Wikipedia:

List of musical works in 7/4 or 7/8 time


Main article: List of musical works in unusual time signatures
This is an incomplete list of songs, which can or may never satisfy any objective standard for completeness. Revisions and additions are welcome.

This list of musical compositions or pieces in Western music that have 7/4 or 7/8 time signatures is necessarily incomplete, and often subject to disagreement concerning the nature of time signatures.

The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page.

Some examples, listed by signature and year released, are:

7/4

septuple meter

Partially in 7/4

  • (1856) "Dante" Symphony by Franz Liszt - a section in the first movement.
  • (1895) Around this time, Alexander Scriabin started introducing 7/4 time into minor motifs, then into themes and phrases, and often played against 3/4, 3/8, 4/4, 5/4 or 6/8 in the other hand. There are hundreds of examples.
  • (1910) "The Firebird" by Igor Stravinsky - ending section.
  • (1936) Tanz from "Carmina Burana" by Carl Orff.
  • (1963) "Ring of Fire" by Johnny Cash - trumpet section plays 3/4 + 4/4 sections.
  • (1965) "Chichester Psalms" by Leonard Bernstein - First Movement.
  • (1967) "Comin' Back to Me" by Jefferson Airplane - each section where Marty Balin sings "I saw you...".
  • (1967) "All You Need Is Love" by The Beatles - verse in 7/4, chorus in 4/4.
  • (1967) "Strawberry Fields Forever" by The Beatles - The "strawberry fields forever" parts are in 7/4 preceded by a 2/4 bar.
  • (1970) "Uncle John's Band" by The Grateful Dead - instrumental section in 7/4.
  • (1970) "Perpetual Change" by Yes - an instrumental section is in 7/4.
  • (1972) "Roundabout" by Yes - contrapuntal vocal section at end is in 7/4.
  • (1972) "Soul Love" by David Bowie - verses.
  • (1973) "The Battle of Epping Forest" by Genesis - introduction and verse in 7/4.
  • (1973) "The Cinema Show" by Genesis - extended keyboard solo in 7/4.
  • (1973) "Money" by Pink Floyd. Predominantly in 7/4. The guitar solo section is in 4/4, as David Gilmour felt it would be too difficult in simple septuple meter. Some may argue the song is (primarily) in 21/8 time, as it has a swing triplet feel.
  • (1973) "The Ancient" by Yes - an instrumental section is in 7/4.
  • (1974) "Don't Eat the Yellow Snow" by Frank Zappa - all but the "Watch out where the huskies go" interpolation which is in 4/4.
  • (1974) "Money Money" by Grateful Dead - much is in 7/4 but also alternates to 4/4 and 6/4.
  • (1975) "All the World" by Kansas - 7/4 section in instrumental break in middle of song.
  • (1975) "Have a Good Time" by Paul Simon – - verses in 7/4, chorus in 4/4.
  • (1975) "Jive Talkin'" by Bee Gees - instrumental break in 7/4 (3/4 + 4/4).
  • (1975) "By-Tor and the Snow Dog" by Rush - the "7/4 War Furor" subsection of the "Battle" section.
  • (1975) "Down Home Town" by Electric Light Orchestra - verses.
  • (1975) "Oceans and Continents" by Jan Hammer - mainly 7/4, middle section more complex - in The First Seven Days
  • (1975) "The Seventh Day" by Jan Hammer in The First Seven Days
  • (1976) "Go To Hell" by Alice Cooper - verse
  • (1977) "A Farewell to Kings" by Rush - section in beginning and end of song (4/4 + 3/4).
  • (1977) "Barracuda" by Heart - Outro in 7/4.
  • (1977) "Xanadu" by Rush - intro (after volume swells) is in 7/4.
  • (1977) "Fooling Yourself (The Angry Young Man)" by Styx - the keyboard solo in the middle of the song. (Note: there are also two measures of 5/8 in the song's closing sequence).
  • (1978) "Curfew" by The Stranglers - verses.
  • (1978) "Accidentally Like A Martyr" by Warren Zevon - the piano bridge.
  • (1978) "La Villa Strangiato (An Exercise in Self-Indulgence)" by Rush - "A Lerxst In Wonderland" section is in 7/4.
  • (1978) "In the Dead of Night" by UK - 1st and 3rd sections in 7/4, 2nd section ("By the Light of Day") in 5/4.
  • (1978) "How Much I Feel" by Ambrosia - first part of bridge section in 7/4 (3/4 + 4/4), rest of song in 4/4.
  • (1979) "Heart of Glass" by Blondie - the instrumental break, later changes to 4/4.
  • (1980) "The Wait" by The Pretenders - verses only, the rest is in 4/4.
  • (1980) "The Spirit of Radio" by Rush - first part of middle instrumental section is 7/4 (4/4 + 3/4), every fourth measure of the 7/4 section is 2 bars of 4/4.
  • (1981) "Wired For Sound" by Cliff Richard - the chorus works out into 7/4.
  • (1981) "Little Girls" by Oingo Boingo - verses.
  • (1981) "Limelight" by Rush - intro and verses (4/4 + 3/4).
  • (1981) "Red Barchetta" by Rush - guitar solo and short instrumental section before final verse (4/4 + 3/4).
  • (1981) "Diary of a Madman" by Ozzy Osbourne - verses in 7/4.
  • (1982) "I Love Rock N' Roll" by Joan Jett - measure of 7/4 (4/4 + 3/4) in the intro, several measures in the last chorus of the song.
  • (1982) "Afraid of Love" by Toto - verses in 7/4.
  • (1982) "Read About It" by Midnight Oil - part of the intro is in 7/4.
  • (1983) "Our Song" by Yes - intro theme in 7/4, used a few times throughout the song.
  • (1983) "Faster Than the Speed of Night" by Bonnie Tyler - short 7/4 sections in the verses.
  • (1984) "Building the Perfect Beast" by Don Henley - a few bars here and there are in 4/4, which heightens the feeling of unevenness in the time signature.
  • (1985) "Addicted to Love" by Robert Palmer - the intro drum solo is 7/4 while the rest of the song is in 4/4.
  • (1985) "Marathon" by Rush – bridge in half time feel 7/4.
  • (1987) "Time Stand Still" by Rush – -intro in 7/4, guitar/bass/"ooh" vocal interlude in 7/4 .
  • (1988) "Blackened" by Metallica – the main/bridge riff is 7/4, the verse is in 6/4.
  • (1988) "Waiting For 22" by Queensrÿche – in 7/4 but changes to 4/4 later.
  • (1989) "Superconductor" by Rush – intro & verses.
  • (1990) "Got The Time" by Anthrax
  • (1990) "Best I Can" by Queensrÿche – bridge, instrumental break, and fade-out.
  • (1990) "Resistance" by Queensrÿche – intro, played as 3+2+2.
  • (1990) "Carnage in the Temple of the Damned" by Deicide – the section preceding the scream of the song title, and where Glen Benton delivers a sort of death-growl rap if you will, is in 7/4.
  • (1991) "Caress" by Drive Like Jehu - main verses.
  • (1991) "Beeswax" by Nirvana – chorus
  • (1991) "Breadcrumb Trail" by Slint - beginning segment.
  • (1991) "Obstruction" by Living Sacrifice - intro and bridge in 7/4, rest is in 4/4.
  • (1991) "Outshined" by Soundgarden – verse and instrumentals
  • (1991) "In Lonesome Dove" by Garth Brooks – verses are mostly in 7/4.
  • (1991) "Small Town Saturday Night" by Hal Ketchum – verses
  • (1993) "4°" by Tool – intro and chorus.
  • (1993) "Awake and Nervous" by IQ; intro and chorus.
  • (1993) "Jack's Obsession" by Danny Elfman from The Nightmare Before Christmas
  • (1993) "If I Didn't Have You" by Randy Travis – verses
  • (1994) "Yes" by Manic Street Preachers – alternates between 7/8 and 8/8 in verses
  • (1994) "Riverdance" by Bill Whelan
  • (1994) "Damaged" by Queensrÿche – bridge.
  • (1994) "Spoonman" by Soundgarden
  • (1994) "Night Is Fallin' in My Heart" by Diamond Rio - intro and portion of chorus feature bars of 7/4
  • (1995) "If I Can't Have You" by Eve's Plum
  • (1995) "Wattershed" by Foo Fighters – bridge.
  • (1995) "Buy Me a Pony" by Spiderbait – also contains 6/4 and 4/4.
  • (1996) "Desperately Wanting" by Better Than Ezra – 4 measures of 7/4 during bridge.
  • (1996) "Forty Six & 2" by Tool – two bars in the intro, drum solo, and majority of ending .
  • (1996) "Legions of the Betrayed" by Quo Vadis – ends in 7/4.
  • (1996) "Politics, Religion, and Her" by Sammy Kershaw – verses.
  • (1996) "A Life of Arctic Sounds" by Modest Mouse – second verse is in 7/4
  • (1997) "Post Modern Sleaze" by Sneaker Pimps
  • (1997) "The Divine Wings of Tragedy" by Symphony X
  • (1997) "Out of the Ashes" by Symphony X – intro guitar riff and pre-choruses are in 7/4.
  • (1997) "Elephant Riders" by Clutch – verse is in 4/4, prechorus is in 9/4, chorus is in 7/4.
  • (1997) "Down in a Ditch" by Joe Diffie - portion of chorus is in 7/4
  • (1998) "Comin' Home" by HUM – verse in 7/4, chorus in 4/4, intro & bridge in 6/4.
  • (1998) "Against" by Sepultura
  • (1998) "Goin' Home" by Toto
  • (1999) "Make Yourself" by Incubus
  • (1999) "Wrong Way" by Creed
  • (1999) "Down with the Sickness" by Disturbed – bridge.
  • (1999) "The Death of Passion" by Nevermore – the end is in 7/4 .
  • (1999) "Running Board" by The Dillinger Escape Plan has a section in 7/4.
  • (1999) "Othello" by Chicago Underground Trio
  • (2000) "Empty Spaces" by Fuel (measure in verse)
  • (2000) "If Credit's What Matters I'll Take Credit" by Hot Snakes from the album Automatic Midnight
  • (2000) "Communion and The Oracle" by Symphony X - instrumental pre-verses/pre-choruses and chorus section in 7/4
  • (2001) "Automatic" by The Dismemberment Plan – album: Change – all but chorus in 7/4.
  • (2001) "Airborne" by Jaga Jazzist from the album "A Livingroom Hush"; first part is in 6/8, the remainder of the song is in 7/4.
  • (2001) "Ol Red" by Blake Shelton
  • (2001) "Push the Hand" by Toadies – verse is three measures of 7/4, followed by one measure of 8/4.
  • (2001) "Carne Voodoo" by Rocket From The Crypt – opening.
  • (2001) "Ticks and Leeches" by Tool – The majority of the song is in 7/4, with occasional switches to 4/4 (or 8/4)
  • (2001) "The Shape" by Slipknot – from Iowa.
  • (2002) "The Monkey Versus the Robot" by Piebald – verses in 7/4, chorus in 6/4 and the breakdown in 4/4.
  • (2002) "Moodswings" by My Vitriol – instrumental break at beginning and end.
  • (2002) "A good example of arbitrary presumption" by Sphere3 – main verse sections
  • (2002) "The Sound of Muzak" by Porcupine Tree – verse and instrumental.
  • (2002) "Wedding Nails" by Porcupine Tree – contains a measure of 7/4 at 1:41.
  • (2002) "Times Like These" by Foo Fighters – instrumental bridges only.
  • (2002) "King Of Terrors" by Symphony X – intro alternates between 7/4 and 8/4; verse alternates between 7/4 and 6/4.
  • (2003) "1010011010" by Cog – contains sections in 9/4, 6/8 and 4/4.
  • (2003) "Inertiatic ESP" by The Mars Volta – bridge.
  • (2003) "Panic Attack" by Finger Eleven – verses.
  • (2003) "Ride" by Samuel Hazo – features a large 7/4 section, along with many sections with varied and polyrhythmic meters.
  • (2003) "Hardball" by Estradasphere – has much variation between 4/4 and 7/4.
  • (2003) "[[2 + 2 = 5 (song)|2+2=5]]" by Radiohead – begins in 7/4 time and then switches to 4/4 1 minute and 22 seconds into the song (right after the words "two & two always makes five").
  • (2003) "This Dying Soul" by Dream Theater - instrumental bridge before final guitar solo
  • (2003)"I Won't See You Tonight p.2" by Avenged Sevenfold – the riff behind the guitar solo is in 7/4.
  • (2004) "A Canon" by Regina Spektor – first line. of pre-chorusish part features a bar in 7/4 ("I always knew it was coming this way...")
  • (2004) "Builder" by Gavin Castleton.
  • (2004) "Consequences David, You'll Meet Your Fate in the Styx" by Fear Before the March of Flames – contains parts in 3/4.
  • (2004) "Fuck Me for Free" by Recover – the verse is in 7/4.
  • (2004) "Little Thoughts" by Bloc Party – ending in 7/4.
  • (2004) "Blackmail the Universe" by Megadeth
  • (2004) "Sunrise" by Norah Jones – bridge only.
  • (2004) "Sacred Sound" by IQ - intro.
  • (2004) "Two Sides" by After Forever – beginning section, repeated later in song.
  • (2004) "Through Square Eyes" by After Forever – section about 4 minutes into the song.
  • (2004) "Hey! Is That a Ninja Up There?" by Minus the Bear – intro in 7/4, verses in 4/4, chorus in 7/4 and the bridge in 6/4.
  • (2004) "About to Rage" by Gov't Mule – verses in 7/4; chorus is 4/4, 4/4, 4/4, 3/4 played twice; most of solo section in 8/4 counted 2+3+3.
  • (2004) "Seven" by Necrophagist
  • (2004) "Yawn, Yawn, Yawn" by Les Savy Fav – verses.
  • (2005) "Protecting Me" by Aly & AJ
  • (2005) "Michio's Death Drive" by Minus the Bear – section in 7/4.
  • (2005) "Between the End and Where We Lie" by Thrice – can also be expressed in 7/8 and 9/8 combination; chorus is 7/4 + 2 measures 4/4.
  • (2005) "So Called Friend" by Porcupine Tree [2]
  • (2005) "Going to Peterborough" by Carpetburn - middle section played in 7/4.
  • (2005) "Deadwing" by Porcupine Tree
  • (2005) "That's Where It Is" by Carrie Underwood
  • (2005) "Wanderlust" by R.E.M. - chorus partially 7/4
  • (2006) "Everlasting God" by Lincoln Brewster
  • (2006) "Detonation" by Trivium 7/4 in the intro to the song. Verses have 4/4, 2/4, 4/4 structure. Rest of song is 4/4.
  • (2006) "Inefficiencity" by Dan Webb
  • (2006) "Crazy People" by Dynamic Monotone - every other measure in instrumental break
  • (2006) "Laps In Seven" by Sam Bush
  • (2006) "The Allegory of Benjamin Franklin" by Pomme De Chien – heavy sections in 7/4 or 4+3.
  • (2006) "Brighter than a Thousand Suns" by Iron Maiden
  • (2006) "Bees" by The Tunguska Event - between second chorus and solo.
  • (2006) "Flathead" by The Fratellis – chant section.
  • (2006) "Attack of the 10 Octave Marimba" by the Lawless Percussion & Jazz Ensemble.
  • (2006) "Mudlark" by Kill Your Ex – most of the song is in 7/4.
  • (2006) "Fadeout" by [[+/- (band)|+/-]]
  • (2006) "Gone" by Daughtry
  • (2006) "Jerry Likes My Corn" by Scott Frankel (music) and Michael Korie (lyrics) from the musical Grey Gardens
  • (2006) "Just Might Have Her Radio On" by Trent Tomlinson
  • (2007) "A Different World" by Bucky Covington - verse
  • (2007) "Most Girls" by Lea - bridge
  • (2007) "Fine Mattress" by Wruice Deuce
  • (2007) "222" by Paul McCartney
  • (2007) "Red Fox" by Tomahawk

7/8

septuple meter, usually 2+2+3

Partially in 7/8

  • (1957) 3rd movement of the Piano Concerto No. 2 by Shostakovich
  • (1964) "Anyone Who Had a Heart" by Burt Bacharach, sung by Dionne Warwick - 7/8 turnaround at the end of the bridge, as pointed out to Bacharach by Dionne Warwick.[3] However the song features "5/4, 4/4, to 7/8 and resolving on 5/8 in only eight bars" according to the All Music Guide.[4]
  • (1968) "Senhor F" by Os Mutantes- verses in 7/8
  • (1969) "My Human Gets Me Blues" by Captain Beefheart & the Magic Band (Don Van Vliet).[5]
  • (1970) "Devotion" by John McLaughlin
  • (1972) "Goodbye" by Chicago- two verses in the beginning and the instrumental after.
  • (1973) "The Cinema Show" by Genesis - the extended outro and keyboard solo.
  • (1973) "The Ocean" by Led Zeppelin 4/4 + 7/8 in the choruses (documented in several Led Zeppelin song books).
  • (1975) "Anthem" by Rush - introduction in 7/8, rest of song in 12/8.
  • (1976) "Chord Change" by Camel from Moonmadness - the first bars of the songs are in a very unsteady 7/8 metre.
  • (1977) "Mad Man Moon" by Genesis - piano solo section.
  • (1978) "Cygnus X-1 Book II: Hemispheres" by Rush- II. Apollo Bringer of Wisdom and III. Dionysus Bringer of Love, intros and main verses.
  • (1978) "Jocko Homo" by Devo – Verses and intro are in 7/8, chorus and bridge are in 4/4.
  • (1978) "La Villa Strangiato (An Exercise in Self-Indulgence)" by Rush – the entire "A Lerxst in Wonderland" section and the first 4 bars of the "Monsters" section.
  • (1979) "Animals" by Talking Heads
  • (1979) "Tattooed Love Boys" by The Pretenders - verses alternate between 7/8 and 4/4.
  • (1980) "Natural Science" by Rush – the "Hyperspace" section is in 7/8 (with the occasional 3/4 turnaround thrown in at the end of a phrase).
  • (1980) "No One Together" by Kansas – parts of the interlude
  • (1981) "Frame by Frame" by King Crimson - verse is in 7/8
  • (1981) "Tom Sawyer" by Rush - the instrumental break (not counting the 3/4 turnaround) and the closing.
  • (1982) "Subdivisions" by Rush - intro and verses in 7/8 and 4/4.
  • (1982) "Golden Brown" by The Stranglers - 6/8 but the instrumental bridges add an extra beat in every other measure, making 7/8.
  • (1984) "Three of a Perfect Pair" by King Crimson - choruses and solo are in 7/8, verses in 6/8.
  • (1984) "Distant Early Warning" by Rush – a few short parts in 7/8 throughout the song, plus sections of 5/8 + 7/8.
  • (1986) ""Alexander the Great"" by Iron Maiden – instrumental part in the middle of the song.
  • (1986) "Piece By Piece" by Slayer - verses.
  • (1986) "The Man Who Sailed Around His Soul" by XTC - verses.
  • (1988) "You Enjoy Myself" by Phish - many passages in 7/4 or 7/8 throughout the song.
  • (1988) "Golgi Apparatus" by Phish - first part of instrumental section alternates between 7/8 and 4/4.
  • (1989) "91 Steps" by Erasure (7 bars of 7/8 then one bar of 3/8)
  • (1990) "Carnage in the Temple of the Damned" by Deicide – the short, abrupt, quirky blast beat changes in the song from straight 4/4 mid-tempo playing is in 7/8.
  • (1992) "Them Bones" by Alice in Chains - chorus and part of guitar solo is in 4/4.
  • (1992) "Malpractice" by Faith No More - variously in 7/8 and 4/4.
  • (1992) "Architecture Of Aggression" by Megadeth - bridge.
  • (1993) "Lost Machine" by Voivod
  • (1993) "Saint Augustine in Hell" by Sting
  • (1993) "Love Is Stronger Than Justice (The Munificent Seven)" by Sting - verse only. [1]
  • (1994) "The Day I Tried to Live" by Soundgarden - verse and much of chorus alternate as one measure of 7/8 and one of 4/4.
  • (1994) "March of the Pigs" by Nine Inch Nails - verse and intro varies from 7/8 and 4/4.
  • (1994) "I'm Broken" by Pantera - verses
  • (1995) "Bury Me In Smoke" by Down - intro alternates between two bars of 4/4 and 4/4 + 7/8
  • (1995) "Bro Dependent" by Lagwagon is 7/8 and 4/4.
  • (1995) "Die To Live" by Steve Vai - alternates between 7/4 (or 7/8?) and 4/4.
  • (1996) "That, That Is" by Yes - contains several sections of 7/8.
  • (1997) "Mindfield" by Tidal Wave - midsection including guitar solo
  • (1997) "A Fall Thru the Ground" by John Frusciante - in 7/8 until 2:03, where it switches to 4/4.
  • (1997) "Paranoid Android" by Radiohead - has several four-measure sections consisting of three measures in 7/8 followed by one of 4/4.
  • (1997) "Venus Man Trap" by Veruca Salt
  • (1997) "Waltz in 7/8" by Yanni - starts in Alla Breve (Cut) Time and The goes to 7/8.
  • (1997) "The Accolade" by Symphony X - several 7/8 sections throughout.
  • (1997) "Providence" by Godspeed You! Black Emperor - The movement "Dead Metheny" is in 7/8, roughly 2:45 to 10:51 on the cd version.
  • (1998) "Bad Religion" by Godsmack - end of the song.
  • (1998) "Spark" by Tori Amos, 6/8 and 7/8 verses
  • (1999) "Closing In" by The Living End - riff from 1:00 to 1:24
  • (1999) "Infinity Machine" by I Mother Earth
  • (1999) "Better World" by Toto
  • (2000) "Negative Space" by Spineshank
  • (2001) "Rise n' Shine (Epic Doobie Nightmare #1)" by Estradasphere, during the section where the right speaker cuts in and out.
  • (2002) "And All That Could Have Been" by Nine Inch Nails - verses.
  • (2002) "Seven-Eight" by Funky Rx - entire song.
  • (2002) "Deliverance" by Opeth - intro part.
  • (2002) "Carbon" by Tori Amos - 6/8 7/8 verses.
  • (2002) "Motherfucker=Redeemer (Part Two)" by Godspeed You! Black Emperor – the first recognizable beat up until around 7:16 on the cd version is in 7/8.
  • (2003) "Gravity" by A Perfect Circle - most of the song, with the ending written in 8/8.
  • (2002) "Shrimp.SNG" by Sphere3 - various sections
  • (2003) "Streetlights, Empty Wells" by Anatomy of a Ghost - 1st verse and part of middle.
  • (2003) "Fireproof" by Pillar - the bridge contains one measure of 7/8 at the end.
  • (2003) "Massive Bereavement" by Oceansize
  • (2004) "Chewbacca Wookie" by Bryan Pardo - Into the Freylakh
  • (2004) "Earth City" by Martin O'Donnell (from the Halo Original Soundtrack) - the melody alternates each measure from 6/8 to 7/8.
  • (2004) "The Bitter End" by Sum 41
  • (2005) "It's Not Me" by 3 Doors Down - bridge.
  • (2005) "A Classic Arts Showcase" by ...And You Will Know Us by the Trail of Dead- album: Worlds Apart - beginning and ending in 7/8, middle in 4/4.
  • (2005) "Farting With a Walkman On" by Bloodhound Gang - last measures.
  • (2005) "Believe" by Journey - switches to 4/4 later.
  • (2005) "Fight For All The Wrong Reasons" by Nickelback - breakdown.
  • (2005) "Lately" by David Gray - verse and instrumental.
  • (2005) "Event Horizon Escape" by Periphery - verses and bridge.
  • (2005) "General Grievous" from the Star Wars Episode III soundtrack by John Williams - includes several noticeable phrases featuring 7/8 and alternation between 3/4 and 9/8.
  • (2005) "Avenue X" by Jonathan Newman - several brief phrases scattered throughout piece.
  • (2006) "Oboe Schuhe Overture" by Pomme De Chien - sections in 7/8 time.
  • (2006) "Intension" by Tool
  • (2006) "Slow Cheetah" by Red Hot Chili Peppers - final instrumental section.
  • (2006) "Giraffe Food" by Redrick Sultan - verses.
  • (2006) "This is Not a Love Song" by Dawn Xiana Moon - intro and verses.
  • (2006) "Petslenen" by Pomme De Chien - short sections switch from 7/8 to 4/4.
  • (2006) "Unmarked Graves" by Misery Index
  • (2006) "Degradation" by Flatline - chorus is 7/8 7/8 7/8 8/8 while solo is 8/8 7/8.
  • (2007) "Child of the City" by Clutch
  • (2007) "Era Vulgaris" by Queens of the Stone Age - Middle 8
  • (2007) "Bird In a Cage" by Dynamic Monotone - last measure of last bridge
  • (?) "Riding on the Wind" by Guo Wenjing - first and last 3 to 4 minutes in 7/8 (2+3+2 and 3+2+2) as well as occasional phrases in 5/8.
  • (2007) "Quarter Past" by The Fall of Troy - Pop/punk style part of the chorus.

See also

References

  1. ^ Smith, Michael B. "The Strange Remain", All Music Guide: "bizarre time signature".
  2. ^ Harrison, Gavin. http://drummerworld.com/forums/showthread.php?t=698&page=8
  3. ^ Author unknown/uncredited (1978). "Bacharach and David", 'Bacharach and David'. Almo Productions.
  4. ^ Greenwald, Matthew "Anyone Who Had a Heart", All Music Guide.
  5. ^ Planer, Lindsay. "My Human Gets Me Blues", All Music Guide: "complex time signature".

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