, he began using the Dead's arrangement and lyrics.
2nd Dec '17 3:51:36 PM CassandraLeo
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* The folk song "Peggy-O" (also called "The Bonnie Lass o' Fyvie", "Fennario", "The Maid of Fife", and a number of other titles) is often performed in unusual meter signatures, although arrangements vary. Music/BobDylan's arrangement on his debut album uses CommonTime, but Music/SimonAndGarfunkel's, also on their debut album, is mostly in 10/4 (there are a few connecting passages of 4/4). Music/TheGratefulDead's, which was a staple of their live set, is even more complicated, using patterns of 5+4+5+7/4 (i.e., 21/4); as mentioned above, they really loved this trope, so this probably won't come as a surprise. Despite the wildly different arrangements between these versions, though, the melody generally remains pretty similar.
1st Dec '17 11:02:50 AM MemesAreDangerous
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*** Personally I'd count it as 2+3+3+2/8, or alternating bars of 5/8 consisting of 2+3/8 and 3+2/8. All of this is somewhat subjective after a point though.
19th Nov '17 10:07:16 AM Twentington
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* Many ancient hymns and chants don't even use time signatures. As a result, some have really weird settings where each line might have, say, 4 1/2 beats. Most hymnals today will alter the rhythms of such hymns (such as "O Come O Come Emmanuel" and "A Mighty Fortress Is Our God") to make them 4/4 to make them easier for modern congregations to sing. The uncommon-time versions are usually called "isometric", and the straight 4/4 ones "rhythmic".

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* Many ancient hymns and chants don't even use time signatures. As a result, some have really weird settings where each line might have, say, 4 1/2 beats. Most hymnals today will alter the rhythms of such hymns (such as "O Come O Come Emmanuel" and "A Mighty Fortress Is Our God") to make them 4/4 to make them easier for modern congregations to sing. The uncommon-time versions are usually called "isometric", and the straight 4/4 ones "rhythmic".



** And many more of the newly composed tunes in the same book will lack time signatures entirely, but have bars that are obviously meant to be treated as something like 5/4 or 7/4 when all the other stanzas are 4/4.



** Likewise with "Of the Father's Love Begotten".
** The "Bunessan" hymn has written songs in 9/4 time such as "Morning Has Broken" and "Child in the Manger".
* "Sing of the Lord's Goodness" has the same 5/4 time as Dave Brubek's "Take Five" (see below under "Jazz"), and the melody is vaguely similar.

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** Likewise with "Of the Father's Love Begotten".
** The "Bunessan" hymn has written songs in 9/4 time such as "Morning Has Broken" and "Child in the Manger".
* "Sing of the Lord's Goodness" has the same 5/4 time as Dave Brubek's Brubeck's "Take Five" (see below under "Jazz"), and the melody is vaguely similar.similar.
* "The Truth Sent from Above", at least in the setting adapted by Ralph Vaughan Williams, is typically rendered in 11/4 (5 + 6).



* Music/MartyRobbins' SignatureSong "El Paso" is almost entirely in 11/4 (4+3+4)/4.
16th Nov '17 1:11:39 AM Cryoclaste
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* [[OCRemix Mazedude's]] [[http://ocremix.org/remix/OCR01491/ "Microscopism"]] is in an incredibly bizarre 7½/8 (15/16) time signature.

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* [[OCRemix [[Music/OCRemix Mazedude's]] [[http://ocremix.org/remix/OCR01491/ "Microscopism"]] is in an incredibly bizarre 7½/8 (15/16) time signature.
12th Nov '17 12:19:26 PM CassandraLeo
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* Music/MartyRobbins' SignatureSong "El Paso" is almost entirely in 11/4 (4+3+4)/4.
31st Oct '17 5:35:59 PM DastardlyDemolition
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* In ''VideoGame/{{Mother 3}}'', you can rack up damage combos by tapping the attack button in time with the battle music's rhythm after your attack lands. While the majority of the battle tracks are in the standard 4/4 and 3/4 times and are simple enough to follow, this grows difficult later in the game, especially in tracks mostly reserved for bosses. For instance, [[http://www.youtube.com/watch?v=OjRCgPFS2Jw "Strong One"]] is in 15/8 time (tapped out something like '1-2-3, 1-2, 1, 2, 3'), while the [[http://www.youtube.com/watch?v=DdEF9FlXNno Masked Man]] variation skips a fraction of a beat and becomes ''29/16'' time.

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* In ''VideoGame/{{Mother 3}}'', you can rack up damage combos by tapping the attack button in time with the battle music's rhythm after your attack lands. While the majority of the battle tracks are in the standard 4/4 and 3/4 times and are simple enough to follow, this grows difficult later in the game, especially in tracks mostly reserved for bosses. For instance, [[http://www.youtube.com/watch?v=OjRCgPFS2Jw "Strong One"]] is in 15/8 time (tapped out something like '1-2-3, 1-2, 1, 2, 3'), while the [[http://www.youtube.com/watch?v=DdEF9FlXNno Masked Man]] variation skips a fraction of a beat and becomes ''29/16'' time. The songs "[[https://www.youtube.com/watch?v=27JZ3pmLZkQ Fate]]" and [[https://www.youtube.com/watch?v=FSuHUlmWuuo "Serious"]] are considered ''the'' hardest to combo to (even more so than "Strong One" due to it's American Sports cheer beat of "1, 2, 1-2-3, 1-2-3-4, 1, 2" which require precise hits to combo with.
24th Oct '17 8:25:49 PM LucaEarlgrey
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** "Marry me, Nightmare" [[http://vgm-in-irregular-time-of-the-day.tumblr.com/post/149429678914/day-414-groove-coaster-2-marry-me-nightmare also necessitates thorough analysis]] to figure out what time signature it even is at any given point.

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** "Marry me, Nightmare" [[http://vgm-in-irregular-time-of-the-day.tumblr.com/post/149429678914/day-414-groove-coaster-2-marry-me-nightmare also necessitates thorough analysis]] to figure out what time signature it even is at any given point. point, though it does manage to remain at 4/4 until the end beginning about halfway through the track.
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