No Beatles neither. Isn't his first video without Radiohead or the Beatles?

@@pierreyveshuet1763 nope

I’m afraid with these oddest of odd time signature we are now reaching beyond the realms of Radiohead (and the Beatles!)

@@DavidBennettPiano truly video game music is the highest form of art

@@pierreyveshuet1763 I think it is.

I agree. Very pleasing.

Mostly signatures with extra measures at the end often sound artificially extended unless bars are based on melodic motive naturally including these portions of 3 and 4.

1 e + a 2 e + a 1 2 1 2 3

I can see the appeal but it’s not really my favorite. It’s pleasing, yes, but it’s hard to make feel natural to me.

Really? I find it incredibly hard to follow. I would love to know how to follow it, but I just can't.

I love that song 😊

@@DavidBennettPiano i trust no one who doesn't like that song, haven't find such person yet tho.

@@miserirken Neither have I.

I always felt it as 4 4's with 3 lopped off of the last one. It's one of those songs where form follows functionin a beautiful way - she's describing being urgently, overpoweringly in love so of course there's no time for those last three notes of filler, we MUST jump right to the next line so she can tell us more. Beautiful song, and great description as always @David Bennett Piano !

@@miserirken I don't like it

They’re all prog and math rock.

My proposal for a musicology thesis project looks at this. its more common than you think.

Masterpiece of a song

King Crimson has several examples of odd meters. In fact, i'm surprised about the fact that David has never used King Crimson as examples. They're such masterpieces!!

@@velvetyamaranth8381 hi, I guess his tastes are not of that line, but he should talk more about kc in his videos, yes.

King Crimson is called "king" for a reason haha. The 13/8 solo section (or whatever the heck that is) in the song Starless is just masterful. That part literally taught me counting odd signatures, it's so clear and natural.

starless from what i know also uses 13/8 close to the end

Kid

@@yourcommentisntfunnyv2709 what

@@yourcommentisntfunnyv2709 stoopid

@@edgemonster6293 i forgot why i said this

Hamasyan*

😢

It wouldn't have shown 13:8 anyways, it would show 13:08. It's not the same for me.

13:16 still counts, he showed some 13/16 stuff

Then it switches up to 13/8 in the third part if I recall correctly

Exactly what I thought of. The jam at the end of the track is mostly in 13/8 and yet has an incredibly infectious groove

Gavin Harrison played in Porcupine Tree before (and after) his time in King Crimson, and there’s a great video in which he describes how he thinks of The Sound of Muzak in 7/16 rather than 7/8.

wow i guess im not the only one who clicked here with king crimson in mind

It also switches up to 13/8

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@@DavidBennettPiano Thanks for your channel, David. I would suggest (and maybe someone else has) that the Weapons Factory has 6 beats in it, but the 3rd beat is 1.5 times as long as the other 5. 6/8 has two beats in it, right? And they're 1.5 times as long as the beats in 3/4 - assuming eighth notes are constant. 7/8 often has 3 beats - maybe 2 + 2 + 3 (i.e. a long 3rd beat - common in certain Balkan music), or 3 + 2 + 2 (i.e. a long 1st beat - super common in lots of Greek music). In that part of the world 9/8 can be an irregular meter, 2 + 2 + 2 + 3, very much 4 beats, just one of them longer than the others. And BTW, I prefer irregular to odd. Irregular more descriptive, odd has other connotations. lionandtheeagle.bandcamp.com/track/postupano-and-eleno-mome-andy-busuttil-and-philip-griffin Here's a Macedonian tune in 13/8 (2 + 2 + 2 + 3 + 2 + 2) segued with another Macedonian tune in 7/8 (2 + 2 + 3)

trues

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It's probably because they are not actually rhythmically coherent. Think of it like the art people make that's just a few lines and dots and people say yep looks like art to me. It may seem like music but in reality it's just a made up signature that doesn't follow the rules of math which is what makes music rhythmic in the first place. It feels like playing along with someone who doesn't count and misses a beat so you gotta compensate and just skip one yourself

@@michaellopez4746 On a scale of 1 to 10 how much do you enjoy smelling your own farts? Eight? Nine?

@@michaellopez4746 what does this even mean

Complete nonsense.

didn't know that! That's amazing

Tony Banks (who doesn't always enjoy playing live) found it amusing seeing people try to dance to this song because it has a strong pulse (making people want to dance) but the extra beat kept throwing them off.

There's a section of "Robbery, Assault and Battery" that is in 13 as well. That's Phil at his Brand X best.

@@dougdrazga4461 Phil in his prime was a drumming monster. His duo with Bruford on the live version of the cinema show is incredible.

Me too. I’d love that

Trying to figure out what it says about me that this was the first example I thought of and went looking for this comment

@@alyssagendron4209 Me, too. It was the song that I first noticed the time signature. It's probably why I find it so catchy.

Yes!! Everything's Alright from Jesus Christ Superstar is my absolute favorite 5/4 piece.

he knows and chose not to include it :(

This comment section is not free from Cats (2019) discussion

ikr? Ive been trying to figure out if its a cover or not bc i need the full version!

I had the same thought. Also, wouldn't mind the lighter version that includes the car meows.

Oh yeah, that came to my mind too! I'm gonna have to listen to that album again, it's so good...

Nice! I’ll check it out

Yeah, that song has an interesting time signature. Talking as a DM fan, it's a shame that the song sucks :-(

Speaking of DM and odd times/rhythms (not something they’re exactly known for), in the old b-side “Now This Is Fun,” the drum machine does a wacky stutter I’ve never been able to work out. I’m told it shifts to quintuplets, but I still don’t hear it. Anyone?

@@mandel94 I don’t think it’s sucks per se as it does have some dark DM lyrics and some meaty bass synth, but I agree that it is an odd choice for the album in general, with it being quite an angry, politically-themed album

@@sharpphilip yeah, that's a tough one to count, as that weird little break even switches up in thr middle.. love that section, though

If he ever runs out of Radiohead and Beatles he could continue this series with just king gizzard. Maybe he could start one on polyrythms using them as a regular example

The short riff at the end of searching is in 13/8 but this one follows the 3-3-3-4 pattern like golden brown

Ontology goes so crazy live

Fine. I always hear it as three measures of 4 and one measure of 1.

This song is melting my brain right now dude thank you so much.

@@ericowen4469 Of course man! I recommend giving the entire OST a listen, and also playing the game if you can. The music is extremely psychedelic without resorting to just being super weird. Genius work by Disasterpeace imo

@@guyedwards22 the game is actually so freaking hard to beat it 100%

That soundtrack and the game are a masterpeace or should i say a Disasterpeace?

Schism alternates between 5 and 7 in the verses, but in those sections between the verses they double the length of the last note in the 5 part, so it becomes 6/8 + 7/8 = 13/8.

I think he did briefly, about 1/4 to 1/3 of the way through the video.

@@wozaow I meant that when I clicked on the video, I was hoping for it! I know he mentioned it :)

Most of The Collector from With Teeth is also in 13/8.

this is a similar time signature shifting in Alfred Reed's El Camino Real for concert band

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Robbery, Assault & Battery is the first (and the craziest) thing that comes to my mind in 13. That absurd solo right in the middle of a fairly simple joyful song is pretty weird even for my Genesis fetish.

Hey, we already got 2 Genesis songs in this video, 3 might be pushing it ;)

@@mintegral1719 no amount of Genesis songs can ever be too many Genesis songs :D

Tam Lin is mainly in 3/4; in the verses, every fourth bar has an extra beat. So one could say that the verses vary between 6/8 and 7/8, but not 13. The instrumental passages are firmly in 3/4.

I love how Fairport played with time, at the beginning they almost sound always the same but then you begin to notice how much they put in the rhythmic section doing apparently very simple things that are actually very particular

funnily enough, the solo of robbery assault and battery is in 13/8

Down And Out uses one bar of 4/4 and one bar of 6/4, of course the chorus is in 4/4. It sounds more complicated than it actually is, thanks to the complex and whacky drum beat that Phil plays there. And Tony as usual plays a billion different chords over that d-pedaltone, which doesn't make it sound any easier. Add Mike's guitar riff there and you have some pretty proggy stuff.

I've always counted the verse in Down & Out in 5/4, chorus 4/4

@@JeffWardMusic That's interesting, you could count it in 5/4 as well, however, for some reason I have thought about it having a bar 4/4 and a bar of 6/4 instead.

Down and Out is in 5/4 or possibly 10/8

Starless was the most-suggested song on his Reddit post about songs in odd time signatures, but I very much understand why he wouldn't want to include a King Crimson song in his video. Fripp is notorious for copyright strikes...

@@mintegral1719 Oh, right! I forgot about Fripp' infamous streak. Nice to see it was, at the very least, considered. :D

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Golden Brown is a beautiful example of the 3/3/3/4 grouping, it works so well. The last four notes of the phrase in the harpsichord (?) part tickle my brain so well

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