980 Sentences With "time signature" | Random Sentence Generator

Like the rolls themselves, the time signature here is lost.

That's what I think of when I hear this time signature and the piano.

Some other stipulations in the bill: All students at public and private schools would be required to memorize the anthemIt should be played in accordance with its original composition, a 2/4 time signature when played instrumentally and a 4/4 time signature when sang.

Various options for adjusting time signature, steps, and randomization allow for creating unique irregularities and polyrhythms.

After careful analysis, he decided to take the unorthodox approach of changing the anthem's time signature.

The closing ballad, "Liquid Lady," really mesmerizes with your shadowy lyrics and the 3/4 time signature.

This may come as a shock, but Ariana Grande has finally parted with her long-time signature hairstyle.

Mr. Okazaki used no overdubs or effects and never changed a piece's key, time signature or central melody.

Every page reads about the same, and it starts to feel like a specific time signature in music.

The song was in a different time signature, meaning it was in 4/4 measure [instead of 3/4].

I think musically it's really interesting; I played with time signature shifts and there are a million chord changes.

"18,19" is similarly aggressive and knotted, tripping over its own time signature shifts but somehow never losing its fleet footing.

He changed the time signature between the verse and the chorus, he came up with that banjo part that is so signature.

She closes the piece with a flourishing Beethoven-like concerto ending, having traveled through three key changes and four time signature changes.

In contrast to the love theme, the ambition leitmotif features a 4/4 time signature, a driving rhythm, and a steadily ascending melody.

It does an okay job without any help, but you can dive in to change the chords or pick a different time signature.

And here's another great riff that's in the same key and just about the same time signature, let's see if they can work together.

Although the first movement begins with a lyrical — even hummable — vocal line, its time signature is out of alignment with that of the piano.

The piece consists of a series of hacked digital metronomes that move in response to a live data stream, rather than a regular time signature.

One such fugue, written in 1803 in the knock-knee time signature of 5/8, will appear on Mr. Ilic's third Reicha disc next year.

He revolutionized how the rhythms of sub-Saharan African music are transcribed, employing the 20163/8 time signature rather than a simple two-beat measure.

Similarly, the music that DeepBach creates is limited to only a single key and time signature, accommodations made to make analysis of the source material simpler.

Set in a lilting 3/4 time signature, this languorous, meandering theme perfectly captures the vertiginous state of suspended animation that often accompanies falling in love.

Sometimes he uses an odd time signature to communicate a feeling of restless propulsion; elsewhere he simply adds a hint of swing to a seemingly straight rhythm.

According to the suit, Clanton also claims the 2 tracks have the same climactic moment and the same 2/4 time signature of two beats per measure.

A lot of other producers asked me about how I made these drums or how I found this bounce without realizing it's in a different time signature.

And there is, of course, a further diffusion—these human lives are seen in counterpoint to natural life, the different life rhythms pushed into the same time signature.

When I later learned that it was in an odd time signature, featured lots of black keys, and was composed by Carpenter himself, I appreciated it even more.

Every movement was as sharp and precise as any child could hope to make it, her body could align itself with any time signature, no matter how intricate.

The time signature speeds up and suddenly we're moved from an anesthetized bossanova to something more insipid—something that sounds a whole lot like the evil twin of disco.

For my skill range, it's a fairly complex chord structure in an odd time signature, but it was so effortless, I knew this is where I was to head next.

"Go to Sleep" marries folk-rock to a strange but fluid 10/8 time signature as Yorke plaintively wishes for the day's misery to "wash all over [him]" like a dream.

There's no release date yet for the upcoming film, but the movie has actually been in the works for a while — which may explain why Thorne is rocking her one-time signature bangs.

That number, of all things, is "Skimbleshanks the Railway Cat," the random train song that features the world's most extra time signature (13/8, my god!) and one of Cats' most forgettable characters.

Okazaki's firm, flinty touch gives his guitar playing a feeling of warmth and dependability — the comfort of a heavy blanket — even when he's capering through an odd time signature or chasing down a crooked melody.

In an early scene, Jimmie skateboards out of his neighborhood — the faithful Mont hops on the board behind him — into a city that becomes progressively white and visually static (they breeze by in a different time signature).

The central conflict of the track is the fact that it has two kinds of time competing for your attention: the repeating central synth figure is in one time signature, and the techno drum programming is in another.

This meant they were celebrated by BTEC music students who could make mathematical sense of the odd time signature in a track like "Two Steps Twice," but also that they became a soundtrack for soon-to-be hedonistic teenagers.

They each wield melody like a hammer to the head, making it clear that these songs aren't about noodling around in a 7/4 time signature, but are all about the clarity of tone that the best pop so often creates.

Furthermore, the orderly structure of the grids entices the viewer to peruse the aligned images as a musical score, visually representing a piece of music's time signature, phrases, measures, and tempo, with the black monochromes representing rests, that is, silences.

There are a lot of reasons this can happen, but a new website called Disconest seeks to solve a few common snags by compiling metadata including the musical key, BPM, and time signature of your records, which should certainly be helpful to beginners.

"Tan" started because I was in Berlin at this Turkish rave that they have once a month over there, and there was this song playing with a beat that I was very intrigued by because it was a very weird time signature.

The beat is a regular 4/4 march, although played by a group of assembled drum machines significantly more dextrous than the rock drummers typically attracted to the time signature, the product of disco drum sound even if Prince eschews disco's slinkier rhythms for straightahead whomp.

At times the band's music flirts with technical time signature shifts and rapid-fire djent accents, but unlike in some nascent scenes where bands are still figuring out how to meld disparate styles, these guys seem to put it all together in a way that comes off naturally.

About halfway through the 15-minute "miracle and streetfight," after a brooding, unaccompanied passage from the string quartet, Mr. Gilmore's drums dance swiftly into a crooked new time signature, and Kool A.D. cuts in hard against him, taunting: AmericaAmericanaAmerica, nahThe big monstaThe pigs kill men with the pigments darka.

Barely over 20 years old, the Montreal-based lo-fi trio of guitarist Augusta Veno, bassist Charlotte Dempsey, and drummer Anwyn Climenhage shows impressive depth for their age with biting lyrics like "I'm so tired of myself I'd punch my shadow on the pavement" and sudden frantic-yet-melodic time signature shifts.

Long a staple fashion subculture, Goth has been dragged into the bright glare of the mainstream with long-time signature items, like dark lips, skull embellishments, and coal-black palettes, recently popping up on surprisingly sunny people — such as Taylor Swift, whose latest style chapter has been called goth by more than one publication.

What makes Tool so appealing to a superficially ambitious audience is that they appropriate the fun parts of prog—the odd instruments (you'll hear a fair amount of didgeridoo samples on Lateralus); the intricate and oscillating compositions (Lateralus' title track plays around with a time signature based on Fibonacci's Golden Ratio)—but without the intellectual complexity.

The time signature is . Unlike Messiaen's later style, neither the tempo nor the time signature present any changes in this section. The first section is meant to express "the anguish and useless torment of life". The second section, however, is marked "Très lent" and has a time signature of .

The song is played in the compound time signature of 6/8.

For the verse the time signature is 4/4 which uses power chords A5, D5, G5, and C5. In the chorus, for the lyric, "Take a ride on the", the time signature changes to 2/4. For the bridge and outro, the time signature changes to 12/8 which uses Power chords C5, A5, and D5. The song does not have a true guitar solo.

Its tempo is molto vivace – prestissimo, the time signature is , and the key is G major.

This is common in old vocal music such as Gregorian Chant. # There is no time signature but the direction 'Free time' is written above the stave. # There is a time signature (usually ) and the direction 'Free time' written above. # The word is written downwards across the stave.

This pattern is easily modified to fit the time signature of the specific Coimbra Fado being played.

The keys are given for the Weimar version. The time signature is provided using the symbol for common time ().

This is slightly different from the formatting illustrated in the text above, due to technical restrictions. A metronome mark may be placed immediately after the time signature if the time signature is part-way through the music, or below it if the time signature is at the beginning. If present, this will be identical to the metronome marks used in Western music (this is the only place in numbered notation where Western symbols for note values such as quarter-notes and eighth-notes are used).

Leopold Godowsky's 53 Studies on Chopin's Études include two versions. The first one arranges the sixteenth notes arpeggios for both hands in contrary motion and changes the time signature to . The second version in D major gives two voices to be played entirely with the left hand alone. The time signature is 2 × .

The signature riff takes over again, then . The final riff is . The band has referred to the time signature as .

Lanois and D'Angelo originally began working on a rock-oriented song in a time signature, but "it didn't pan out".

It is in a minor key, and has a 4/4 time signature, but has also been played in 3/4.

The meaning of this expression should not be confused with concepts like rubato, or ad libitum which usually refer to a relative freedom of the musician in following the time signature. In this type of singing there is no time signature at all, so freedom is absolute, and the only restrictions are those imposed by the traditional basic melody.

"Living in the Past" is a song by British progressive rock group Jethro Tull. It is one of the band's best-known songs, and it is notable for being written in the unusual time signature. The time signature is quickly noted from the beginning rhythmic bass pattern. The single reached number 3 on the UK Singles Chart.

"I'm Not Trading" is a song by the British industrial music/hard rock band Sunna with an unorthodox '5' beat time signature.

The track "Microphones in the Trees" is in the time signature of 5/4, with the main riff subdivided into 5/8.

The work is in the key of D minor with a central section in D major; the time signature is 6/8.

The second mazurka is in E minor and has a time signature of 3/4. It also has the tempo marking: Andantino.

The third Mazurka is in B major and has a time signature of 3/4. It also has the tempo marking: Animato.

Nikki Sixx described "Wild Side" as more complex compared to some of the simpler songs on the album. It is one of the few Mötley Crüe songs that changes in time signature. Sixx had written the song during the most dangerous part of his heroin addiction. He mentioned this in The Heroin Diaries: A Year in the Life of a Shattered Rockstar. The song's tempo is 118 beats per minute and the main riff uses a chord progression of A minor 7th, D sus, and D minor, on a guitar using distortion. The time signature of the song is a basic 4/4 time signature. In the intro it switches from 4/4 to 2/4. In the chorus the time signature changes from 4/4 to 2/4 on the chorus.

King, Anthony (1961). Yoruba Sacred Music from Ekiti p. 15. Ibadan: University Press. The standard pattern is written in a polymetric + time signature.

"Echo" is composed in the key of D major with a tempo of 104 beats per minute, and a musical time signature of .

"Sparrows" is composed in the key of A♭ with a tempo of 70 beats per minute and a musical time signature of .

For example, the melody in the second movement is first played by the piano in , whereas the accompaniment has a time signature of .

Free time is a type of musical anti-meter free from musical time and time signature. It is used when a piece of music has no discernible beat. Instead, the rhythm is intuitive and free-flowing. In standard musical notation, there are seven ways in which a piece is indicated to be in free time: # There is simply no time signature displayed.

"Let the Redeemed" is composed in the key of A with a tempo of 80 beats per minute and a musical time signature of .

"Here Again" is composed in the key of D major with a tempo of 81 beats per minute, and a musical time signature of .

"To the Max" is in the key of D flat major. The tempo is 160 BPM with a time signature of 4/4 time.

"Egypt" is composed in the key of A♭ with a moderate rock tempo of 75 beats per minute and a musical time signature of .

The music video for "Retreat! Retreat!" was produced by Media lounge. An unusual time signature 10/4 is used in the middle of the song.

"Ain't No Grave" is in the key of B minor with a moderate rock tempo of 74 beats per minute and a musical time signature of .

"King of Kings" is composed in the key of D major. The song has a tempo of 68 BPM, with a time signature of 4/4.

The main riff from this song and the verse riff from "Get on the Snake" are very similar, apart from a difference in the time signature.

"Hymn for the Weekend" is written in the key of C minor set in a time signature at a moderate tempo of 90 beats per minute.

"See a Victory" is composed in the key of B♭ major with a tempo of 155 beats per minute, and a musical time signature of .

The final mazurka in the set is in A-flat major and has a time signature of 3/4. It also has the tempo marking: Allegretto.

The key signature is F major, the time signature is 3/4 time. The vocal range covers C4 to F5 with a tessitura from F4 to F5.

The time signature then changes to and in the following four measures Mozart reverts to a typically Baroque style. The piece concludes with a simple authentic cadence.

"God of Revival" is composed in the key of D♭ with a moderate rock tempo of 72 beats per minute and a musical time signature of .

The interlude with the bass and drums and subsequent guitar solo both have a 12/8 time signature, and other parts of the song use 4/4.

"Daisies" is a pop and electropop song with acoustic guitars that runs for 2 minutes and 53 seconds. Written in the key of F# Major, the song has a time signature time signature of common time and a moderately fast tempo of 122 beats per minute. The song also follows a chord progression of B-D#m-C#. The track "celebrates the strength of the human spirit as it overcomes adversity".

The song is in the key of A major with a moderate tempo in 4/4 time signature, and a main chord pattern of D-A-E-F7.

A time signature to the right of the clef indicates the relationship between timing counts and note symbols, while bar lines group notes on the staff into measures.

The first mazurka is in C-sharp minor and has a time signature of 3/4. It also has the tempo marking: Maestoso. The Mazurka op.41 no.

"So You're Saying There's a Chance" builds to a hook through a variety of time signature changes. Its title is a reference to the film Dumb and Dumber (1994).

This "time signature" can be altered programmatically throughout the piece of music, allowing tempo to rise, shift, swerve erratically or any combination of these as the musician sees fit.

The Rapademics liner notes (print) On this album, Ohene introduced the concept of "neo cubism," in part inspired by Picasso's Cubism, in which stereo panning creates alternate endings to the story.HipHopDx.com Review: The Rapademics The Rapademics also fuses classical music with hip-hop and is the first hip-hop album to use the Waltz time signature 3/4 (nearly all hip-hop songs are in 4/4 time signature).Omega, Courtney. "Philadelphia." Murder Dog Magazine.

The song was recorded by Ronnie Milsap and released in November 1974 as the lead single from his album A Legend in My Time. This was Milsap's sixth country hit and his third number one. The single stayed at number one for a single week and spent a total of ten weeks within the top 40. Milsap's recording altered the song from its original 3/4 time signature to a 4/4 time signature.

Afrobeats shares a similar momentum and tempo to house music. Rather than only featuring a 4/4 time signature of Western music, afrobeats commonly features a 3–2 or 2–3 time signature called a "clave". Another distinction within Afrobeats is the notably West African, specifically Nigerian or Ghanaian, accented English that is often blended with local slangs, pidgin English, as well as local Nigerian or Ghanaian languages depending on the backgrounds of the performers.

The beginning of the work's score, with its unusual tempo and time signature Comme le vent (Like the wind) is the first of the Études in the minor keys, Op. 39 for solo piano by the French composer Charles-Valentin Alkan. It is in A minor. The tempo marking is prestissimamente ( = 160), and the unusual time signature further encourages a fast performance. The piece is mostly quiet, but is interrupted by short loud outbursts.

A slow movement in F minor and with a 3/4 time signature. # Finale: Allegro molto. The sonata ends with a fast movement in E minor and 3/4 time.

A common optional feature was a neon lamp which lights up in time with the beat. Very few electromechanical metronomes provide time signature chimes in addition to the basic tempo.

The first Mazurka in the set is in B-flat major and has a time signature of 3/4. It also has the tempo marking: Vivo e risoluto (Tempo:♩=160).

The time signature is written as a horizontal fraction: `2/4`, `3/4`, `4/4`, `6/8`, etc. It is usually placed after the key signature. Change of time signature within the piece of music may be marked in-line or above the line of music. Some pieces that start with cadenza passages are not marked with time signatures until the end of that passage, even if the passage uses dotted barlines (in which case time is usually implied).

Erasure's recording was remixed by William Orbit and became a popular hit in dance clubs. Also included on the single as a B-side is "91 Steps", an instrumental with complex synthesizer programming and unusual time signature in which upon play, some listeners may think it is their CD player skipping. The track utilises repeating cycles in which the first seven bars use a 7/4 time signature, followed by one bar in 3/4 time.

Some composers have used fractional beats: for example, the time signature appears in Carlos Chávez's Piano Sonata No. 3 (1928) IV, m. 1. Both and appear in the fifth movement of Percy Grainger's Lincolnshire Posy. Example of Orff's time signatures Music educator Carl Orff proposed replacing the lower number of the time signature with an actual note image, as shown at right. This system eliminates the need for compound time signatures, which are confusing to beginners.

A number of sources mention the song as a plyasovaya or a khorovodnaya. Alexander Potebnja regards it – for its time signature – as an example of the so-called summer or spring songs.

The song is in a moderate tempo and time signature, in G mixolydian with a main chord pattern of G-F/G-C/G-G. Bryan's vocals range from B to E.

The band's sound has been described as "nauseating, disorienting and gleefully disharmonic", and is characterised by extremely technical death metal with extensive use of dissonance, time signature changes, and complex song structures.

"Incident at Neshabur" is the fourth track from the 1970 Santana album Abraxas. Co-written by pianist Alberto Gianquinto and Carlos Santana, the instrumental has several jazz-inspired rhythm and time signature changes.

A natural sign placed before a note renders that note in its "natural" form, which means that any sharps or flats applying to that note from the key signature or from accidentals are cancelled. Sometimes a courtesy accidental is used in music where it is not technically required, to remind the musician of what pitch the key signature requires. Following the key signature is the time signature. The time signature typically consists of two numbers, with one of the most common being .

"Holy Water" is composed in the key of D with a moderate rock tempo of 73 beats per minute and a musical time signature of . The singers' vocal range spans from C4 to C5.

Most cakewalk music is notated in 2/4 time signature with two alternate heavy beats per bar, giving it an oompah rhythm.The Smithsonian Collection of Classic Jazz. Revised edition, 1987. Smithsonian Institution Press, pp.

The male part of the song is in 4/4 time signature whereas the female part is in 3/4. Lee's voice is recorded with more reverberation than Nancy's, making it sound bi-dimensional.

The canon is written in the time signature of cut common time and in the key signature of A major. The theme is 16 bars long; each of the four voices enters after four bars.

"The Blessing" is composed in the key of B with a tempo of 70 beats per minute and a musical time signature of . Carnes' and Jobe's vocal range spans from F♯3 to E5.

Any perceived or imagined bitterness in the lyrics is offset by the gentleness of Dylan's singing and the delicacy of the accompaniment. Most people would not see any bitterness in these lyrics. The song is in a symmetrical 12-bar blues form. Music critic Robert Shelton has described the song as having a melody that is gentle, with relaxed phrasing and a swaying, waltz-like rhythm, although it does not use the 3/4 time signature of a waltz but rather a 4/4 time signature.

Sometimes a piece is written with multiple time signatures simultaneously. For example, it might specify `4/4 2/4 3/4 5/4`, meaning that the length of measures is irregular and can be 4, 2, 3 or 5 quarter-notes. The time signature of the first measure is always specified first, and the others are placed in increasing order of length. Usually, the time signature is formatted as two numbers placed vertically on top of each other, with a horizontal line separating them.

When an entire bar is devoid of notes, a whole (semibreve) rest is used, regardless of the actual time signature. The only exceptions are for a time signature (four half notes per bar), when a double whole rest is typically used for a bar's rest, and for time signatures shorter than , when a rest of the actual measure length would be used. Music Notation: A Manual of Modern Practice, second edition, by Gardner Read (Boston: Alyn and Bacon, 1969): 98. (Reprinted, New York: Taplinger Publishing Company, 1979).

Although tensions were high during the recording sessions for the White Album, the Beatles worked together as a unit to complete the song's challenging rhythmic issues and time signature changes. A demo of the song, recorded at George Harrison's Kinfauns home before the album's recording sessions, showed the song in its initial stage, with only a few portions present. He helped with the time signature changes through his knowledge of Indian classical music. The final portion of the song features backing vocals by Harrison and Paul McCartney.

It has a faster tempo and more of a new wave pre-techno sound compared to the preceding instrumental, "The Sheltering Sky". It contains heavy influences of minimal music in the form of a repeating theme with subtle variations introduced over time, creating a hypnotic effect. The composition undergoes many time signature changes. There are two main guitars (one played by Robert Fripp the other by Adrian Belew) which are often in a different time signature, giving the song a chaotic and intense feel.

"See You Again" is a hip hop and pop-rap ballad. It was written in the key of B major with a time signature of and has a tempo of 80 beats per minute (Andante/Andantino).

The song is composed in the key of C major and is set in time signature of common time with a fast tempo of 216 beats per minute. Hoppus's vocal range spans from G4 to A5.

"Let It Rain" has a duration of four minutes and thirty-one seconds and is written in the key of E major, with a tempo of 148 beats per minutes. It has a time signature of .

Case in point: the bridge of their classic song "Como un Duende" where they switch time signature and melody. In their early days, they often rehearsed at the home of their grandmother, Guatemalan poet Magdalena Spínola.

The habanera rhythm's time signature is . An accented upbeat in the middle of the bar lends power to the habanera rhythm, especially when it is as a bassListen again. Experience Music Project. Duke University Press, 2007.

The prelude is in the key of B minor and in the time signature of cut time (2/2). It is in 2 voices and has 66 measures. There is rarely any ornamentation in this piece.

Biermann's musical arrangement of "" alternates between a and time signature. Georg Friedrich Kühn noted that the equal emphasis on the quarter notes is reminiscent of a chorale work.: Kutsche und Kutscher. Die Musik des Wolf Biermann.

131 He and Clayton collaborated with Mike Mills and Michael Stipe from R.E.M. to form the one-performance group Automatic Baby, solely for the purpose of performing "One" for MTV's 1993 inauguration ball for US President Bill Clinton; the group's name refers to the titles of both latest bands' albums at the time, Achtung Baby and Automatic for the People. For Nanci Griffith's 1994 album Flyer, he and Clayton performed in the rhythm section on several songs, while Mullen also mixed three songs. Mullen played drums on many of the songs on Emmylou Harris' 1995 album Wrecking Ball.Discumentary: Emmylou Harris "Wrecking Ball" - WYEP Mullen and Clayton contributed to the soundtrack to the 1996 movie Mission: Impossible, which included recording the theme song, whose time signature was changed from the original time signature to an easier and more danceable time signature.

"I Wanna Be with You" is a string-heavy pop song with slight R&B; influenced beats. The song is written in the key of E Major and is set in the time signature of common time.

The song is composed in the key of A major and is set in time signature of common time with a moderately fast tempo of 124 beats per minute. DeLonge's vocal range spans from E4 to E5.

As a result, the double bassist credited on Getz/Gilberto is Tommy Williams, Getz's regular bassist. Williams, however, did not perform at the recording sessions.) The rhythm section plays in a binary () time signature, which is typical for samba although Getz used quaternary time signature (common time). Astrud Gilberto, who had never sung professionally before was featured on two tracks, "The Girl from Ipanema" and "Corcovado (Quiet Nights of Quiet Stars)". Like João Gilberto, Astrud Gilberto has a quiet, almost whispered vocal style which would become an important influence on female vocalists in bossa nova.

According to the sheet music published by Warner/Chappell Music, "Dear Jessie" is written in the time signature of common time, with a tempo of 120 beats per minute. Normally written in 4⁄4, the song has a change in time signature after the second chorus, changing it to 3⁄4. It is composed in the key of D major, with Madonna's voice ranging from C3 to D5. The song's chord progression follows a sequence of Bm–A–Bm–D–A in the verses and changes to D–Bm–G–A–D in the chorus.

The second track on the album, "Love Is Stronger Than Justice (The Munificent Seven)", is was named as a homage to the films Seven Samurai and The Magnificent Seven. According to the interview disc, the idea came to Sting when he wanted to write a song in the 7/4 time signature. The song "Seven Days" is also noted for Vinnie Colaiuta and his sophisticated playing in the 5/4 time signature. The international-exclusive track "Everybody Laughed But You" was excluded from Canadian and American pressings of the album.

The song is short (22 bars long), and the music includes many dotted rhythms, characteristic of a military march. Its key signature is A major and its time signature is 2/4 with a tempo indication of ' (moderate).

In dance, having had no time signature at one time, the rondeña displays a rhythm of wild abandon. Some dancers have used the rhythm of the taranto, which has many similarities but, being rondeña, more open and evocative.

This song was produced by Dan Muckala, and was written by Muckala, Jess Cates, B.K. Irish and Britt Nicole. This song was composed in F minor with a tempo of 96 beats per minute and a time signature of .

The song is written in the key of G minor and is set in time signature of common time with a tempo of 130 beats per minute. Foreman and Motte's vocal range spans two octaves, from F4 to D6.

"Hollow" reached No. 1 on Billboard's Mainstream Rock Tracks and stayed on the chart for 20 weeks. It is played in a 6/4 time signature during the verses, and in a standard 4/4 signature during the choruses.

Solebit's core SoleGATE Security Platform is anchored by DvC™, a real-time, signature-less engine, which identifies malware threats, regardless of evasion technique, file type, operating system, and client-side application, whether on-premise or in the cloud.

According to the sheet music published by Sony/ATV Music Publishing, the song has a time signature set in common time, with a tempo of 90 beats per minute. The melody is mainly composed with piano and guitar instruments.

"Goodness of God" is composed in the key of A♭ with a moderate rock tempo of 63 beats per minute and a musical time signature of . Johnson's vocal range spans from A♭3 to E♭5.

Drill are notable for not using a drummer and for writing industrial rock music with time signature and tempo changes within each song and for writing songs that do not follow the typical verse, chorus, bridge etc. song structures.

Soundgarden used alternative tunings and odd time signatures on several of the album's songs. For example, "Never the Machine Forever" uses a time signature of 9/8."Seattle Supersonic: The Screaming Life & Odd Times of Soundgarden's Kim Thayil". Guitar Player.

With a 4/4 time signature and tempo of 110 Beats Per Minute, the song is written in the key of E♭ major. However many arrangements and transcriptions label tempo of 167bpm and the key as F♯ major.

An edited version by Afrasiyab Badalbeyli “Heyrati” () – is one of the rhythmic mughams of Azerbaijan. It’s performed at a key of “C rast” of “Mahur- hindi” branch. Its time signature is – 4/4. It has a vital and heroic character.

Casale took the four demos and layered them to create a smooth, consistent time signature. Mothersbaugh created the main riff in "Whip It" by taking the riff used in Roy Orbison's song "Oh, Pretty Woman" and changing the ending slightly.

The Carolina shag is a partner dance done primarily to beach music (100-130+ beats per minute in 4/4 time signature). Today, the shag is a recognized dance in national and international dance competitions held across the United States.

The tempo marking may be translated "slowly, very simple and songlike." Beethoven's markings indicate that he wished variations 2–4 to be played to the same basic (ternary) pulse as the theme, first variation and subsequent sections (that is, each of the three intra-bar groupings move at the same speed regardless of time signature; Beethoven uses the direction "L'istesso tempo" at each change of time signature).Tovey, Donald Francis, Annotations to the Beethoven Piano Sonatas. London: Associated Board of the Royal Schools of Music, 1932 The simplified time signatures ( for and for ; both implying unmarked triplets) support this.

The main part of the song is a fast paced riff, a repeating pattern of notes that uses polyrhythms of high complexity. Although the riff fits into the song's 4/4 time signature, it is sufficiently complex that, in order to follow the music, most listeners will need to memorize the riff and perceive the timing by the pattern, ignoring the time signature. It is likely that the musicians had to do the same. The riff is performed by all members of the group, playing the melody in unison, except for the violin played by Ric Sanders holding one high note.

A time signature of , however, does not necessarily mean the music is in a compound quintuple meter. It may, for example, indicate a bar of triple meter in which each beat is subdivided into five parts. In this case, the meter is sometimes characterized as "triple quintuple time". It is also possible for a time signature to be used for an irregular, or additive, metrical pattern, such as groupings of eighth notes or, for example in the Hymn to the Sun and Hymn to Nemesis by Mesomedes of Crete, , which may alternatively be given the composite signature .

A thundering chord introduces the coda, marked Presto con fuoco, to which the initial Neapolitan harmony re- emerges in constant dynamic forward propulsion, which eventually ends the piece in a fiery double octave scale run down the keyboard. As a whole, the piece is structurally complex and not strictly confined to any particular form, but incorporates ideas from mainly the sonata and variation forms. A distinguishing feature of Ballade No. 1 is its time signature. While the other three are written in strict compound duple time with a time signature, Ballade No. 1 bears deviations from this.

IOTA is resistant against quantum computer attacks, due to its use of the Winternitz One Time Signature (WOTS) scheme, which is quantum resistant. Due to IOTA’s choice of one-time signature scheme, spending from an address multiple times drastically reduces the security of the funds at that address, because it exposes portions of the private key associated with the address. Stolen funds due to the 13 or M attack were initially suspected to be the result of address reuse, only later to be identified as a result of a broken key derivation function, found Willem Pinckaers, a researcher of security firm Lekkertech.

The song is composed in the key of B major, has a common time signature and a moderately slow tempo of 96 beats per minute. "Turn the Clock Around" is a teen dance-pop song, written by David Rice, Nick Trevesick and J.W. Baxter and produced by Rice, Trwvesick and Alexis Dufrense. The song lasts for three minutes and thirty seconds and is composed in the key of C harmonic minor and is set in the time signature of 4/4 common time with a moderate tempo of 96 beats per minute. Moore's vocal range spans over two octaves from Eb3 to G5.

It is a piece with (4:4) time signature, and very similar to Kafa; the word "Zefauk" means (forward and backward) and it defines how it is danced by going 4 steps forward and another four backward exactly as the Kafa but with different musical taste. Sheshen () means "horse behaving". The dance is a fast piece with (4:4) time signature; this particular piece is played differently by pulling the Bellows of the Pshina in and out rapidly to create an Off Beat Rhythm which produces a Rhythm two times faster than its time signature, and the word shishan is a Circassian word and it is not linked to Chechen. Tllepech'as is a fast dance and it is an improvisation dance it is considered to be one of the ancient dance of the Circassians, "Tlepechas" means "stick toes in the ground" the dance is based on the Nart sagas legends that used to dance on their toes.

The vocal range is from E3 to G4 with a tessitura from G3 to G4, with three optional high C5's."", The Aria Database The key signature is C major and the time signature is a triple metre; it is 39 bars long.

According to the sheet music edition published by SheetMusicNow.com, "Where The Wild Roses Grow" is written in the compound time signature of 6/8 and is set in the key signature of G minor, at a tempo of 56 beats per minute.

"Give It Away" is performed in the time signature of 4/4 time."Blood Sugar Sex Magik Guitar Book." Hal Leonard (1995). The track begins with a distinctively "dry" guitar tone that is similar in style to the rest of the record.

The song is built on the synthesized harmony of Clarke and Bell's subdued vocals and lyrics, and its pre-chorus melody is the same as in Roy Orbison's 1989 song "You Got It". The song's chorus is in 17/4 time signature.

"Raise a Hallelujah" is composed in the key of D♭ with a moderate rock tempo of 82 beats per minute and a musical time signature of . The vocal range of the singers spans from A♭3 to B♭4.

During The Girlie Show World Tour in 1993, Madonna wore a tuxedo and adopted a Marlene Dietrich-like persona, singing the song with a thick German accent. The overplayed accent and three-quarter time signature gave the performance a sense of parody.

"Don't Let Me Be Yours" is a pop song with the length of three minutes and nineteen seconds. It is in the key of E major and moves at a tempo of 113 beats per minute in a 4/4 time signature.

Pogonishte (Pronunciation: Poh-goh-NEE-shteh) is a traditional dance from South Albania. The time signature is 2/4 and it is danced in an open and mixed circle of people. The style is proud. Dancers bounce twice gently on every count.

The begins with a fanfare, using a fourth up. The interval also begins all other uneven lines. Regional melodies differ in repeats and time signature. While the original melody was in triple meter, the hymnal Sursum Corda had a version in common time.

The song is set in the time signature of common time, with a tempo of 182 beats per minute. It is set in the key of A-flat major. Betts's vocals range from the low-note of Ab3 to the high-note of Gb4.

The song features a 6/8 time signature which Cillea Houghton of Taste of Country compared to Keith Urban's 2017 hit "Blue Ain't Your Color". In it, Aldean sings of loving his wife, and how she "make[s] it easy" to love her in return.

The song was composed in the key of B♭major and set in common time signature, and has a moderately fast tempo of 116 beats per minute. Rihanna and Future's vocals span from the low note of F3 to the high note of F5.

The second is a transposition of the first theme, while the third is underlined by a heavily syncopated melody in the relative minor (B-flat minor). With a duple time signature and an Allegro tempo marking, the composition features many shifting moods and virtuosic passages.

The fugue is also in the key of C minor. The fugue has 28 measures and the time signature is . The fugue consists of half notes, quarter notes, dotted eighth notes, eighth notes, sixteenth notes, and some 32nd notes. The fugue is not heavily ornamented.

This time signature was often regarded as a celestial note by Bach and was an influence to the choice of color in this artwork. This variation has a religious affiliation in regards to Bach and Presser due to the constant recurring theme of unification.

The percussion is usually aggressive and powerful. Death metal is known for its abrupt tempo, key, and time signature changes. Death metal may include chromatic chord progressions and a varied song structure. In some circumstances, the style will incorporate melodic riffs and harmonies for effect.

"Vermilion Pt. 2" is a continuation of the first part. The time signature in Pt. 1 starts off as 4/4, but features a switch to 5/4 before the second verse. From the third verse onwards, the song is in 3/4 time.

"Girl Crush" is in the key of C major and a 6/8 time signature, with an approximate tempo of 58 dotted quarter notes per minute and a primary chord pattern of C-Em-F-G. Karen Fairchild's lead vocals range from G-A.

It's the same time signature – it's > 12/8 – and it's the same structure and it's the same notes and it's the same > everything. It probably is actionable. It really is! But I think that life's > too short to bother with suing Andrew fucking Lloyd Webber.

Bolero rhythmBlatter, Alfred 2007. Revisiting music theory: a guide to the practice, p. 28, . The bolero is a 3/4 dance(see Time signature and meter (music)) that originated in Spain in the late 18th century, a combination of the contradanza and the sevillana.

"Isn't It True" is the most uptempo track on the album, and is one of the fastest songs in Sandoval's entire discography, with a BPM of 170. Album closer "Liquid Lady" is a psychedelic soul and blues-influenced rock song, with a time signature.

"Why Ya Wanna" is a mid-tempo song in which the female narrator encounters an ex-lover, and asks him why he "want[s] to make [her] keep loving" him. The song is in 3/4 time signature and the key of E major.

"One Sided Love" is a dance-pop song with a Middle Eastern sound. The song was written and produced by Emilio Estefan, Jr, Pablo Flores, Javier Garza and Jon Secada and lasts for four minutes and five seconds, is composed in the key of E major and is set in time signature of common time, with a moderate tempo of 96 beats per minute. "17" is a teen dance-pop song co- written by Shelly Peiken with Todd Chapman, who produced it and lasts for four minutes. The song is composed in the key of D major and is set in time signature of common time.

The Lublin area is one of the more colourful of all the Polish regions, with costumes made with a variety of different coloured materials and ribbons. There are a variety of dances found in this region that may also be found in different regions across Poland. These dances include waltzes, oberki and chodzone (pronounced "hod-zon-e", meaning walking dance) with a time signature of ¾, and various fat-paced polkas(LINK) such as Polka Podlaska ("Podlachian Polka") with a time signature of 4/4. Though some dances are shared across regions with slight variations, Mach (pronounced "mah"), Osa ("wasp"), Cygan ("Gypsy"), Pożon, Reczka (Hreczka) are some region specific dances from Lublin.

"White Houses" is structured around a 4/4 time signature which Blender magazine has described as "bright" and "un-girly",Powers, Ann. "Review — Vanessa Carlton: Harmonium". Blender. Retrieved June 10, 2006. and is backed by an orchestral arrangement that PopMatters magazine said "would make Jim Steinman blush".

Ben Rayer of the Toronto Star felt that the song had a "oozy slow jam". "Butterflies" is written in the time signature of common time. Throughout the song Jackson's vocal range spans from E3 to E5. The track is played in the key of A major.

In the past, Kim Thayil has said that Soundgarden usually did not consider the time signature of a song, until after the band had written it, and said that the use of unorthodox meters was "a total accident".Rotondi, James. "Alone in the Superunknown". Guitar Player.

According to the sheet music published on Musicnotes.com, the song is written in the time signature of common time, and is composed in the key of A minor with a tempo of 120 beats per minute. The vocals range from the tonal nodes of G3 to C5.

"Circus Farm" is a rock song that starts out as a soft shuffle, then goes into 2/4 time signature. It was written by Larry McClurg and the Mind Garage while staying at Valley View Farm along the South Branch Potomac River in Romney, West Virginia.

The Boston Globe. It is played in the key of D minor and the track's time signature is common time. The song, which is cited as being a pop song, has a moderately slow tempo of 90 beats per minute. Instruments used include synthesizers, percussion and guitar.

"Handle with Care" was written in the key of G major. The main riff and verses feature a four-bar chord sequence with a descending bass line. The first bridge includes a G augmented chord. The time signature throughout is 4/4, played to a moderate rock beat.

According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of A major and is set in time signature of common time with a tempo of 92 beats per minute. Brooks' vocal range spans two octaves, from E3 to C#5.

The Zwiefacher alternates between odd and even time signatures, changing from 3 to 2 beats per bar. The changes may occur regularly - for example, two measures per time signature, may change only once or may change irregularly throughout. Early Zwiefachers were played before the modern bar line was invented.

"Breathe" begins with a faded-in, mixed down drum solo by drummer Larry Mullen Jr. and a cello part by Caroline Dale, before the other instrumental parts join in. The song is written in a 12/8 time signature, and played at a tempo of 78 beats per minute.

Prominent mathcore groups have been associated with grindcore."Contemporary grindcore bands such as The Dillinger Escape Plan [...] have developed avant-garde versions of the genre incorporating frequent time signature changes and complex sounds that at times recall free jazz." Keith Kahn-Harris (2007), Extreme Metal, Berg Publishers, , p. 4.

The piece begins with an introduction in D minor; the first eight bars in the time signature 2/2. Both hands play chords. The section is quiet (pianissimo) and slow (mäßig), and presents the musical theme of Death. The Maiden enters in the ninth bar on an anacrusis.

Retrieved on May 5, 2015. It also incorporates elements of other genres such as eurodance. Set in the time signature of common time, "High Off My Love" has a moderate tempo of 133 beats per minute. It features hoover synth and pre-chorus which transitions into a trap beat.

John Paul Jones played a VCS3 synthesizer on the track. The song has an unusual time signature, featuring riffs in a mixture of 5/8 and 6/8. Only one live performance has been identified – in Copenhagen on their 1971 European tour – and preserved on some bootleg recordings.

The span of beams indicates the rhythmic grouping, usually determined by the time signature. Therefore, beams do not usually cross bar lines or major subdivisions of bars. If notes extend across these divisions, this is indicated with a tie. It is basically a line that joins notes together.

According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of C major and is set in time signature of common time with a tempo of 92 beats per minute. Wood's vocal range spans two octaves, from G3 to E5.

According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of F major and is set in time signature of common time with a tempo of 78 beats per minute. Jenkin's vocal range spans one octave, from C4 to A5.

This variation breaks away from the original tempo and is marked Allegro vivace. It replaces the theme's time signature with . It is a virtuosic Allegro in a two-part contrapuntal texture reminiscent of a two- part invention. This is the only variation in this movement to end on forte.

According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of C major and is set in time signature of common time with a tempo of 88 beats per minute. Jenkin's vocal range spans one octave, from C4 to A5.

Other common time signatures are (three beats per bar, with each beat being a quarter note); (two beats per bar, with each beat being a quarter note); (six beats per bar, with each beat being an eighth note) and (twelve beats per bar, with each beat being an eighth note; in practice, the eighth notes are typically put into four groups of three eighth notes. is a compound time type of time signature). Many other time signatures exist, such as , , , , , and so on. Many short classical music pieces from the classical era and songs from traditional music and popular music are in one time signature for much or all of the piece.

"Blue Ain't Your Color" is about a male observing a lonely woman at a bar who is dissatisfied in her current relationship. This song is set in the key of G major and has a 6/8 time signature and a main chord pattern of G–Am–C–D–G.

According to the sheet music published at Musicnotes.com, the song is set in the time signature of common time with a fast tempo of 130 beats per minute. It is composed in the key of E major with Madonna's voice spanning from the notes B3 to D5. Click on arrangement details.

The song is composed in the key of A minor and is set in time signature of common time with a fast tempo of 128 beats per minute. At the bridge, it transposes to A Dorian (Relative key of E minor). After the bridge, it transposes back to A minor.

The last study to feature jazz characteristics is Study No. 10. It has a blues melody and complex rhythmic patterns, given the continually changing time signature. The first version of this study was in ABA form. However, in Nancarrow's circa-1980 revision of the study, the first section was dropped.

"When I Found You" is a country ballad in the key of D major with a 3/4 time signature. Lyrically, the song discusses themes of marriage and ageing and the dependence of one another. According to Rae, the song was written for the wedding of her childhood friend Amber.

"Karma Police" is in a time signature and played in standard tuning. The first half is in the key of A minor ('Karma Police...') and G major ('This is what you get...'). The second half (starting with the line "For a minute there") is in B minor.Griffiths, 2004. p. 92.

1 (Spring 1992), pages 84–85. On the other hand, the individual components of "Supper's Ready" are much closer to traditional rock songs than they are to classical pieces, even if they contain elements of both. The song undergoes multiple changes in time signature, key signature, Leitmotif, instrumentation, and mood.

"All My Life" is a slow-tempo love song ballad, performed in slow groove. It is composed in the key of D major and is set to 63 beats per minute in the time signature of common time. "All My Life" has been classified as an R&B; and soul song.

Despite its name, the piece is not a waltz in triple meter, as it has a time signature in duple meter. The composer is unknown. A parody of musicology writing by Eric Baumann attributes the piece to Ferdinand Loh, but this is obviously a joke ("F. Loh" = Floh, flea in German).

The event was conceived as three singers performing for McGovern, to be called "3/4 McGovern", pronounced Three for McGovern. Taylor said that the title was made to look like a time signature, with stacked numerals – – which indicates triple meter. The initial publicity announced the concert as "Three for McGovern".

The last movement is written in the time signature of cut common time (or alla breve, similar to )"Rondeaux", Neue Mozart-Ausgabe VIII/22/Abt.2 (Plath, Rehm, 1966), p. 117 "Rondeaux", autograph, p. 6r and consists of 222 bars; a typical performance would last eight and one-half minutes.

Roland JP-8000, a synthesizer famous for its incorporation of the supersaw waveform Classic trance employs a 4/4 time signature, a tempo of 125 to 150 BPM, and 32 beat phrases and is somewhat faster than house music.Hewitt, Michael (2008). Music Theory for Computer Musicians. Boston, MA: Course Technology.

Released: 30 May 2018 Support for composing to video, a range of time signature styles, MIDI automation, divisi staves, ossias, additional staves for instruments, rhythmic slashes, bar repeats, playback techniques editor, the inclusion of Petaluma handwritten music font, and support for NotePerformer. Many productivity enhancements and minor additions were also added.

The work is to be executed at an Allegro tempo. Chopin's metronome marking, given in the original sources, is MM 176 referring to quarter notes. The time signature common time is according to the first French, English, and German editions.Palmer, W: Chopin Etudes for the Piano, Alfred Publishing Co., Inc.

The piece was written in the key of G minor. Having a tempo of around 72 bpm, the time signature changes several times, starting in 4/4, then moving on to 5/4 and 3/4, and then back to 4/4. It has a chord progression of Gm–Cm–F–B–D.

Retrieved December 21, 2015. Wilhousky's lyrics are under copyright protection (owned by Carl Fischer Music); the music is in the public domain. The music is based on a four-note ostinato and is in 3/4 time signature. The ringer of the B-flat bell, though, feels it in 6/8 time.

The prelude is in the key of C minor. The prelude has 28 measures and the time signature is . The prelude is not heavily ornamented, but it does have a few trills. The piece is mainly made up of sixteenth notes and eighth notes and a few quarter notes and half notes.

"Sometimes people refer to us as mathcore, which I think is a very incorrect statement, because I feel like that's a very pre-calculated, 'this is weird because this time signature doesn't go with this time…'. It's very planned out. We're not that smart." Live performances are very important to the band.

"Feral Hearts" is set at a 3/4 time signature, with a fast tempo of 180 beats per minute. The equivalent of this tempo in 4/4 signature is 120 beats per minute. Musically, "Feral Hearts" incorporates strings and atmospheric instrumentation, as well as background vocals accompanying Kerli's voice throughout the chorus.

You see people trying to dance to it every now and again. They get on the off beat but they don't know why". Tony Banks adds: "You can't dance or clap along to it because of that time signature. When we play it live, you can always see the audience getting caught out.

The chorus has a haunting effect in it. According to the sheet music published at Musicnotes.com, the song is composed in the time signature of common time, with a key of A minor and a medium tempo of 104 beats per minute. Madonna's vocals span from the notes of G3 to B4.

According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of E major and is set in time signature of common time with a tempo of 112 beats per minute. Jenkin's vocal range spans two octaves, from C♯4 to G♯6.

The song is an invitation to an aspiring lover, telling her that "if you're gonna be somebody's heartbreak, be mine." The song is in 4/4 time signature and the key of B-flat major, with a main chord pattern of Bmaj9-Emaj9 and an approximate tempo of 76 beats per minute.

According to the music sheet published by Sony/ATV Music Publishing on Musicnotes.com, "Government Hooker" is written in the time signature of common time, with a moderate tempo of 120 beats per minute. It is composed in the key of F minor. Gaga's voice spans the tonal nodes of F3 to C5.

If the swings are too fast, he must lengthen the pendulum by putting the peg into a higher number, until he has found the tempo he wants. :When he has found the tempo that he wants to specify, he must write down the number of the hole where the peg is, above the time signature, with a musical note showing the value or duration of each swing. :If a composer wants to mark the desired tempo for performing an air he has composed, irrespective of the time signature he must begin by putting the peg in one of the holes and then setting the pendulum in motion. If the swings are too slow, he must shorten the pendulum by putting the peg in a lower number. If the swings are too fast, he must lengthen the pendulum by putting the peg into a higher number, until he has found the tempo he wants. :When he has found the tempo that he wants to specify, he must write down the number of the hole where the peg is, above the time signature, with a musical note showing the value or duration of each swing.

This was particularly illustrated in the song "Choosing Sides", which began with slow, low-pitched keyboard sounds, which NOW music editor Carla Gillis described as "psychedelic", and M.T. Richards of East Bay Express called "space rock synths". However, the drums quickly built to a fast-paced tempo, and the song settled into a time signature, with funk elements, bass-driven grooves, and non-lexical vocables. This quickly changed as well, with the song switching back to a time signature, and concluding in an electro-funk style. While many songs on Plumb had multiple sections or shifting musical styles, some were simpler variations over a repeating motif, like in "A New Town", which was built over a minimalist, groovy bassline, and a repetitious guitar riff.

The movement is in ternary form, with the central "Christe" inverting the melody of the Kyrie. The Gloria is based on a 7/8 ostinato derived from the incipit Gloria XV that would be intoned by the celebrant in some liturgical settings.Peloquin, 132. The additive time signature allows for various patterns of word stress.

"Dammit" is set in the time signature of common time, with a fast tempo of 215 beats per minute. It is composed in the key of C major with Hoppus's vocals spanning the tonal nodes of C4 to G4. The song follows a common chord progression sequence of I–V–vi–IV.Bennett, Dan (2008).

It plays in a D major key, though key changes into Bmajor occur in certain parts of the song. Most of the song is played at a moderate tempo in a time signature of common time. However, the musical interlude between the second chorus and final verse is played in time.Mission Sheet Music. onlinesheetmusic.com.

The Fragile (last page) [CD liner notes]. New Orleans: Nothing Records. There is a thick fuzz texture to some of the guitar tracks, while others trigger synth patches rather than traditional guitar sounds. The song's time signature is 4/4 in the intro but once the drums enter it changes to 10/4 (4 + 6).

The tempo runs at 79 beats per minute and is set in a 4/4 time signature. Lyrically, the song discusses missing someone through the night. The track describes a narrator who is afraid their love interest will disappear, and so through the song they're secretly confessing their love and wishing them pleasant dreams.

The leader and last dancer is always male.Γιαννης ΠΡΑΝΤΣΙΔΗΣ, Ο χορός στην ελληνική παράδοση κaι η διδασκαλία του — Yiannis PRANTZIDIS, Dance in Greek Tradition and the Teaching of it, EKDOTIKI AIGINION, p. 345. The time signature is in 2/4. There are six steps to the dance, which is similar to the Sta Tria.

According to the sheet music published at Musicnotes.com by Alfred Publishing Company Inc., "Have a Nice Day" is set in the time signature of common time written in the key of E Major with a "driving rock" tempo of 130 beats per minute. Jon Bon Jovi's vocal range in the song spans from B3-C5.

Deathrock is a subgenre of punk rock incorporating horror elements and spooky atmospherics, that emerged on the West Coast of the United States in the early 1980s. Deathrock songs use simple chords, echoing guitars and prominent bass. Drumming emphasizes repetitive, post-punk beats within a time signature. To create atmosphere, scratchy guitars are sometimes used.

By using time signature, it allows a total of sixteen eighth-notes to correspond to two bars precisely. After the game was released, three titles were being developed simultaneously: Lumines Plus, Lumines II, and Lumines Live! for PlayStation 2, PSP, and Xbox 360 respectively. Tetsuya Mizuguchi wanted to achieve different things for each game.

Thrash soon began to evolve and split into more extreme metal genres. Death metal utilizes the speed and aggression of both thrash and hardcore. Death metal uses extremely fast drumming, often with rapid double bass drumming and "wall of sound"–style blast beats. Frequent tempo and time signature changes and syncopation are also typical.

Su has a registered patent on a technology called Time Stamp which seeks to eliminate email fraud with a unique time signature for users. TMT has interests in Forward Freight Agreements (FFA's) on the global market. On 19 April 2011, Su was given the Lifetime Achievement for Entrepreneurship award at the international ShipTek conference.

A time signature of or , however, does not necessarily mean that the bar is a sextuple metre with each beat divided into three. It may, for example, be used to indicate a bar of triple metre in which each beat is subdivided into six parts.Read 1964, 152. In this case, the metre is sometimes characterized as "triple sextuple time".

"Lonely Boy" is 3:13 in length. The song was written by Dan Auerbach and Patrick Carney with producer Danger Mouse. The song is played in the key of E minor, with only three chords used throughout the song. "Lonely Boy" is set in the time signature of common time with a tempo of 171 beats per minute.

There also exist Curaçaoan polkas, Peruvian polkas (becoming very popular in Lima). In the pampas of Argentina, the "polca" has a very fast beat with a time signature. Instruments used are: acoustic guitar (usually six strings, but sometimes seven strings), electric or acoustic bass (sometimes fretless), accordion (sometimes piano accordion, sometimes button accordion), and sometimes some percussion is used.

The song originally held the working title "Chim Chimeney."DaveTabs.com (2012) "The Stone." The song is written in a 6/8 time signature and features orchestral arrangements by John D'earth, with the Kronos Quartet on strings. A 28-second studio jam in 2/2 is heard at the end of the track that features Béla Fleck.

Each composition typically comprises numerous and frenetic changes in time signature, with very heavy guitar work (including the use of seven-string guitars)"Virgil & Derek AOL Chat". xplanetx.com. 2002-09-21. Retrieved 2012-07-20. and dense layering of all instruments. The synergy between each musician and their instrument provides a very distinct and unique blend of musical styles.

According to the sheet music published at Musicnotes.com by Universal Music Publishing Group, "Anna Sun" is written in the time signature of common time, with a moderate tempo of 72 beats per minute. It is composed in the key of B♭ major and the melody spans a tonal range of G4 to B♭5.

240 The Agnus Dei is for tenor solo and chorus. The Gloria starts with an orchestral outburst and then a change in time signature at "et in terra pax", where what Tovey calls a "radiant melody" is taken up first by the tenor solo and then by the other parts. This is succeeded by a number of further themes.

"Interweb" is an electro-infused new wave and 1990s inspired EDM song with a length of three minutes and forty nine seconds. It moves at a tempo of 114 beats per minute in a 4/4 time signature. The song's instrumentation features a basic house beat and a disco bassline. The song features "internet-obsessive" lyrics.

The majority of the songs are in the key of A Major and its time signature is 6/8. The arrangement is highly dynamic and dramatic. The first few seconds of the first song ("In the Flesh?") are very quiet, and feature the melody of the song "Outside the Wall", which is the album's closing track.

Mountain Angel is written in the key of D and is completely acoustic. It has a 4/4 time signature with 63 bpm. The song goes for seven minutes, which is unusual for a song. This is because Little Sparrow was released on Dolly’s record label ‘Sugar Hill’ and Dolly had full control over the concept and songs.

According to the sheet music published by Musicnotes, Inc., the song's time signature follows the common 4/4, with a tempo of 70 beats per minute. Martin's vocal range in the song spans from F3 to A4, the highest note being sung using the falsetto register, despite the fact Martin can reach this note in full voice.

The song is composed in the key of A major and is set in time signature of common time with a moderate tempo of 112 beats per minute. The vocal range spans from A3 to C#5. "All of This" is a gothic-tinged pop song that uses strings and guitar effects to create a moody atmosphere.

The son is a typical example of this. While much of the music is often performed in cut-time, artists typically use an array of time signatures like 6/8 for drumming beats. Clave, on the other hand, uses a polymetric 7/8 + 5/8 time signature King, Anthony (1961:14). Yoruba Sacred Music from Ekiti.

The album includes nine tracks, five original songs and four covers. The title track is separated in two takes, "Supernova 1" and "Supernova 2". The first one shifts constantly the time signature becoming a "stop-and-start" mambo. Matt Cibula of PopMatters highlights the work of Berroa on the drums and Henriquez' bass, giving both pieces a "solid foundation".

"Where the Streets Have No Name" is played in the key of D major at a tempo of 126 beats per minute. Note: Software required to view the page. The introduction and outro are played in a time signature, while the remainder of the song is in a common signature. Note: Software required to view the page.

Balkandji is a folk metal band from Bulgaria. They freely mix traditional Bulgarian music with hard rock and heavy metal. As Bulgarian folk music is very complex, in Balkandji songs odd time signatures and constant time signature changing are very common. They create a characteristic blend of melodies taken from the Bulgarian folklore with heavy guitar riffs.

According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song is set in the time signature of common time. It is composed in the key of G Major with Roger Daltrey's vocal range spanning from G3 to A4. The song makes repeated use of suspended fourth chords that resolve to triads.

"Welcome to My Life" discusses growing up and living one's life. The track is in half-time and was compared to Avril Lavigne. It starts off with acoustic guitars, with power chords coming in during the chorus sections. "Perfect World" continues the half-time signature, before switching into a military-esque drumming pattern and programmed drum rolls.

Although primarily guitar- driven, the band's sound is fleshed out by the use of keyboards and digital sampling to add depth and texture to the material. Their approach to song writing is often unorthodox, with numerous complex tempo, time signature and key changes, along with a signature series of atmospheric, theatrical interludes and introductions to their songs.

June 1994. The main riff was written in septuple meter, in time. The chorus is and part of the spoon solo is in . Guitarist Kim Thayil has said that Soundgarden usually did not consider the time signature of a song until after the band had written it, and said that the use of odd meters was "a total accident".

Through increased stress, or variations in duration or articulation, particular tones may be accented. There are conventions in most musical traditions for regular and hierarchical accentuation of beats to reinforce a given meter. Syncopated rhythms contradict those conventions by accenting unexpected parts of the beat. Playing simultaneous rhythms in more than one time signature is called polyrhythm.

According to the sheet music published in Musicnotes.com by Alfred Publishing Co. Inc., the song is set in the time signature of common time with a medium tempo of 116 beats per minute. The song is set in the key of C minor with Madonna's voice spanning from the low-tone of C4 to the high-tone of D5.

The work is concluded by the doxology, ' (Glory to the father), performed by the complete ensemble. The first part of the text ends in a long cadenza. After changing the time signature from common time to triple metre, the second part of the text, (as it was in the beginning), repeats material from the beginning of the work.

The Andante is written in the time signature of time and consists of 129 bars; a typical performance would last just over six minutes. It repeats neither its exposition nor the remainder of the movement, which is unusual for Mozart's mature chamber music.Hugh Macdonald, To Repeat or Not to Repeat? in "Proceedings of the Royal Musical Association", Vol.

To the ear, a bar may seem like one singular beat. For example, a fast waltz, notated in time, may be described as being one in a bar. Correspondingly, at slow tempos, the beat indicated by the time signature could in actual performance be divided into smaller units. On a formal mathematical level, the time signatures of, e.g.

Brendan Gamble, born 1966, is an American singer-songwriter, producer and engineer. A native of Urbana, Illinois, Gamble was the formative figure behind, and second drummer of the post-wave group Poster Children. When Gamble joined the band in 1988, they had played mostly simple pop material featuring traditional verse-chorus structure and 4/4 time signature.

"Material Girl" consists of synth arrangements, with a strong backbeat supporting it. A robotic-sounding male voice, sung by Frank Simms, repeats the hook "Living in a material world". According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is set in the time signature of common time, with a tempo of 120 beats per minute.

Tribal guarachero music is a fusion of genres such as regional Mexican music, including technobanda, and EDM genres such as techno, electro house and club music. With a 4/4 time signature, the genre is often made up of cascading triplets and a BPM of 140 to 280. The rhythm employs Afro-Cuban rhythms and Latin synths.

He also mentions Liszt's use here of the contrabassoon, though no such instrument appears in the Breitkopf & Härtel score. The dominant motifs – triplets, trills and falling seconds – have all been heard before. The time signature reverts to Alla breve, the key signature is cancelled, and the tempo quickens to Tempo primo in preparation for the ensuing recapitulation.

"Better Man" has a play length of 4 minutes and 21 seconds. The song is in a slow tempo of 72 beats per minute, written with a 4/4 time signature. It is in the key of F major, with a chord pattern of F-C-B-B-B. Karen Fairchild's lead vocal spans from F to B.

While googling its origins, I became fascinated and inspired by the history of the Waltz and its social and cultural significance.” Working in the 3/4 time signature has re-energised Adamski. In 2014, he released "It's a Man's Man's Whirled / Happy Ness" using the alias Fleas on Skis on Ashley Beedle's label Back to the World Records.

"My Love" is a R&B; and hip hop ballad. The song is composed in the key of E minor, with a chord progression of E-minor-B-minor-A-minor. It is set in time signature of common time with a tempo of 121 beats per minute. The song is composed with a stuttering trance-style synthesizer.

Music and language are alike in that they both utilize rhythm to organize and convey ideas. Time signatures in music contain patterns of strong and weak beats. In every time signature, the first beat, or the downbeat, is the strongest. 4/4, 3/4, and 6/8 time are the most common time signatures in popular styles.

"Who Could Win a Rabbit" is the first single from experimental pop band Animal Collective's fifth album, Sung Tongs. Similar to the remainder of Sung Tongs, the song features a prominent usage of acoustic guitar. The song has a quick structure and, with regards to lyricism, is rather oblique and seemingly nonsensical. It also possesses an unusual time signature.

"Neon Gravestones" is forlorn, slow-burning hip hop piano ballad that runs for a duration of four minutes. According to the sheet music published at Musicnotes.com by Alfred Publishing, it is written in the time signature of common time, with a fast tempo of 150 beats per minute. "Neon Gravestones" is composed in the key of B minor.

He said: "This record definitely had parts where I wrote the riff and it sounded really cool, but once we got all together we were like, 'This is in some weird time signature I don't even know how to count it,' kind of thing. Even when we got in the studio, Kurt [Ballou] was like, 'I don’t know what time signature that is.'" Weeping Choir marks the second Full of Hell album to be recorded and produced by Kurt Ballou, guitarist of the hardcore band Converge, who worked with Full of Hell on their prior album, Trumpeting Ecstasy. Full of Hell reported that Ballou pushed the band harder this time than before, but ultimately best captured the sound of their live performances out of all their albums to date.

This is mostly used when the piece changes to free time after having had a time signature. # Instead of a time signature, a large is written on the stave. # Note heads alone are used, without time values (typically black note heads without stems) # The passage is marked "recitativo" or "parlando" Examples of musical genres employing free time include Gregorian chant, the petihot used as transitions between Baqashot in Sephardic Jewish cantillation, nusach, layali, early types of organum, Anglican chant, the préludes non mesurés of 17th-century French lute and keyboard music, the alap of Hindustani classical music, Javanese pathetan, the hora lungă of Romania, the urtiin duu of Mongolia, the Zulu izibongo, free improvisation, free jazz and noise music. Cadenzas are most often in unmeasured rhythm, and so is recitative.

Examples of metric modulation may include changes in time signature across an unchanging tempo, but the concept applies more specifically to shifts from one time signature/tempo (metre) to another, wherein a note value from the first is made equivalent to a note value in the second, like a pivot or bridge. The term "modulation" invokes the analogous and more familiar term in analyses of tonal harmony, wherein a pitch or pitch interval serves as a bridge between two keys. In both terms, the pivoting value functions differently before and after the change, but sounds the same, and acts as an audible common element between them. Metric modulation was first described by Richard Franko while reviewing the Cello Sonata of Elliott Carter, who prefers to call it tempo modulation .

The default Untitled document is a 31-measure piece for a single treble clef instrument. A Setup Wizard, an alternative method of starting a project, consists of a sequence of dialogs allowing the user to specify the instrumentation, time signature, key signature, pick-up measure, title, composer, and some aspects of score and page layout. Finale's current default music notation font is Maestro.

Like other students of Tristano, Konitz improvised long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Other saxophonists were strongly influenced by Konitz, such as Paul Desmond and Art Pepper. He died during the COVID-19 pandemic due to complications brought on by the disease.

David Croft and Roy Moore composed the theme tune performed at the start and end of each episode. It features a French-style melody performed on an accordion in the (waltz) time signature. The title is "London Calling", but according to Guy Siner the first lyrics are: Carmen Silvera sang the full song and it was released on LP in the 1980s.

"Marry You" combines elements of pop, doo-wop and soul. It lasts three minutes and fifty seconds. According to the digital sheet music, it was composed in time signature of common time and in the key of F major with a tempo of 145 beats per minute. The track features double hand-claps, piano, echoing church wedding bells and a sing-songy chorus.

The riff for "Walk" is played in a time signature of 12/8. Dimebag Darrell played the riff at a soundcheck during the tour for Cowboys from Hell and the rest of the band loved it. Phil Anselmo said that the message of the song was "Take your fucking attitude and take a fuckin' walk with that. Keep that shit away from me".

The foxtrot is a smooth, progressive dance characterized by long, continuous flowing movements across the dance floor. It is danced to big band (usually vocal) music. The dance is similar in its look to waltz, although the rhythm is in a time signature instead of . Developed in the 1910s, the foxtrot reached its height of popularity in the 1930s and remains practiced today.

The song is composed in the key of E major and is set in time signature of common time with a tempo of 168 beats per minute. Hoppus' vocal range spans from D#3 to C#4. "M+M's" is based around power chords and Hoppus' lead vocal of a vacation elsewhere. The track exemplifies the band's southern California skate punk sound.

According to the sheet music published by Musicnotes.com, "Electric Chapel" has a time signature of common time, and a pop-rock tempo of 128 beats per minute. The song is composed in the key of A minor with Gaga's vocals ranging from E3 to C5. It also has a basic sequence of Am–Dm–Am–Dm–F serving as its chord progression.

The duet is written in the key of G major with a time signature. The voices are accompanied by violins, viola and continuo. There is an 8 measure instrumental introduction followed by 20 measures of Rachelina singing the theme. Calloandro repeats these 20 measures with new text before Rachelina joins him for 12 more that repeat half of the theme.

It is scored for three "choirs": one of trumpets, another of strings and bassoon, and a four-part chorus. The number three, symbolizing the Trinity, appears again in the time signature and in the use of three trumpets. The first part opens with trumpet fanfares, alternating with flowing coloraturas in the strings. The voices enter as a third homophonic choir.

"Why" is a two minutes and fifty-one seconds synthesizer- driven electropop and dark pop song. According to the sheet music published at Musicnotes.com the song is composed in the time signature of common time with a moderate rate of 90 beats per minute. It is written in the key of B minor and follows the chord progression of G2-Em7-Bm7-A.

The song was recorded at Henson Recording Studios (Los Angeles) in 2006. According to the sheetmusic published at musicnotes.com by Universal Music Publishing Group, the song is composed in the key of G major and is set in time signature of 6/8 time with a tempo of 56 beats per minute. Lavigne vocal range spans from F#3 to D5.

The movement is marked très modéré; the time signature is and the key is A major. The whole movement is quiet, never rising above mezzo forte; the strings are muted throughout. As in the String Quartet of three years earlier Ravel places themes in the opening movement that recur in subsequent sections, most particularly the insistent opening theme, F–E–D–C.Nichols, pp.

IMEC released the 3--second tune composed by the prototype. The chip was sequentially loaded with songs in the same time signature and style. The songs were old Belgian and French flute minuets, from which the chip learned the rules at play and then applied them. BraincChip inc will release an NSoC (neuromophic system on chip) processor called Akida in late 2019.

According to the sheet music published by Alfred Music. on Musicnotes.com, "Roar" is composed in the key of B major and set in a time signature at a moderate tempo of 90 beats per minute. Perry's vocal range spans from the low note B3 to the high note E5, while the music follows the chord progression of B–Cm–Gm–E.

The song is a mid-tempo in 6/8 time signature and the key of C major, but down tuned in the original recording. In the song, Paisley personifies alcoholic beverages in general, describing the various influences that the beverages have on certain people ("Helping white people dance"), ultimately stating "You'll have some of the best times you'll never remember, with me, Alcohol".

Record Collector Magazine, review by Paul Bowler Herbie Mann was also the producer. Tom and Googie Coppola were both influenced by jazz and fusion, including time signature changes. They answered an advert in the Village Voice placed by Moogy Klingman, who introduced them to Siegler and Rosengarden. The group rehearsed in Great Neck, Long Island, working on songs written by Googie.

According to the sheet music published at Musicnotes.com, "Artpop" is set in the time signature of common time, with a dance-pop tempo of 117 beats per minute. It is composed in the key of D minor with Gaga's vocals spanning the tonal nodes of F3 to A4. The song follows a basic sequence of Dm–Gm–F–C as its chord progression.

"Ride" is an uptempo alternative rap song that lasts for a duration of three minutes and thirty-four seconds. The track combines elements of rock, hip-hop, reggae, punk, and pop. According to the sheet music published at Musicnotes.com by Alfred Music, it written in the time signature of common time, with a fast tempo of 150 beats per minute.

"We Don't Believe What's on TV" is an indie rock song that lasts for a duration of two minutes and fifty-seven seconds. According to the sheet music published at Musicnotes.com by Alfred Publishing Co., Inc, it is composed in the key of A Major and set in the time signature of common time, with a tempo of 120 beats per minute.

According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song is set in the time signature of common time. It is composed in the key of A Major with Roger Daltrey's vocal range spanning from D3 to B4. John Entwistle provided a melodic bass line that is very prominent in "The Punk and the Godfather".

Larry Flick from Billboard described the song as a house colored pop-dance rave. According to sheet music published at Musicnotes.com by Alfred Publishing, the song is composed in the key of D major with a moderate tempo of 116 beats per minute. It is set in the time signature of common time with Madonna's vocals ranging from B3 to E5.

"Lithium" is a power ballad that runs for three minutes and thirty four seconds. According to the sheet music published on the website Musicnotes.com, it is written in the key of B minor with a tempo of 116 beats per minute. The song is composed in the time signature of common time, and follows a basic chord progression of Bm–A–Em.

However, they can be combined with electronic sounds or even electronic sounds sampled from the actual instruments (musch like house music). Sampling music means to take a sample or portion of a sound recording to reuse it in a song. Merenhouse is very upbeat for dancing, like house music. It is hard to identify merenhouse based on its time signature and rhythm alone.

"Piece of Me" is an electropop, dance-pop and EDM-pop song backed by an "electro instrumental track" and performed in an insistent pop groove. The song is composed in the key of D major with a time signature in common time. The melody runs through a down-tempo dance beat. Spears's vocals span over two octaves from D3 to D5.

In the three subsequent movements, "the reliance on Mendelssohn comes more and more to the fore". In particular, Todd argues that Strauss' Adagio Cantabile is effectively a Mendelssohnian Lied ohne Worte (Song without words) . In the Scherzo and Finale, one can also find echoes of Mendelssohn, both in terms of structure, time signature and thematic material. The performance time is approximately 27 minutes.

The song is a ballad in the key of B♭ major and a 4/4 time signature, with a vocal range from B♭3 to F5. In it, the male narrator tells his lover that she is the love of his life. In the chorus, he adds that he was hesitant and shy until she "came and saved" him.

According to the sheet music for the song, it is set in the time signature of common time, with a tempo of 100 beats per minute. It is set in the key of F major with Madonna's voice spanning from the notes of C5 to B5. "Spotlight" has a basic sequence of Am–C–Am–C–G–F as its chord progression.

"Dirt off Your Shoulder" is the second single released from Jay-Z's 2003 album The Black Album. In 2004, the song was combined with the Linkin Park single "Lying from You" and released as a single for the mash-up album Collision Course. The track references the first bars of Scarlatti's Sonata in F minor, although the time signature is changed.

The song is in a 5/4 time signature and is one of the few songs Drake wrote to be played in standard tuning. The string arrangement was composed by Harry Robertson (aka Harry Robinson), after Drake's friend Robert Kirby felt he couldn't compose it alone, although he did most of the arrangements on Five Leaves Left.Raggett, Ned. "[ Five Leaves Left]". Allmusic.

However, falsetas (guitar solo interludes between stanzas) can include sections with a definite time signature. Owing to their lack or regular rhythm, these palos are not normally danced. However, from the 1960s there was a tendency to create choreographies for them, as they provide an opportunity for the dancer to show other aspects of flamenco dance, like braceo (movement of the arms).

There is no time signature. According to the physicist Carlo Rovelli, who has spoken of his interest in the piece, time appears to have stopped here. As notated, it could be played by a musician at beginner level. It has both the left and right hand written in G clef and only the echoing bass octave is written in F clef.

"Like a Prayer" is a pop rock song that incorporates elements of gospel and funk music. According to the sheet music published in Musicnotes.com, the song follows a time signature of common time, and was composed in the key of D minor, with a moderate tempo of 120 beats per minute. Madonna's vocals range from the notes of A3 to F5.

It was first recorded by Tarlton and his partner Tom Darby on November 10, 1927 in Atlanta, Georgia for Columbia Records. According to one biographer of the folk musician Lead Belly, he performed it for Texas Governor Pat Neff at the Sugarland Penitentiary in 1924. The ballad is played in the 3/4 time signature. Lyrics vary, as with most folk songs.

The second piece is written in a free- form style, akin to jazz improvisation, with no time signature or bar lines. The indicated tempo is eighth note = 168, with an eighth note being treated as three sixteenth notes. The piece can be segmented into three sections. The first is a flurry of sextuplets and thirty-second notes that are extremely technically challenging.

"Beautiful Day" is played at a tempo of 136 beats per minute in a time signature. The song opens with a reverberating electric piano playing over a string synthesiser, introducing the chord progression of A–Bm7–D–G–D9–A.Rooksby (2001), pp. 161–162 This progression continues throughout the verses and chorus, the changes not always one to a bar.

"Speechless" is set in the time signature of common time, with a tempo of 76 beats per minute. It is composed in the key of C major, with Gaga's vocal range spanning between the high note of C5 to the low note of G3. The song has a basic sequence of C–G/B–Am–G–F as its chord progression.

The rondeña has evolved in recent times, with a decrease in melismatic ornamentation, and generally the tempo is somewhat slower than was previously the case. It is a composition with an ad lib time signature ( compás ), and the lyrics are frequently about rustic life. A verse consists of four octosyllabic lines which sometimes become five through repetition of the second line.

Although The Unspoken King still carries their usual death metal sound, the shift in their style has been defined by the incorporation of metalcore elements such as breakdowns, clean singing vocals and keyboard accompaniments, as well as less of an emphasis on the time signature changes and polyrhythmic elements which thus lead to The Unspoken King to be widely considered a deathcore album.

"Ultraviolet (Light My Way)" is written in a 4/4 time signature. The lyrics of "Ultraviolet (Light My Way)" are addressed to a lover, and imply that their relationship is threatened by some sort of personal or spiritual crisis, coupled with a sense of unease over obligations.Graham (2004), p. 50 Indeed, lead vocalist Bono has called the song "a little disturbed".

Rolling Stone praised the song, saying it "slows down the tempo to bludgeon with a steady, pounding groove instead of all-out thrash in a manner reminiscent of the band's more slow- burning but still malicious second album, Iowa." They explained, "That track is capped off with a time-signature shattering guitar/drum breakdown that will leave the best air-instrumentalists stumped".

The song is notably more radio-friendly than the band's previous releases, due to its fairly normal song structure and heavy emphasis on melody. It is also one of their first songs to feature a piano. Despite its radio-friendly style, the song incorporates an unusual time signature of throughout the verses and chorus, while the post-choruses switch between and .

"Animal" is a pop song with horn and staccato synthesizer instrumentation. According to sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the time signature of common time with a moderate beat rate of 118 beats per minute. It is written in the key of E major and Wyatt's vocal range spans the notes of B3 to C6.

Finally, Gene Grimaldi did the audio mastering at Oasis Mastering Studios in Burbank, California. According to the sheet music published at Musicnotes.com, "Dope" is set in the time signature of common time, with a moderate tempo of 66 beats per minute. It is composed in the key of E major with Gaga's vocals spanning the tonal nodes of D3 to E5.

Mangum's vocals are accompanied by acoustic guitars, a singing saw played by Julian Koster, Scott Spillane's saxophone, and minimal percussion. The song is in the key of G major, and for the most part follows a simple I-vi-IV-V chord progression. It is in the 6/8 time signature and has a A A B1 A B2 A form.

The song, Shame For You is a jazz song with pieces of funk and ska mixed with it. The song is set in the time signature of common time and played in the key of A minor, with Allen's vocals ranging from F#3 to A4. It has a metronome of 80 beats per minute. Allen plays the piano featured in the song.

The type of musical notation varies a great deal by genre or style of music. In most classical music, the melody and accompaniment parts (if present) are notated on the lines of a staff using round note heads. In classical sheet music, the staff typically contains: # a clef, such as bass clef or treble clef # a key signature indicating the key—for instance, a key signature with three sharps is typically used for the key of either A major or F minor # a time signature, which typically has two numbers aligned vertically with the bottom number indicating the note value that represents one beat and the top number indicating how many beats are in a bar—for instance, a time signature of indicates that there are two quarter notes (crotchets) per bar. Most songs and pieces from the Classical period (ca.

However, in recent years, Crosby has revealed that the song was actually inspired by another hippie gathering held at Elysian Park near Los Angeles on March 26, 1967. Played in a jazzy, 5/4 time signature, the song's vocal arrangement was greatly influenced by the music of the Four Freshmen, a vocal group that Crosby had admired as a youngster. Another song on the album that uses a 5/4 time signature, albeit with occasional shifts into 3/4 time, is the McGuinn and Clark composition "Get to You". The song recounts a plane trip to London, England, just prior to the advent of autumn, but the identity of the enigmatic "you" mentioned in the song's title is not specified in the lyrics and thus, can be interpreted as either a waiting lover or as the city of London itself.

According to Musicnotes.com, the song is set in the time signature of common time and progresses in 96 beats per minute. The composition is set in the key of E minor with Madonna's vocal ranging from G3 to G4. "Secret" contains a basic sequence of B7–Em7–D–Cm7–C during the opening verses, and B7–Em–D–C during the chorus its chord progression.

The alto aria, "" (A day will come), is accompanied by an oboe, an oboe d'amore according to Alfred Dürr and John Eliot Gardiner. The middle section, "" (For the wrath of His vengeance will annihilate), is certainly composed in 1723. The middle section is marked Adagio and in common time, contrasting to the first section, marked with Presto and with a 12/8 time signature.

Marches can be written in any time signature, but the most common time signatures are , (alla breve , although this may refer to 2 time of Johannes Brahms, or cut time), or . However, some modern marches are being written in or time. The modern march tempo is typically around 120 beats per minute. Many funeral marches conform to the Roman standard of 60 beats per minute.

The first of the regular canons, this is a canon at the unison: the follower begins on the same note as the leader, a bar later. As with all canons of the Goldberg Variations (except the 27th variation, canon at the ninth), there is a supporting bass line. The time signature of and the many sets of triplets suggest a kind of a simple dance.

"Easy" is a midtempo ballad in 6/8 time signature with a vocal range from C4 to C6. The song begins in C-sharp minor and modulates up to E minor halfway through the second verse. The song is about hiding the saddening emotions from a breakup. Rascal Flatts lead singer Gary LeVox sings the first verse and chorus, while Bedingfield sings the second verse and chorus.

Suggesting that any given choice will elicit criticism from others, the narrator states that one's best course is to remain true to oneself ("follow your arrow"). The song is in the key of F major with a main chord pattern of F-D-B-G-C and a vocal range of F-C. It is in a 4/4 time signature with a moderate tempo.

The song is composed in the key of C major in a 2/4 time signature. It correctly describes the step-by- step process for subtracting 173 from 342 in decimal and then subtracting the numbers 1738 and 3428 having the same digits in octal. The song features a spoken-word intro by Lehrer, followed by "piano played at a quick tempo and brisk lines".

"Northern Star" is a mid-tempo pop song with elements of electronica and ambient music. According to the sheet music published by Musicnotes.com by Hal Leonard Corporation, "Northern Star" is composed in the key of A major, and is written in the time signature of common time. It is set in a moderate tempo of 101 beats per minute, with Chisholm's voice spanning from B5 to E3.

According to the sheet music published by Musicnotes.com by Hal Leonard Corporation, "Never Be the Same Again" is composed in the key of G minor and is written in the time signature of common time. It is set in a moderate tempo of 80 beats per minute, with Chisholm's voice spanning from G3 to E5. The song has a basic chord progression of Gm7–E9–B7–Dm.

The track features a distinct Moroccan Chaabi string sample from Najat Aatabou's song "Hadi Kedba Bayna (Obvious lie)". The main hook of the song is in 6/4 time signature, while the rest is in 4/4. The track also features rapping by Q-Tip (member of A Tribe Called Quest). In part of the song, a sample from the group's early single "Leave Home" plays.

It finished in 11th place with 47 points, which, at the time, was San Marino's best result in the competition before they qualified for the final in 2014 The time signature of the first part of the song is 12/8, and 4/4 of the second part. An English version of the song, titled "Chrysalis (You'll Be Flying)", was also recorded with lyrics by Timothy Touchton.

Nick Levine of Digital Spy felt the song had a "clubby and au courant" feel, comparable to "Only Girl (In the World)" (2010) by Barbadian recording artist Rihanna. According to the sheet music published at Musicnotes.com by Kobalt Music Publishing Inc., "Hold It Against Me" is set in the compound meter time signature, with a moderate dance beat infused metronome of 133 beats per minute.

According to the demo sheet music published at Ultimate Guitar Archive, the recording is set in time signature of common time with a tempo of 89 beats per minute. Lyrically, each song was written in third person perspective, a trait that is shared with the rest of the tracks on Loveppears. The lyrical content of the songs delves on a lonely woman who wants to find love.

The recording's instrumentation consists of synthesizers and keyboards managed by Suzuki, while electric guitar is provided by Hidetoshi Suzuki. Programming was handled by Takahiro Iida. According to the demo sheet music published at Ultimate Guitar Archive, the song is set in time signature of common time with a tempo of 130 beats per minute. Its chord progression develops in E-A-D-G-B-E.

Kanye wrote "Big Brother" as an ode to his brotherly friendship with Jay-Z. "Big Brother" is a mid-tempo hip-hop song. It is set in the time signature of common time, with a moderate tempo of beats per minute. The song opens with West's voice uttering the words, "Stadium status...", backed by string arrangements, pounding drums, a distorted guitar riff and soft piano keys.

The rhythm of the Dappan koothu is often signified by a mix of beat patterns layered and flowing into one another. Other percussion instruments may be employed in Dappan koothu. A similar instrument TamaTe in Kannada resembling a Ganesh tambourine is also being used for such dance forms in border areas such as M.M. Hills. The most-used time signature for dappan koothu songs is .

The three then recorded a work tape and played it for singer and producer John Rich (of Big & Rich), who chose it as the first single from Otto's Sunset Man album. The song is in the key of G major with a tempo of approximately 92 beats per minute and a 4/4 time signature. Its verses follow the chord pattern G-Am7-C-D-G.

The song is written in the key of E minor, a key rarely used by Mozart,NMA Critical Report, p. 122 with a time signature of . The text is set in strophic form to 24 bars. The vocal range reaches from B to E with a tessitura from E to D. A performance lasts between three-and-a-half and four-and-a-half minutes.

"Love the Way You Lie" is a midtempo hip hop ballad. The lyrics describe a couple's refusal to separate despite having an abusive relationship. According to the sheet music from Universal Music Publishing Group, the song is in the key of G minor with a common time signature and a tempo of 84 beats per minute. The vocal range spans from B3 to D5.

Juba's dance certainly incorporated elements of authentic > black culture, but to what extent is uncertain. Elements of Juba's style are > part of the black dance aesthetic: percussion, variable time signature, use > of the body as an instrument, changes in tone and pacing, extreme gestures > and poses, and emphasis on solo dancing.Floyd 55. Juba may very well have > exuded Africa's cool aesthetic: composure and vitality.

"Here We Go Again" is an uptempo pop-rock song, with guitar lines and pop hooks. Critics made comparisons with works by Kelly Clarkson, particularly the song "Since U Been Gone". According to sheet music published at Musicnotes.com by Kobalt Music Publishing, "Here We Go Again" is written in the time signature of common time, with a moderately fast tempo of 144 beats per minute.

It uses a 6/8 and 4/4 time signature. Two remixes of "The Outsider" were made for aMOTION. James Iha made the "Frosted Yogurt mix", which uses a much more toned-down, quiet, synthesized sound than the original. Danny Lohner's "Apocalypse Mix" is a darker, heavier version that starts as an ambient doomscape and ends in a way that resembles a music-playback program crashing.

According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is set in the time signature of common time, with a tempo of 100 beats per minute. Madonna's vocal range spans from B3 to E5. "Gambler" is composed in the key of D minor and has a basic sequence of Dm–G–Dm–G–Dm–G–Am as its chord progression.

Brandi Wynne joined the band in 2004. The music of Ozric Tentacles is a combination of driving basslines, keyboards and intricate guitar work, with a sound strongly influenced by Steve Hillage and Gong. Many of the songs incorporate unusual time signatures and Eastern- influenced modes. Furthermore, the band often uses complex arrangements, which include changes in time signature, key and tempo over the course of the track.

On the released version, Mick Jagger sings the lead vocal. The recording's arrangement makes use of baroque instrumentation; Brian Jones contributed a distinctive melodic figure played on oboe, while Nicky Hopkins performed on harpsichord. The two parts move in contrary motion, with Jone's melody ascending against Hopkins' descending pedal point. The song is in the key of B-flat major and in the 4/4 time signature .

"I Wanna Be with You" is a string-heavy pop song with slight R&B; influenced beats. The song is written in the key of E Major and is set in the time signature of common time. It is moderately paced with a tempo of 76 beats per minute. The song also follows the sequence of Ebmaj7–Ab–Eb7–Abmaj7 as its chord progression.

"Situation Critical" is a 1985 song by Canadian band Platinum Blonde from their album Alien Shores. The song reached number 8 on the Canadian chart in 1985 making it their second top 10 hit in Canada after "Crying Over You". The song plays at 122 BPM in 4/4 time signature. Lead singer Mark Holmes was interviewed by radio station BOOM 97.3 about the song.

" The music is lively with a triple metre time signature. The feel of the music shows jazz and R&B; influences. Los Angeles Times critic Robert Hilburn suggested that it as an "uptempo spirit." Producer Ted Templeman felt that Ronnie Montrose's electric guitar playing was particularly effective on this song, stating that his "infectious strummimg and catchy fills made 'Cannonball' worthy of release as a single.

The song's protagonist is a woman who found out her former lover has been cheating on her, and getting revenge on him. It is in a 4/4 time signature and the key of B major, with an approximate tempo of 116 beats per minute. Tippin's vocal ranges two octaves, from F3 to F5. It features backing vocals from Melodie Crittenden, Kim Parent, and Joanna Janét.

"Cry" is composed in the key of A major and the song's time signature is common time. "Cry" has a moderate metronome of eighty four beats per minute. The single is built in the chord progression of A–G/A–A–A/G in the verses and A–A/G–D–A in the chorus. The sheet music indicates the vocal range spans A3 to G5.

In a study by National Artist for Music Dr. Antonio Molina, the Balitao, famous in Tagalog and Visayan regions, employs a 3/4 time signature with a "crotchet-quaver-quaver-crotchet" beat. Others use the "crotchet-minim" scheme, while others use the "dotted quaver- semiquaver-crotchet-quaver-quaver" scheme. This type of music is generally recreational and, like traditional music from the West, is used for socialising.

This is the most commonly heard of the set and is a highly lyrical piece and very long if all repeats are observed. The first appearance of the main section and both trios are each in two sections, each repeated. The main section is an allegretto in time. The first trio is in C minor and major (no change in meter or time signature).

"Break the Ice" is an electro-R&B; song with influences of crunk. It is performed in a moderate pop groove. The song is composed in the key of F minor and is set in time signature of common time with a tempo of 120 beats per minute. According to Leah Greenblatt of Entertainment Weekly, "Break the Ice" sounds similar to Nelly Furtado's "Say It Right" (2006).

The song is written in the key of A minor with a time signature in common time. The pitch is raised almost a quarter of a whole tone from standard pitch, A440 Hz, up to circa A454 Hz. Jackson's vocal range spans from G3 to C5. The track has a tempo of 114 beats per minute. The main bassline is based in the pentatonic blues scale.

Running for seven minutes and seven seconds, the Fred Falke version of the song (which is the most known) is set at a moderate tempo of 127 beats per minute at a 4/4 time signature. The song incorporates the typical base of Falke's productions, fulfilled with synthesizers, pads and 80-ish drum sets, with additional claps, heavy hits, and a piano arrangement during the bridge.

Extract from Diego Ortiz's El Primo Libro … Nel qual si tratta delle Glose depicting rhythm and generic intervals. Observe the diminution (i.e. division) process suggested by the composer, in reference to the rhythmic figures in the upper and lower musical parts. A realization of the top line of the above Diego Ortiz extract in modern notation, completed with an arbitrarily chosen clef and a time signature.

He cites a Czech folk song, Já mám koně, as the inspiration for the primary theme of the first movement, with Dvořák later altering the mode and time signature. “It is of course the test of his genius that he should have transformed this idea into the glowing and radiant theme that the definitive score can boast.”Layton, Dvořák Symphonies and Concertos, 32–33.

According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of E major and is set at a tempo of 108 beats per minute with a time signature of for most of the song except for two measures of before the guitar solo and four during the ending. Jenkin's vocal range spans one octave, from F#4 to A5.

Metric levels: beat level shown in middle with division levels above and multiple levels below. Rhythm is produced by the sequential arrangement of sounds and silences in time. Meter measures music in regular pulse groupings, called measures or bars. The time signature or meter signature specifies how many beats are in a measure, and which value of written note is counted or felt as a single beat.

"Only You" is a mid tempo pop and "quasi-reggae" song with a length of three minutes and forty two seconds. The song is in the key of F minor, and moves at a tempo of 165 beats per minute in a 4/4 time signature. The song contains "tongue-in- cheek" lyrics about sexual fulfillment and masturbation. The song was compared to the works of Rihanna.

Thames Star (Waikato, New Zealand), 30 Haratua (May) 1914, p. 2 "They Didn't Believe Me", with its conversational style and modern 4/4 time signature instead of the older waltz style, put Kern in great demand on Broadway and established a pattern for musical comedy love songs that lasted through the 1960s. It became a standard and has been recorded by many artists.Bordman, Gerald.

According to sheet music published at Musicnotes.com by Universal Music Publishing Group, the song is written in the time signature of common time with a moderate beat rate of 135 beats per minute. It is written in the key of A major and Wyatt's vocal range spans the notes of E4 to F5. It has an A–Bm–Fm7–Gm chord progression and a verse-chorus structure.

Mark "Spike" Stent mixed the song and Michel Colombier played the strings. According to the sheet music published by Musicnotes.com, "Don't Tell Me" is set in the time signature of common time, with a moderate tempo of 100 beats per minute. It is composed in the key of D major with the singer's vocals ranging from the lower octave of G3 to the higher note of A4.

While he envisioned "I Burn" to be a story about cult members immolating themselves in order to ascend to a higher plane, "Possum Kingdom" was about one of the immolated people becoming "just smoke, and ...he goes to Possum Kingdom [Lake] and tries to find somebody to join him." Most of the song alternates between a and an time signature, which alternatively may be notated as .

According to the sheet music published at Musicnotes.com, "Do What U Want" is set in the time signature of common time, with a moderate tempo of 96 beats per minute. It is composed in the key of A major with Gaga's vocals spanning the tonal nodes of E3 to F5. The song follows a basic sequence of D–E–Fm–E–D–E as its chord progression.

The triple metre verses contrast with the 4/4 time signature of the rest of the song, giving it a distinct sound. Heavy emphasis is put on Duncan's vocals. After the soft verses, in which he expresses his sadness and vulnerability, the chorus kicks in with heavy drums, accompanied with a choir of backing vocals, to enhance the lyrics' expressions of anger and frustration.

"Tear in My Heart" is an uptempo pop song that runs for a duration of three minutes and eight seconds. The track has exuberant, summery sounds which delve into indie pop that are driven by shining, piano-based rock instrumentation. According to the sheet music published at Musicnotes.com by Alfred Music, it is written in the time signature of common time, with a moderatly fast tempo of 120 beats per minute.

The message of the song makes it very strong, unusual for Amy Grant, who was known as a pop/contemporary artist with meaningful, but light lyrics. The music only adds to the drama of the lyrics. This is helped along by the unusual time signature of the verses, with odd-numbered bars adding heightened tension. The intro on the album version is also in 6/8 and 4/4 simultaneously.

Björk called the performances a "meditation on the relationship between music, nature and technology"."Special" instruments were designed and constructed specifically for these concerts. "Cosmogony" is a calm and warm song, marking the link between the previous Björk project, Volta and Biophilia, using distorted brass, but in a much more intimate soft way. It has a time signature 4/4, and runs at a slow tempo of 60 beats per minute.

"Not Like the Movies" is a power ballad that lasts for four minutes and one second. The song is composed in the key of A major and is set in time signature of common time, with a moderate tempo of 100 beats per minute. Perry's vocal range spans over an octave, from F3 to E5. The song has a basic sequence of A5–Fm7–Cm–E as its chord progression.

"La La Land" is a guitar-driven pop rock song. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song is composed in the time signature of common time with a moderate beat rate of 84 beats per minute. It is written in the key of A major and Lovato's vocal range spans from the low-note of F3 to the high-note of E5.

"Peacock" is a dance-pop song, with an up-tempo house music beat, that lasts for three minutes and 51 seconds. The song is composed in the key of D minor and is set in time signature of common time, with a tempo of 138 beats per minute. Perry's vocal range spans over an octave, from B3 to D5. Lyrically, the track contains a double entendre with suggestive wording.

Movement I, first theme Movement I, second theme In the key of F major, this first movement is in the classical sonata form (also known as first movement form) and carries the time signature 4/4. It begins with an orchestral tutti introduction, wherein fragments of the first theme and most of the second theme are stated. The composer's harmonic language is simplistic, focusing heavily on dominants and tonics.Dent, p.

The song is composed in the key of B major and is set in time signature of common time with a tempo of 110 beats per minute. Hoppus and DeLonge's vocal range spans from F#2 to F#4. "I Miss You" is an all-acoustic affair, featuring a piano, cello, acoustic bass guitar, and a "brushstroked hip-hop groove." The song's production was very layered, requiring multiple tracks.

Their debut albums were released in 1992 and 1993 respectively. They were characterized by a "metallic post-hardcore" sound but with constant time signature changes and vocals with an "animalistic sound of a man losing his mind". Three out of four members of Dazzling Killmen knew each other from jazz school, while Craw had a classical percussionist and a jazz bassist. Both were joined by saxophonists on some performances.

"Who Do You Think You Are" is an uptempo dance- pop song, with influences of the early '90s Europop,De Ribera Berenguer, 1997. p. 46. and a disco–style beat that resembles the music of the late '70s. It is written in the key of F minor, with a time signature set on common time, and moves at a fast tempo of 120 beats per minute.Spice Girls, 2008. pp. 54–59.

Still, the meter is a common one, and there are many tunes that would fit nicely with the words. Based on the rhythm of the lyric, "Crawford’s Defeat" could very easily be contained in a 3/4 or 6/8 time signature. In his "Historical Account of the Expedition Against Sandusky," Consul Willshire Butterfield indicates that the vast majority of the volunteers were of Scotch- Irish descent.Butterfield, Consul Willshire.

The core gameplay and scoring system of 2ndMix is the same as the previous version of Dance Dance Revolution. The arrows in 2ndMix do not have different color-cycles based on their time signature. The "Vivid" arrow colors familiar to players of later mixes were not introduced until the club versions. All foot panel mods have been turned off and the difficulty and style of a song cannot be changed.

The EP closes out with a cover of Rush's song "The Spirit of Radio". Paige said it was the most challenging of the songs on the album due to the 9 time signature changes. The reggae-infused breakdown leading into the song’s final minute was pumped up to give it more swagger. The band toured the new EP in Europe with Kamelot and Gus G in the fall of 2015.

A four-part texture, utilizing SATB, is played four times. The key, starting pitch for each part, and time signature are given on the answer sheet. The student must accurately notate only the bass and soprano lines, though the bass, tenor, alto, and soprano parts are all played in the recording. The student must also provide a Roman numeral analysis of the chords in the progression with correct chord inversions.

"Strong Enough" is an acoustic folk-pop song. In live performances, Crow often plays the accordion to it, although this instrument was not featured on the original recording. The song is written in the key of D major with a moderately slow tempo of 79 beats per minute in the unusual time signature. It follows a chord progression of D–G5–Bm6–A, and Crow's vocals span from A3 to B4.

The climactic portion of the song is an attempt to emulate the sound of trip hop group Portishead, but in a style that bass player Colin Greenwood called more "stilted and leaden and mechanical". The song concludes by fading back to Yorke's voice, acoustic guitar and Mellotron. "Let Down" contains multilayered arpeggiated guitars and electric piano. Jonny Greenwood plays his guitar part in a different time signature to the other instruments.

The tempo runs at 66 beats per minute and is set in a 4/4 time signature. Lyrically, the song discusses a rocky relationship wherein two lovers have lost the fire in their relationship. The track describes how despite both of the narrators being aware of the issue, they both attempt to unsuccessfully ignore it. It has been described as a song that while cognizant, is nonetheless heart- wrenching.

According to the sheet music published by Alfred Publishing Inc., the song is set in the time signature of common time with a fast tempo of 120 beats per minute. It is composed in the key of F minor, with Madonna's voice in a high register, spanning between F3 to A4. The song has a basic sequence of G–B–G–D–G–Dm as its chord progression.

"Hicaz Hümâyun Saz Semâisi" is a piece of music written by Neyzen Yusuf Paşa (1820-1884) that demonstrates the many ways in which Turkish music and European music differ. The time signature of this song is in 10/8 and it features multiple Dal Segno signs. The key signature for the song is a C and a B. Another version of "Hicaz Hümâyun Saz Semâisi" was composed by Veli Dede (?-1768).

Arthur Troyte Griffith, a Malvern architect and one of Elgar's firmest friends. The variation, with a time signature of , good-naturedly mimics his enthusiastic incompetence on the piano. It may also refer to an occasion when Griffith and Elgar were out walking and got caught in a thunderstorm. The pair took refuge in the house of Winifred and Florence Norbury (Sherridge, Leigh Sinton, near Malvern), to which the next variation refers.

"Durango 95" is a three-chord song with the bass playing the root notes. The drum style is quite complicated for a punk rock song due to the cymbal crashes and 7/4 time signature used in the tune's second section. The song is the shortest of all of the album's tracks. It was made an instrumental essentially to fulfill the cultural reference that Johnny Ramone wanted to give it.

The composition is structured in seven movements: The piece has a duration of about 35 minutes. Fauré scored the work for two soloists, chorus and orchestra. Its movements and their sections are listed in a table for the scoring in voices, key, time signature (using the symbol for common time, equivalent to ) and tempo marking. The voices are abbreviated, S for soprano, A for alto, T for tenor, B for bass.

According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of D major and is set in time signature of common time with a tempo of 152 beats per minute. Lavigne's vocal range spans two octaves, from A3 to D5. The song's chorus was recorded in seven different languages other than English – Japanese, French, Spanish, Mandarin, Italian, German and Portuguese.

Baby is composed in the key of C minor. Lyrically, the song deals with a love triangle, with the singer telling somebody that they are "already someone else's." The song has a tempo of 117 beats per minute, and has a time signature of common time. It also features a complete descending circle of fifths, which propels the music forward throughout the circle of fifths and back to C minor.

"Señorita" is a "Spanish number" infused with an R&B;, up- tempo ballad. The song has been described as a fast "hot mid-tempo" and dance song. The song is composed in the key of E minor and is set in time signature of common time with a tempo of 96 beats per minute. The music begins with an electric piano strut, that provides the main chordal accompaniment.

She thought that the lyrics portrayed a powerful message about love, fame, and sexuality which was the central theme of The Fame. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, "LoveGame" is set in the time signature of common time and is composed in the key of B minor with a moderate tempo of 104 beats per minute. Gaga's vocal range spans from B3 to G5.

In the Philippines, the song is known as the oyayi. The province of Batangas has a very specialized form of lullaby known as the huluna. Though only composed of simple words, it is notable for being very difficult to sing, due to the lengthy melismas. Like many traditional songs from Spain, it is full of fioriture yet unlike many of the western type songs, it has no time signature.

Fellerer, Karl Gustav. "Mozart und Händel" in Mozart-Jahrbuch 1953, Salzburg 1954, pp. 47–55 In fact, the subject of the gigue bears a marked similarity to the subject of J. S. Bach's B minor fugue from Book 1 of Das Wohltemperierte Klavier. Mozart has changed the tempo from Largo to Allegro deciso and the time signature from common time to but the similarity between the two is unmistakable.

"Cool Girl" is a downtempo electropop song that incorporates elements of techno and house music, with a length of three minutes and nineteen seconds. Its instrumentation incorporates a deep synthesizer bass line. It is written in the key of A minor and set in common time signature with a tempo of 102 beats per minute. Lo's vocals range from the low note of E3 to the high note of D5.

"Snake" was written and produced by R. Kelly, and co-written by Darian Morgan. It is an R&B; song with Latin music inspiration, and elements of urban pop and new jack swing. "Snake" is four minutes and fifty-one seconds long. It is composed in the key of A♭ major and is set in time signature of common time with a tempo of 92 beats per minute.

These songs coexist alongside more Western- sounding heavy metal songs such as "Paradise", "Dream of the Doomsday" and "Don't Go Hiding". Progressive elements are prevalent throughout the album. "Nine Rhythm" is named for the time signature on the song's verses, and begins with a guitar introduction in 13/8 time. The band makes heavy use of harmonic modulation, as heard on tracks such as "Choice", "Soaring Bird", and "Legend".

Released as a single, it became the band's first hit in the United States, reaching number 10 in Cash Box magazine and number 13 on the Billboard Hot 100. "Money" is noted for its unusual – time signature, and the tape loop of money-related sound effects (such as a ringing cash register and a jingle of coins) that is heard periodically throughout the song, including on its own at the beginning.

Joel wrote and originally performed the song in the key of C major. It has a waltz time signature and begins with a jazzy piano solo before moving into its piano and harmonica introduction. The verses and the chorus feature a descending walking bassline in C that ends with a D – G turnaround. Instrumentally, Joel's 1973 version features piano, harmonica, bass guitar, acoustic guitar, accordion, mandolin, and drums.

Then the conductor gives one or more preparatory beats to commence the music. The preparatory beat before the orchestra or choir begins is the upbeat. The beat of the music is typically indicated with the conductor's right hand, with or without a baton. The hand traces a shape in the air in every bar (measure) depending on the time signature, indicating each beat with a change from downward to upward motion.

The song was originally written by Okereke on tour in 2003. Okereke was inspired by Pixies' record Doolittle at the time, specifically the song called "I Bleed", which was later used for the phrasing of "Banquet". Apart from Pixies, Okereke was also inspired by the song "Prince Charming" by Adam and the Ants. The song is in the key of A♯ minor and in 4/4 time signature.

Each piece consists of an introductory slow Cançó, followed by a more animated Dansa in a related key but not necessarily in the same time signature. They are mostly based on existing Catalan folk tunes, although some of them are original works. Each takes between 3 and 5 minutes to play. The Cançons i danses were not written as a set, but as discrete pieces over a 55-year span.

Eddie Kramer, who was present during the recording of Houses of the Holy, commented on extraneous noises in the recording: "It's entirely possible. [The song was] done in a house [but] I don't remember there being [a phone ringing]." Jimmy Page remarked: "The Ocean" features an unusual time signature, being partially in septuple meter, with a repeated two-measure phrase consisting of one bar of and one bar of .

It is set in a time signature of common time with a moderate tempo of 120 beats per minute. Madonna's voice spans from F3 to G4. A much stronger arrangement of drums are used in the second verse. The chorus uses the chord sequence of D–G–Bm–A while the first two lines of each verse uses the chord progression of C–D–C–D7–C–D–Bm–A.

The Church in the Philippines uses a separate hymn tune [another video] from the Pange lingua, whose first three strophes are otherwise sung to the melody used elsewhere. This particular tune, which is of Spanish origin, is credited to a "J. Carreras" and was originally published with a time signature of but is now sung in quadruple metre in Luzon and in quadruple then triple metre in the Visayas.

Additive rhythm time. 1 whole note = 8 eighth notes = 3 + 3 + 2\. The term additive rhythm is also often used to refer to what are also incorrectly called asymmetric rhythms and even irregular rhythms – that is, metres which have a regular pattern of beats of uneven length. For example, the time signature indicates each bar is eight quavers long, and has four beats, each a crotchet (that is, two quavers) long.

"Smile" is an up-tempo pop punk song, with a frenzied drum beats, electric guitars and acoustic guitars. According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of F♯ minor and is set in time signature of common time with a tempo of 100 beats per minute. Lavigne's vocal range spans two octaves, from E3 to F♯5.

According to sheet music published at Musicnotes.com by Hal Leonard Corporation, "In the Dark" is written in the time signature of common time and set in a fast tempo of 125 beats per minute. It is written in the key of C minor and Dev's vocals span from the note of A4 to the note of B5. It has a basic sequence of Cm–E6–A5–G5 as its chord progression.

The song is one of Linkin Park's heavier songs and is written in a 6/8 time signature. It progresses from a more melodic-stylization at the song's beginning, but then grows more intense towards the end. The song also features more screamed vocals, with Bennington screaming for about 10 seconds straight during the bridge. The earliest version of the song can be heard on "Frat Party at the Pankake Festival".

According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song is set in the time signature of common time, with a tempo of 122 beats per minute. Gaga's vocals range from the low-note of F3 to the high-note of C5. It is set in the key of F Dorian mode, and has a basic sequence of Fm–A–B–Fm as its chord progression.

"Stressed Out" is a midtempo alternative hip hop and rap rock song that runs for a duration of three minutes and twenty-two seconds. The musical composition has a throwback to rock music and psychedelic pop while maintaining clear pop sensibilities. According to the sheet music published at Musicnotes.com by Alfred Music, it is written in the time signature of common time, with a moderate tempo of 85 beats per minute.

Jenkka () is a fast Finnish partner dance found in Finnish folk dance, the Finnish version of the schottische. It is danced to music in or time signature, with about 140 beats per minute. Men and women do similar steps. The initial dance position is with the man to the left of the woman both facing in the direction of the line of dance, with their inner arms on each other's waists.

The first four bars of Bach's Prelude in C-sharp Major, BWV 848. The prelude is a lively 2 part texture, using a series of broken chords which swap between the hands. It is in a fast 3/8 time signature and is made up largely of semiquavers. Later on in the piece, the semiquaver line splits between the hands before ending with a short Coda in an improvisatory manner.

This practice developed during the 17th and 18th centuries, the baroque and classical periods. In the earlier Renaissance music, performers understood most music to flow at a tempo defined by the tactus (roughly the rate of the human heartbeat). The mensural time signature indicated which note value corresponded to the tactus. In the Baroque period, pieces would typically be given an indication, which might be a tempo marking (e.g.

"Elegia" is a piece composed by Peter Hook, Gillian Gilbert, Stephen Morris, and Bernard Sumner for the British rock band New Order. It is an instrumental in A minor with a time signature of 12/8. It can be found on their third studio album, Low-Life (1985). The band have stated that the song was written in memory of Ian Curtis, lead singer of the band's former incarnation, Joy Division.

The introduction of a concept album, "Shock" introduces its protagonist, a political prisoner known only as Edgecrusher, who declares his personal mission to destroy the totalitarian society in which he lives. This is one of the few Fear Factory songs which has an odd time signature in its pre-chorus (6/8 + 6/8 + 4/8). The song was featured in the TV series Angel from season 2 episode 10 "Reunion".

Furthermore, the soaring refrains and strident piano riff implement catchy pop hooks and breezy melodies that express an arena rock aesthetic. The track's rhythmic instrumentation consists of staccato piano chords, percussion-backed drums, and syncopated, melodic bass lines. According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is set in the time signature of common time, with a moderate tempo of 88 beats per minute.

The song is about the narrator's desires to live "on the outskirts of Heaven" when he dies, comparing such a place to his rural lifestyle. It is in a 3/4 time signature, including accompaniment from Troy Lancaster on electric guitar, Mike Johnson on steel guitar, and Tony Harrell on piano. During the production process, Campbell asked producer Mickey Jack Cones to make the intro softer so the song could "grow".

The music and lyrics were written by Raven, Larsen, Peter Zizzo and Jimmy Bralower. It was produced by Zizzo and Bralower and was mixed by Tom Lord- Alge. "Don't Say You Love Me" is performed in a 4/4 time signature at a moderately slow tempo of 100 beats per minute. Raven and Larsen alternate singing lead vocals for the first two verses, and then sing harmony together during the choruses.

"Half Full Glass of Wine" was written by Kevin Parker in the key of C Minor in a 4/4 time signature. It begins with hi-hats setting the tempo and rhythm, before an overdriven electric guitar riff comes in. The tempo is then gradually slowed down, rallentando. The main guitar riff then comes in, which is a C minor pentatonic blues riff, and the bass guitar doubles it.

"Sundown Syndrome" was written by Kevin Parker in the key of E major in a mostly 6/8 time signature. It is based around the repeating chords of Fm7 and Gm7. The song begins in 4/4 with the two above mentioned chords, while the drums are loose and jazzy and have flange added to them. It then changes to 6/8 time with a looser strumming pattern.

"Solitude Is Bliss" was written by Kevin Parker in the key of F major in a 4/4 time signature. It is based around the barre chords of D major, C major, Fadd11 and Gadd11. The song starts off with heavily phased strumming of the above-mentioned chords on an electric guitar. A drum fill comes crashing in to provide the rhythmic accompaniment along with the bass guitar.

"Expectation" was written by Kevin Parker in the key of C major in a 6/4 time signature. It is based around the two repeating chords of Cmaj7 and Fmaj7. The song starts off in a polymeter rhythm, with 3/4 on the drums, and 6/8 on the guitar, bass and keyboard. The vocals have reverb and delay applied to them,, and the guitars are distorted through a flanger pedal.

Retrieved on February 27, 2007. Complementing the deep, aggressive vocal style are downtuned, heavily distorted guitars and extremely fast percussion, often with rapid double bass drumming and "wall of sound"–style blast beats. Frequent tempo and time signature changes and syncopation are also typical. Death metal, like thrash metal, generally rejects the theatrics of earlier metal styles, opting instead for an everyday look of ripped jeans and plain leather jackets.

75, Feb 2000, p. 22–23. Mathcore's main defining quality is the use of odd time signatures, and has been described to possess rhythmic comparability to free jazz."Contemporary grindcore bands such as The Dillinger Escape Plan ... have developed avant- garde versions of the genre incorporating frequent time signature changes and complex sounds that at times recall free jazz." Keith Kahn-Harris (2007) Extreme Metal, Berg Publishers, , p. 4.

Cyclic form is rare among Joplin's rags.Waterman (1985b): 235 Joplin's usage of Italian tempo indications in "Magnetic Rag" has been interpreted as his intention to give the piece a serious aspect in a similar manner to Treemonisha and "Scott Joplin's New Rag". "Magnetic Rag" begins with the instruction "Allegretto ma non troppo" (moderately fast, but not too much) and continues in the D strain with "Tempo l'istesso" (tempo remains the same), a warning against slowing down for the minor-mode section. As well, Joplin employed in "Magnetic Rag" the classic "common time" 4/4 time signature instead of the more usual 2/4 time of rag tunes. Simultaneously, Joplin doubled all the note values, effectively making the unusual 4/4 time signature have no practical effect on the way the piece sounded or the way it was performed. His publishing it in 4/4 was simply a way to connect the rag with classical and popular piano works of prior fame.

The song "Moon" is based on four different sequences played by four different harpists: Zeena Parkins, Shelley Burgon, Sara Cutler, Carol Emanuel. These sequences repeat throughout the song, resembling the lunar cycles. The song has 17/8 time signature with instrumental sections in 5/8. The lyrics to "Moon" deals with themes such as rebirth, start over and mythology, making reference to the Moon as "adrenalin pearls placed in the gods' mouths".

The Simd (, ), is an Ossetian folk group dance.State Song and Dance Ensemble of South Ossetia “Simd” Time signature 4/4, 2/4. The beauty of Simd is in the strict graphic outline of the dance, the contrast between black and white costumes, the softness of movements, the strictness of line formations, and the harmony created by all of the above. In South Ossetia there is the State song and dance ensemble “Simd”.

"Part of Me" is a dance-pop and power pop song set to a house beat. It is composed in the key of D minor and set in a 4/4 time signature at a tempo of 130 beats per minute. The melody spans the tonal range of D4 to D5, while the music follows the chord progression of Dm–F–Bb-C. Production was done by Perry's frequent collaborator, Dr. Luke.

The music is heavily country oriented with Buffett backed by the Third Coral Reefer Band with a number of Nashville session musicians. Likewise, several of the songs (the entire second side of the album) are nautical-themed, a feature of Buffett's music following his move to Key West, Florida. The lyrics of "Nautical Wheelers" refer to "living & dying in ¾ time", the title of Buffett's previous album; and the song actually is in ¾ time signature.

The song's music contains jazz elements. AllMusic critic Matthew Greenwald has described the song as "a combination of hard, psychedelic rock with a free jazz interlude." For the interlude, which features Johnny Echols' guitar playing and Tjay Cantrelli's (real name John Barberi) saxophone playing, the time signature shifts from 3/4 to 5/8. Echols has described the song as "a kind of a jazz waltz", though noting that the song isn't very danceable.

"Paranoid Android" is described as alternative rock, art rock, progressive rock and neo-progressive. It has four distinct sections, each played in standard tuning, and a time signature, although several three-bar segments in the second section are played in timing. Yorke's vocals span from G3 to C5. The opening is played in the key of G minorGriffiths, 2004. p. 92. with a tempo of 84 beats per minute (BPM),Griffiths, 2004. p. 33.

Minus the Bear was an American indie rock band formed in Seattle, Washington, in 2001, and comprising members of Botch, Kill Sadie, and Sharks Keep Moving. Their sound was described as "Pele-esque guitar-taps and electronics with sophisticated time signature composition." Minus the Bear released six albums and four EPs. The band's final line-up consisted of Jake Snider (vocals, guitar), Dave Knudson (guitar), Cory Murchy (bass guitar), and Alex Rose (synthesizers, vocals).

In 2007, Brynwood Partners bought the "Turtles" brand from Nestle USA Inc., acquiring at the same time the Turtles production facility in Toronto, Canada -- merging the acquisition with a company it owned at the time, Signature Snacks Company. Subsequently, Brynwood consolidated its portfolio of confectionery acquisitions, which included Stixx, Flipz chocolate covered pretzels, Treasures, and Turtles, resurrecting the dormant DeMet's Candy Company name. In 2013, Brynwood sold the company to Yıldız Holding.

"Say You'll Be There" is a midtempo dance-pop song, with influences from G-funk and R&B.; It is written in the key of D major, with a time signature set on common time, and moves at a moderate tempo of 108 beats per minute. The song is constructed in a verse-chorus form. It uses the sequence Bm–E–Gm–D as its chord progression during the verses and the chorus.

"2002" is originally in the key of E major with a tempo of 96 beats per minute and a time signature of . The chord progression E–B–Cm–Gm–A–B–E is used in the verses; the progression Cm–A–E–B–A–B in the pre-choruses and bridge, A–E–B–Cm in the choruses, and E–B–Cm–A (the I–V–vi–IV progression) after the last chorus.

Similar to McCartney and Jackson's "The Girl Is Mine", Jerkins and his team structured "The Boy Is Mine" with spaces. During the constructing of the lyrics, they settled on a call and response form, giving each singer two bars a piece to sing. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song is set in the time signature of common time, with a tempo of 93 beats per minute.

The Game View is a scrolling score-like animation that displays in real-time the melody to be played. Note durations are displayed both as blue bars of different lengths and as real notes (eighth notes, sixteenth notes, etc). Note pitches are indicated both by the location of the note objects in the staff and by note names placed inside the note heads. Indications about key, accidentals, time signature and bars are also included.

The song samples "The Girl Can't Help It" by Little Richard. The song's computerized beeps flow alongside Fergie singing about being clumsy and in love, with the bridge consisting of the lines "You got me trippin', stumblin', flippin', fumblin' / Clumsy cuz I'm fallin in love". According to the sheet music published at Musicnotes.com by Alfred Publishing, "Clumsy" is set in the time signature of common time with a tempo of 92 beats per minute.

The song's verses feature the use of polymeter. The bass and drums are playing in a time signature of , while the vocals, keyboards, and guitar are playing in . The guitar solo was played over music similar to the chorus, but with some sections extended to give Elliot Easton more measures on the chords E minor, F major, and G major, to build his flashy, melodic solo which resolves to a C major seventh chord.

One of Schifrin's most recognizable and enduring compositions is the theme music for the long-running TV series Mission: Impossible. It is a distinctive tune written in the uncommon 5/4 time signature. Similarly, Schifrin's theme for the hugely successful Mannix private eye TV show was composed a year later in a 3/4 waltz time; Schifrin composed several other jazzy and bluesy numbers over the years as additional incidental music for the show.

As the song progresses, the listener realizes that through the lyrics the singer was talking about herself—"One lonely star and you don't know who you are". According to Musicnotes.com, the song has a moderate calypso feel and is set in the time signature of common time and progresses in 80 beats per minute. The composition is set in the key of A major with Madonna's vocal ranging from E3 to C5.

Often the heru and bari, provide a triplet pulse, transcribed as a 12/8 time signature, while the pregon sings to a 4/4 count. The hand claps are able to adopt both sets of rhythms to accompany both the musicians and the pregon. The sera section also allows the audience to dance. Dancing is typically done where the participant plants one foot on the floor, while the other foot stomps to the drummers rhythm.

A treble jig () is an Irish dance which is done in hard shoes. It is also known as the "heavy jig" (as opposed to the light jig, slip jig, single jig, and reel which are done as soft shoes). It is performed to music with a 6/8 time signature. The dance is usually 40 bars to 48 bars in length, but is danced for 32 bars if one is in beginner to prizewinner.

Most of the instrumentals on "Playtime Is Over" are sampled from other, more popular songs, and original instrumentals are similar in style. The mixtape features rhythmic, synthesized beats with bass, in a 4/4 time signature. While Nicki Minaj's new discography features pop-rap, "Playtime Is Over" is predominantly hip-hop music accompanied by fast-paced rapping. "Playtime Is Over" established many of the motifs that are present in Minaj's later work.

"The Fly" is played at a tempo of 108 beats per minute in a 4/4 time signature in the key of E major. The verses follow a chord progression of E–A–Asus4–E. The chorus follows a chord progression of C#m-E-A. When played live, however, the song is usually played a semitone lower, with the guitar in E♭ tuning, a common technique used by U2 when playing live.

3: (The Subliminal Verses). Steffen also wrote that " 'Psychosocial' is capped off with a time-signature shattering guitar/drum breakdown that will leave the best air-instrumentalists stumped". The album was praised by Total Guitars writer Nick Cracknell, who declared the effort "Slipknot's heaviest and most aggressive work to date". He compared "Dead Memories" to the works of Alice in Chains, while praising "Gehenna" for being the band's "most experimental work in their history".

Larry Flick from Billboard described "Impressive Instant" as a "club-savvy stomper" containing futuristic keyboard lines, with Madonna's vocals changing from "distorted, robotic lines" to "playful, child like chants". The song is a mixture of acid techno, pop-trance, electropop and electro house. According to the sheet music published at Musicnotes.com, "Impressive Instant" is set in the time signature of common time with a moderately fast tempo of 123 beats per minute.

The album contained four new songs along with remixes of "So Real" and "I Wanna Be with You." Of the six songs from her previous album So Real, one is a remix replacing the song. The opening track, "I Wanna Be with You," is a string- heavy pop song with slight R&B; influenced beats. The song is written in the key of E major and is set in the time signature of common time.

The album is an old-school country record mixed with Southern rock. Tracks on the album features electric guitar, mandolin, and acoustic guitar. "The Devil Named Music" exclaims the hard life on the road, while "Might As Well Get Stoned" features resignation lyrics. Musically, "Sometimes I Cry" is a blues song, "Nobody to Blame" a mid-tempo country rock track, and "Fire Away" features a beat in a classic soul-ballad time signature.

The song is a cynical observation on life in the American heartland. It also uses samples of the nursery rhyme Mary, Mary, Quite Contrary as a continued play- on-words. The latter part of the song retells another traditional nursery rhyme, Jack and Jill, in a modernized fashion. It is in the key of F-sharp major, in a 2/2 time signature with an approximate tempo of 88 beats per minute.

"Candy" is a teen pop and dance-pop song that lasts for 3 minutes and 54 seconds. The song is composed in the key of D major and is set in the time signature of 4/4 common time with a moderate tempo of 100.5 beats per minute. The song was written and composed by Denise Rich, Dave Katz, Denny Kleiman and was produced by Jive Jones, Tony Battaglia, and Shaun Fisher.

Musical notation for the song's guitar riff. Author Simon Leng considers that the unusual "stuttering" aspect in this recurring passage mirrors the search for adequate words expressed in Harrison's lyrics. "I Want to Tell You" is in the key of A major and in a standard time signature of 4/4. It contains a low- register, descending guitar riff that music journalist Richie Unterberger describes as "circular, full" and "typical of 1966 British mod rock".

It opens with a "lazy" clarinet solo and portrays the singer as a kind of sexual magnate. "I always get my man", she sings "If you're on my list it's just a question of when". The song is set in the time signature of common time with a moderate tempo of 75 beats per minute. It is composed in the key of B major with Madonna's voice spanning from F3 to B4.

As the sessions progressed, U2 attempted to record a suitable take of the song "Where the Streets Have No Name", which began as a demo that the Edge had composed by himself. However, the group struggled with the chord and time signature shifts, forcing significant "screwdriver work" to fix a recorded version of the song. Eno estimated approximately 40% of the time spent on The Joshua Tree was dedicated to that song alone.

Both songs contain references to American outlaw Jesse James. Morrison arranged "Crazy Face" in the irregular time signature 8/4; the first, third and seventh beats of the bar are emphasised. It begins with a gentle piano introduction, and ends abruptly, which, in Peter Mills' view, represents a shot from a gun, consistent with the American outlaw theme. "Give Me a Kiss" and "Gypsy Queen" are the final songs recorded during the first recording session.

"Smoke and Fire" is a three minutes and forty-five seconds pop song with synthpop influences. According to the sheet music published at Musicnotes.com. The song is composed in the time signature of common time with a moderate rate of 84-88 beats per minute. It is written in the key of B minor and Carpenter's vocal range spans from the low F#3 to B4, thus making Carpenter's range almost one octave.

"American Life" mixes pop, "glitchy" techno and "acoustic" folk in its composition. written in the time signature of common time with a moderate tempo of 102 beats per minute. It is composed in the key of A major with Madonna's voice spanning from C3 to B4. The song follows a sequence of Fm–Fm5–C–Bm during the verses and Fm–Cm–Cm2–Bm–Bm2 during the chorus as its chord progression.

Musically, "Holiday" is a dance-pop and post-disco song devoid of any particular structure. It begins with a chord sequence reminiscent of Cyndi Lauper's "Time After Time" (1984). Set in the time signature of common time with a medium tempo of 116 beats per minute, the song is composed in the key of D major and is six minutes seven seconds in length. Madonna's vocal range spans from B3 to C5.

"Undone – The Sweater Song" is a mid-tempo alternative rock song that runs for a duration of four minutes and fifty-eight seconds. Its musical arrangement utilizes dynamics and thick distortion during the chorus in order to drive home the song's melody. According to the sheet music published at Musicnotes.com by Hal Leonard Music, it is written in the time signature of common time, with a moderately slow rock tempo of 80 beats per minute.

According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of C minor and is set in time signature of common time (although the verses follow a 10-beat pattern of 4/4 - 2/4 - 4/4) with a tempo of 120 beats per minute. Roger Hodgson's vocal range spans two octaves, from G3 to Eb5. The song makes use of keyboards, castanets, and an instrumental section.

Throughout the song, the time signature changes several times, with variations in tempo, identifying and supporting the three different voices. The narrator begins by describing the Sniper climbing the stairs of the tower, "two bulky suitcases hang[ing] from his hands," who then begins shooting at people on the streets below. We hear the public's response and descriptions of the Sniper by those who knew him. The narrator returns and this cycle begins again.

"Kamikaze" runs for three minutes and seventeen seconds and has been described as a hip-hop flavored, pop-friendly alternative rock track that incorporates elements of electronic dance music. It has a minor-key melody with a time signature and a tempo of 78 beats per minute. The song features a heavily beat-driven chorus and multi-layered, synth-laden production. It is played over rumbling bass and contains some sharp, screeching electric guitar riffs.

"Madhouse" was released as the only single and third track from the group's second album, Spreading the Disease. The song is written in an up-tempo time signature, with heavy distorted guitar riffs. It has become a staple of live concerts, and has also appeared on Anthrax's "best of" album, Anthrology: No Hit Wonders (1985-1991). In 2009, the track was named the 46th best hard rock song of all time by VH1.

Matthews's settings of the first two haiku are essentially pentatonic in melody and harmony. The first haiku is marked by Matthews as "with fervour, but soon becoming gentle and introspective"; the second as "delicate: like porcelain." In the second haiku the time signature of the bars moves twice sequentially from to and then down to again. The third haiku, (marked "sombre but visceral"), in , is set against cavernous perfect fifths in the bass.

"Déjà Vu" is a contemporary R&B; song, performed in a moderate hip hop groove. It is also influenced by late-1970s funk music, and it contains elements of soul music as well as dance-pop music. According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is composed in the key of G minor with a time signature in common time, and a moderate groove of 106 beats per minute.

Tempo is not necessarily fixed. Within a piece (or within a movement of a longer work), a composer may indicate a complete change of tempo, often by using a double bar and introducing a new tempo indication, often with a new time signature and/or key signature. It is also possible to indicate a more or less gradual change in tempo, for instance with an accelerando (speeding up) or ritardando (rit., slowing down) marking.

The piece then moves into a 15/8 time signature. The instrumental section on "Talk" was originally a piece Rabin wrote for orchestra titled "October". Anderson said the song is "as good as anything" the band has done and noted its "remarkable" structure in the "Endless Dream" section, rating it on par with "Close to the Edge" and "Awaken", two long Yes tracks from the 1970s. White also praised the track highly.

"Polly" is an alternative rock song that lasts for two minutes and 57 seconds. According to the sheet music published at Musicnotes.com by BMG Rights Management, it is written in the time signature of common time, with a moderate tempo of 122 beats per minute. "Polly" is composed in the key of E minor, while Cobain's vocal range spans one octave and one note, from a low of D3 to a high of E4.

Songs often have more disjunctive song structures, key and time signature changes, modal melodies and drones than contemporary pop music. Surreal, whimsical, esoterically or literary- inspired lyrics are often used.G. Thompson, Please Please Me: Sixties British Pop, Inside Out (Oxford: Oxford University Press, 2008), , p. 197.V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop and Soul (Milwaukee, WI: Backbeat Books, 3rd edn.

According to Hal Leonard Corporation's sheet music published at Musicnotes.com, "Until the End of the World" is played at a tempo of 101 beats per minute in a 4/4 time signature. The basic key is E major. David Werther, a faculty associate in Philosophy at the University of Wisconsin–Madison, compared "Until the End of the World" with U2's 1987 song "Exit" in an examination of the role music can play in catharsis.

"Land of a Thousand Autumns" is an atmospheric instrumental track which contains references to the main theme of the title track. A sudden drum fill leads into the next track. "Please Don't Touch" is an instrumental track with many time signature changes that features prominent use of the Roland GR-500 guitar synthesiser. Hackett originally pitched the song for Genesis to rehearse during the Wind & Wuthering sessions, but the song was rejected.

The music of Myanmar (or Burma) () shares many similarities with other musical styles in the region. Traditional music is melodic, having its own unique form of harmony, often composed with a (na-yi-se), a (wa-let-se) or a (wa-let-a- myan) time signature. In Burmese, music segments are combined into patterns, and then into verses, making it a multi-level hierarchical system. Various levels are manipulated to create a song.

Composed in E minor with a time signature of , "Wings" is a bubblegum pop, R&B; song with a tempo of 112 beats per minute. The music comprises syncopated, double-timed handclaps, and a varying kick and snare drum arrangement. Other instruments include guitar, keyboards, as well as woodwind and brass types: alto, baritone and tenor saxophones, trombone and trumpet. Brief use of wobbly bass synthesizer during the verses add a contrasting dubstep element.

The song is set in the time signature of common time with a metronome of 165.9 beats per minute. It is composed in the key of E minor. The track is written in verse-chorus form and its instrumentation comes from the guitar and electronic keyboard. Lyrically, "Broken Heels" is written in the first person and was inspired by Burke's personality and a conversation she had with RedOne with regard to why she wears heels.

"I'm in Love with a Monster" is a funk-influenced pop song performed in a moderately fast tempo. According to the sheet music published at Musicnotes.com by Sony Music Publishing, "I'm in Love with a Monster" written in the key of C# minor and is set in a time signature. The song has been viewed as reminiscent of 1960s music, with Jeff Benjamin of Fuse describing the tune as a "throwback-inspired funk jam- thumper".

"Rockaway Beach" is an punk rock song that runs for a duration of two minutes and six seconds. According to the sheet music published at Musicnotes.com by Alfred Music, it is written in the time signature of common time, with a driving punk rock tempo of 185 beats per minute. "Rockaway Beach" is composed in the key of A major, while Joey Ramone's vocal range spans from the low-note of E4 to the high-note of A5.

"Help Is on the Way" is a rock song containing elements of punk rock and melodic hardcore. John Fortunato of The Aquarian Weekly described the song as a "menacingly anthemic, phlegm-clearing diatribe". "Help Is on the Way" is written in the time signature of common time, with a moderate tempo of 108 beats per minute. It is composed in the key G minor, with a melody that spans a tonal range of D4 to B♭5.

The track is backed by a Jim Jonsin-helmed beat and contains an interpolation of Joe Tex's "I Gotcha". According to the digital sheet music the recording was composed in a time signature of common time and in the key of B major, and follows a chord progression of E9–Cm9–Dm–F, with a tempo of 104 beats per minute. B.o.B's and Mars' vocal range span from F4 to B5. Lyrically, the song describes B.o.

"Love Machine" was written by Miranda Cooper, Brian Higgins, Tim Powell, Nick Coler, Lisa Cowling, Myra Boyle, Shawn Lee. They came up with some of the song's lyrics by singing "nonsense lyrics" over a backing track, which eventually evolved into real songwords. The instrumentation track was inspired by The Smiths, and created by Powell and Coler. It is written in C major with a time signature in common time and a tempo of 88 beats per minute.

"Everybody Wants to Rule the World" is a new wave and synth-pop song. The song is set in the key of E-flat major with a time signature and a tempo of 116 beats per minute. The band stated that the driving shuffle rhythm was influenced by Simple Minds' 1983 song "Waterfront", and Linx's 1981 song "Throw the Key Away". "Everybody Wants to Rule the World" incorporates synthesizers, guitar, a shuffle groove, two guitar solos, and keyboards.

Kenneth "Babyface" Edmonds wrote with Caillat for her new album, including the single "Try". "Try" was written by Colbie Caillat, Antonio Dixon, Kenneth "Babyface" Edmonds and Jason Reeves, while production was done by Babyface. It is written in the time signature of common time and is composed in the key of D major, with a moderately slow tempo of 70 beats per minute. Caillat's vocal range span from the low-note of A3 to the high- note of F5.

The third movement, "Quid sum miser", is short, depicting after Judgement Day, featuring an orchestration of TTB chorus, two cors anglais, eight bassoons, cellos, and double basses. The "Rex tremendae" features the second entry of the brass choirs, and contains contrasting dynamics from the choir. "Quaerens me" is a quiet a cappella movement. The sixth movement, "Lacrimosa", is in 9/8 time signature, concluding the Sequence section of the Mass, is the only movement written in recognizable sonata form.

XII The aria is scored for oboe I and II, bassoon I and II, horn I in D, horn II in A, and strings. The work is 151 bars long and takes about seven minutes to perform. The key signature is A major. The aria is divided into three parts; the first part with a time signature of alla breve and a tempo direction of adagio, ends in bar 80 after a reprise of the initial stanza.

The second part is in the time signature of common time and a tempo indication of allegro; at bar 124, the tempo accelerates to più allegro to the words of the last stanza. The aria has a vocal range of 2 octaves plus a fourth (or 2 900 cents), from E6 to B3; the latter note is a whole note in bar 135, followed immediately by a whole note D6, an interval of 2 octaves plus a minor third.

A distinguishing feature of many Wienerlieder is their chromatic and harmonic variety. Frequent changes in tempo together with theatrical pauses throughout the songs bring a certain degree of excitement to both singer and listener. A typical Wienerlied is written according to a 2/4 or 3/4 time signature with an often-alternated rhythm. The Wienerlied has a more complicated musical structure than other well-known music genres such as blues, rock, folk or Alpine folk music.

"LoveStoned/I Think She Knows" is an R&B; and art rock song. The song is composed in the key of F minor and is set in time signature of common time with a tempo of 120 beats per minute. The first part of the song, "LoveStoned", starts off to "a boast" and the interlude "I Think She Knows" transitions into "an adoring two-minute love song about someone special". The song also includes "human beatbox sounds".

"All The Things She Said" was written by Sergio Galoyan, Trevor Horn, Martin Kierszenbaum, Valery Polienko and Elena Kiper, while production was by Horn. The song was mixed and recorded by Robert Orton at UMG Studios in Santa Monica, California. According to the sheet music published at Musicnotes.com by Universal Music Publishing Group, the song is composed in the key of F minor with a time signature in common time, and a moderate groove of 90 beats per minute.

Drummer Vinnie Paul said that Cowboys from Hell was really close to the "definitive Pantera sound". When Metallica released their self titled album in 1991, Pantera considered it a letdown to fans because they believed Metallica abandoned the thrash metal sound heard in previous albums. Pantera felt they had an opportunity and a gap to fill; they wanted to make the heaviest record of all time. The riff for "Walk" is played in a time signature of 12/8.

Although this practice undermined Amu's theory of a constant basic pulse in African music, and generated debate, Nketia pointed out that the constant use of triplets in a duple time signature was misleading. Many scholars nowadays have found his theory useful in transcribing African music. He composed for both Western and African instruments, and wrote more than 200 publications, including his world- acclaimed The Music of Africa, which was translated into German, Italian, Chinese, and Japanese.

"Everytime the dog barked next door, I'd have to go out and shut him up, and then we'd do another take," remembered Williams. Williams performs piano on the track, with Preston Epps on bongos (though this unconfirmed), as well as an unknown drummer. The song is composed in the key of A-flat major and is set in time signature of common time with a tempo of 76 beats per minute. Duncan's vocal range spans from F3 to G4.

"This Used to Be My Playground" features a keyboard introduction, followed by the strings and the song starts. Musically, the song is set in the time signature of common time with a slow tempo of 77 beats per minute. It is composed in the key of G minor with Madonna vocals ranging from the chords of G3 to B4. The song follows a basic sequence of Gm–F/G–Emaj7–Dm7–Gsus–G as its chord progression.

"You Rock My World" is credited as being an uptempo post-disco and R&B; song that has vibrating vocal harmonies. The song is played in the time signature of common time in the key E minor, with Jackson's vocal range spanning from the tonal nodes of E3 to Bb4. "You Rock My World" has a moderate tempo of 95 beats per minute. The chord progression in the song is Em7–C9-Bm7–Am7–D–Em7.

It is subject to highly varied interpretation in differing local traditions. According to "Galicia-The Spanish Cousins", an article on Roots World,RootsWorld: Galicia - the Spanish Cousins muiñeira is the Galician "equivalent" of a jig, which is consistent with the time signature of . The word "muiñeira" (the same pronunciation in Portuguese, but spelled "moinheira") means literally both millstone and a mill landlady (or the miller's wife, if a man). Galician music is classified as part of Celtic music.

"'Stand in Your Love" is a single released by Bethel Music and Josh Baldwin on August 10, 2018, being the lead single for Bethel Music's eleventh live album, Victory (2019). The song was written by Ethan Hulse, Josh Baldwin, Mark Harris and Rita Springer. Ed Cash handled the production of the single. "Stand in Your Love" is composed in the key of C with a tempo of 72.5 beats per minute and a musical time signature of .

"Sky Fits Heaven" was written and produced by Madonna and Patrick Leonard, with additional production from William Orbit. According to the sheet music published at Musicnotes.com by Alfred Publishing, "Sky Fits Heaven" is written in the key of D major and is set in time signature of common time with a moderately fast dance beat of 126 beats per minute. Madonna's vocals range from G3 to B4, leading an instrumentation of a piano and a guitar.

This last transformation is so complete that it is easy to not recognize the connection. Key, mode, time signature, pace and tonal color have all been transformed. For Liszt to so radically alter the music's notation while remaining true to the essential idea behind it shows a tremendous amount of ingenuity on his part. The scoring, material and layout of the Second Piano Concerto also suggest the influence of Weber's Konzertstück in F minor for piano and orchestra.

" Mark Stoermer of the Killers further opined that "With 'Helter Skelter', the Beatles rocked harder than Led Zeppelin ever did, one year before their first album came out." Ben Bridwell from Band of Horses praised "She Said She Said", stating "Cheers to all involved on this track. Ringo Starr should be commended for the absolutely mental drums playing. The time signature alone is difficult to understand but to think of this performance being captured boggles my mind.

"Tom Sawyer" features a backbeat in a time signature, along with instrumental and closing sections in . These measures are symmetrically subdivided, featuring sixteenth-note groupings of 2+2+3+3+2+2. It was the first Rush recording for which Lee used his 1972 Fender Jazz Bass, which provided a punchier lower end than he had been able to obtain with his Rickenbacker 4001. This bass eventually became Lee's primary instrument during the recording of Counterparts in 1993.

For example, the name John appears in the Big Finish audio play Council of War. Furthermore, it was used in a few novels which were produced by the BBC, forexample in David A. McIntee's The Face of the Enemy, Paul Leonard's Genocide, Paul Cornell's No Future, Gary Russell's The Scales of Injustice, Keith Topping's The King of Terror, Tommy Donbavand's Shroud of Sorrow, Christopher Bulis' The Eye of the Giant, Mark Morris' Deep Blue or Simon Guerrier's Time Signature.

" "Meta Concrète" begins in a time signature as a piano ballad with poorly-tuned chime sounds performing the lead melody. Several bit- reduced blip sounds and electronic noises then come into the track. "Quelque Terreur" consists of string sections, synthesized birdsong and synthesizer pad chords. "Prelude To The Bridge" was categorized by Shaw as a fast-paced "extraordinary 21st Century romantic" "Glass- or Nyman-like piano adventure" that includes synths, "mournful strings" and "frantic frequency fits.

"Rude Boy" is an uptempo dancehall and R&B; song. which incorporates elements of raggamuffin. The song is written in the key of E minor (recorded in E minor) with a time signature in common time and a tempo of 87 beats per minute. Rihanna's vocal range spans from the low note of E3 to the high note of D5, and the song follows a sequence of Em−Bm−C−Am−Bm as its chord progression.

"Back to Life" was written by Cary Barlowe, Fred Wilhelm, Dan + Shay member Shay Mooney, and Sir Rosevelt member Niko Moon. The song is similar to many previous Rascal Flatts singles such as "Easy" and "Come Wake Me Up" by being a ballad with a 6/8 time signature. Rascal Flatts produced the song by themselves. Mooney said that the decision for Rascal Flatts to record the song came after they had been on tour with Dan + Shay.

"Mysterious Ways" is played in a 4/4 time signature at a tempo of 99 beats per minute. Note: Software required to view the page. The introduction to the song, which features the song's well-known guitar hook, consists of "one seventh-fret barre chord, a couple of rhythmic scratches and two notes" played in a key of B. The verses follow a chord progression of B–E–B–F. Note: Software required to view the page.

Generally a downtempo, electropop song, "Miles Away" is accompanied by beats and backing vocals, which sing the lines "So far away". According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is set in the time signature of common time, with a moderate tempo of 116 beats per minute. It is written in the key of A minor; Madonna's voice spans from the low-note of G3 to the high-note of C5.

According to author Ian Inglis, despite the Wilburys' songs being credited to all five members, "Heading for the Light", like the group's singles "Handle with Care" and "End of the Line", has "Harrison's distinctive musical and vocal signature". Author Simon Leng similarly views it as an "obvious Harrisong" in its musical and lyrical themes. The composition is in the key of B major. The time signature throughout is 4/4, played with a fast shuffle beat.

In 1997, Hedden performed the Super Bowl theme he composed with the Louisiana Philharmonic Orchestra at Super Bowl XXXI. One of the pieces he composed, A New Game, featured an unusual 15/8 time signature; the piece would eventually be played at National Basketball Association games whenever the visiting team calls a timeout. Another composition of his, Sprint Right, is played in NFL broadcasts. Hedden also had his music featured in films such as The Waterboy and Little Children.

"Heathens" is a rap rock song that lasts for a duration of three minutes and fifteen seconds. According to the sheet music published at Musicnotes.com by Alfred Music, it is written in the time signature of common time, with a moderate tempo of 90 beats per minute. "Heathens" is composed in the key of E minor, while Tyler Joseph's vocal range spans one octave and two notes, from a low of E4 to a high of G5.

The tour's humour caused problems in Japan, where audiences responded to the changes with bewilderment. Barre recalls these first live performances being "a terrible experience" as there was a lot of complex music with a variety of time signature changes to remember. Anderson performed the entire album live on tour in 2012, the first complete performances since the original tour. In August 2014, Anderson released the CD/DVD/Blu-ray Thick as a Brick – Live in Iceland.

Like house and techno, microhouse is built around a 4/4 time signature. Its tempo ranges between 115 and 130 BPM. A noticeable difference between microhouse and house is the replacement of typical house kick drums, hi-hats and other drum machine samples with clicks, static, glitches, and small bits of noise, which more often than not are stretched out and last longer in drops. Microhouse artists often experiment with different forms of sampling to achieve this effect.

"A Plague of Lighthouse Keepers" is a song by the English rock band Van der Graaf Generator, from their fourth album Pawn Hearts (1971). It is a concept piece over 23 minutes long, which comprises the whole B-side of the album. "A Plague of Lighthouse Keepers" evolved in the studio, recorded in small sections and pieced together during mixing. The song has many changes in time signature and key signature, and even incorporates some musique concrète.

"Baby's in Black" is performed at a 6/8 time signature with a moderate tempo. An AllMusic critic described the song as "a love lament for a grieving girl that was perhaps more morose than any previous Beatles' song." Musicologist Alan W. Pollack notes that the song is relatively complex in format, with a refrain, bridge, and a guitar solo. He describes the song as having "mishmash" of stylistic elements—among them, "bluesy" chords and country music-inspired vocals.

Musically, "You'll See" is an acoustic pop ballad. It is set in the time signature of common time, having a tempo of 120 beats per minute. The song is played in the key of G Major, with a basic sequence of Em–D–Em as its chord progression during the first verse, while piano and guitar are used to play the background music. The sequence shifts to Em–C–D–G–C–F during the chorus.

Most of the tracks were recorded live and then extensively overdubbed in the studio. "Rat Tomago" is bookended by two brief pieces of musique concrète, constructed of studio dialogue, sound effects, and assorted musical fragments. In making "Rubber Shirt", Zappa combined a track of Terry Bozzio playing drums in one musical setting with one of Patrick O'Hearn playing the bass in another, and totally different, musical setting. The tracks differed in time signature and in tempo.

The Locust are known for their unique mix of grindcore speed and aggression, complexity, and new wave weirdness. The band's musical genre is typically described as grindcore, hardcore punk, powerviolence, and noise rock. About the band's aesthetic, vocalist/bassist Justin Pearson has said, "I wanted to change the way people perceive music, or maybe just destroy it in general." The Locust's music is complex, dynamic and fast-paced, often featuring abrupt and inconsistent time-signature changes.

It has a 6/8 time signature and the main chord pattern is D-G-D-A-D. The song tells the story of co-writer Berg's own coming of age as a teenager outside of Luck, Wisconsin, she recalled: "We used to go to my grandparents' dairy farm in the summer. My aunt, who's six months younger than me, and I would try to score some wine. And I met this boy..."Woliver, Robbie (January 28, 1997).

"Saturate Me" is a hip hop ballad with an Arabic sound that lasts four minutes and two seconds. It was written by Randall Barlow, S. Green and Tim Mitchell and produced by Barlow, Mitchell and Estefan. According to the digital sheet music published at Musicnotes.com, the song is composed in the key of D major and is set in the time signature of common time (4/4) with a moderate tempo of 96 beats per minute.

Guerrier's earliest published fiction appeared in Zodiac, the first of Big Finish's Short Trips range of Doctor Who short story anthologies. To date, his work has appeared in the majority of the Short Trips collections. He has also edited three volumes in the series, The History of Christmas, Time Signature and How the Doctor Changed My Life. The second of these takes as its starting-point Guerrier's short story An Overture Too Early in The Muses.

A lack of MIDI-out capability limits the use of external MIDI instruments. There is also only limited support for messages sent from knobs on MIDI keyboards, as only real- time pitch bend, modulation, sustain, and foot control is recognizable. However, since GarageBand '08, other parameters affected by MIDI knobs can be automated later, per-track. GarageBand has no functions for changing time signature mid-song though the software does now allow a tempo track to automate tempo changes.

Tempus similarly describes the relationship between the breve and semibreve. Early medieval music was often structured in subdivisions of three, while the note values in modern music are unambiguously subdivided into two parts, meaning that only minor prolation has survived in our time signature system. We now indicate subdivisions of three by modifying note values with dots or triplets. The history of written medieval music shows a gradual shift from major to minor prolation being common.

"See You Again" is a dance rock song with a length of three minutes and ten seconds. The songs contains numerous influences from electronic, new wave, and techno music. The song is set in the time signature of common time and has a fast tempo of 138 beats per minute. It is written in the key of A minor with Cyrus' vocal range spanning one octave, from the low note of G3 to the high note of A4.

According to the sheet music published on Musicnotes.com, the record is set in time signature of common time with a key of B major. It has a slow tempo of 72 beats per minute with Madonna's vocals ranging from the notes of F3 to A4. The track begins with a basic chord progression of F5–G5–E5–A5–G5, which changes into A5–G5–B–Cm7 during the rest of the verses and A–E9–B in the chorus.

"Stitches" is the first major single recorded by Shawn Mendes after being signed to Island Records. The song was composed in B♭ minor with a tempo of 150 beats per minute and a time signature of . Mendes's vocals span one and a half octave, from D3 to an A4 belt after the bridge which continues into the chorus. It was written and produced by Danny Parker, Teddy Geiger, and Daniel Kyriakides, and recorded by Mendes in 2014.

Leng, pp. 153, 209. The song's time signature is 4/4 throughout, and the musical key is F major. As on Harrison's recording, this requires the placing of a capo on the guitar's third fret, to transpose the chords from D up to the correct key."Give Me Love (Give Me Peace on Earth)", in George Harrison Living in the Material World: Sheet Music for Piano, Vocal & Guitar, Charles Hansen (New York, NY, 1973), pp. 63–65.

Originally called the Texas Shuffle Step (or Foxtrot step), at some point this became better known as Texas Two-Step, which is now the most common dance with that name. Danced to music with 4/4 time signature, it consists of four steps with timing quick, quick, slow, slow, where the pattern of movement is often referred to as "Step-together, walk, walk." This Two-Step has been taught as early 1983.Country Western Dance Steps.

Drake later said of the sessions: "I was in the studio the whole time and got to see how Tim was working. It was just great fun, lots of exploring and experimenting." The record was produced by Tim Smith and engineered by Graham Simmonds and Roger Tebbutt. The album disregards typical musical elements, such as constant tempos, a regular time signature and definable keys, in favour of a chaotic art rock approach, although each song keeps a coherent structure.

"Molly Lips" is an uptempo alternative rock song that lasts for a duration of two minutes and nineteen seconds. According to the sheet music published at Musicnotes.com by Universal Music Publishing Group, it is written in the time signature of common time, with a fast tempo of 160 beats per minute. "Molly Lips" is composed in the key of G Major, while Kurt Cobain's vocal range spans from the low-note of F3 to the high-note of E4.

The second movement is much more introspective and has a continuously shifting mood without a defined theme. The third is a frenzied dance that begins with a scordatura (G-D-A-E) violin section, after which the clarinet introduces the main theme. In the middle, there is a slower section in the time signature , after which the pattern of variations on the theme is resumed. János Kárpáti has discussed the structural aspects of Contrasts in detail.

According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of G major and is set in time signature of common time with a tempo of 104 beats per minute. Jenkins’s vocal range spans three octaves, from G3 to C6. The song has a sequence of G–D–C in both the verses and chorus and G–D–C–G/B–Am in the bridge, as its chord progression.

Swift wrote the track with the song's producers, Max Martin and Shellback. "Wildest Dreams" has been described as a dream pop, soft rock, electropop and synth-pop power ballad by critics. Reviewers compared the song to the works of Lana Del Rey, noting a particular resemblance to Del Rey's "Without You." Written in the key of A major and set in a common time signature, it has a relatively slow tempo of 70 beats per minute.

"Dance in the Dark" is a Europop track which infuses influences of retro and new wave music in its composition. Michael Hubbard from musicOMH wrote that the song begins with a stuttering introduction and orgasmic groans, followed by Gaga singing the song. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, "Dance in the Dark" was written in the time signature of common time, with a tempo of 121 beats per minute.

Macdonald states that the song's last verse featuring Lee's high-pitched vocals is a "farewell to Rush's early style". The song increases in complexity as it progresses. It features odd time signatures, with most of the song using 13/4 (6+7), but also employing 15/4 (4+4+4+3) in parts. The chorus has a 3/4 time signature, shifting from a single sixteenth note in the first beat to triplets in the next two beats.

Rabiz or rabis () is a genre of Armenian popular music, distinguished by its lyrics and dance-oriented synthesized melodies in 6/8 time signature with elements of Armenian folk music. Rabiz first emerged in Yerevan in the 1970-80s and was often associated with Armenian migrants from Baku, Kirovabad, and rural regions of Armenia. Rabiz singers are with few exceptions male. More recently, rabiz songs have been augmented with heavier arrangements and electronic dance music elements in their instrumentation.

This is also evident in Madonna's vocal nuance on the words "express yourself", which initially centers on G, before moving down a semitone to E minor, the raised 6th in G Dorian. Per the sheet music published by Alfred Publishing Co. Inc., "Express Yourself" is set in time signature of common time, with a tempo of 120 beats per minute. Madonna's voice range spans from G3 to C5 with a chord progression of G–F/G–C–G.

36 The Terminator theme is played over the opening credits and during certain scenes at varying tempos, including a piano version during the love scene and a slowed-down version when Reese dies.Hayward, 2004. p.168 It has been described as having a "deceptively simple melody" line and "haunting synthesizer music". It is in a time signature of , which came about as Fiedel experimented with the rhythm track on his music equipment, a Prophet-10 and an Oberheim.

The song was written by guitarist Tommy Shaw. It was originally based on Shaw's initial perception of Styx keyboardist Dennis DeYoung — an "angry young man" who viewed the group's successes with a wary eye and grew angry or depressed with every setback. It was only in later years that Shaw began to see himself in the lyrics, and the song took on a more personal meaning to him. The composition features a number of time signature changes.

NME contributor Ailbhe Malone noted that the composition featured elements from the singer's previous singles, "Music" (2000) and "Jump" (2006). As she sings "forgive me", the beat drops completely with the music disintegrating. Madonna's vocals are processed to appear thin and stretched out. According to the sheet music of the song published online by Sony/ATV Music Publishing, "Girl Gone Wild" is set in the time signature of common time, with a moderate tempo of 127 beats per minute.

"Heavydirtysoul" is alternative hip hop song that runs for a duration of three minutes and fifty-four seconds. Throughout its track, the duo mix multiple genres, including funk-tinged rock, hip-hop, epic pop and R&B; hooks while experimenting with electronic dance beats. According to the sheet music published at Musicnotes.com by Alfred Music, the song is written in the time signature of common time, with a moderately fast tempo of 130 beats per minute.

"Come Wake Me Up" is about a man who has broken up with his lover. Affected by the emotions, he wishes that he were dreaming and asks that she awaken him. The song has a 6/8 time signature with an approximate tempo of 52 dotted quarter notes per minute. It is set in the key of E major with a main chord pattern of EM7-Cm7-EM7-Cm7-A-B-Gm-Cm7-B on the verses.

The beat is set the time signature of common time and moves at a fast tempo of 120 beats per minute. The song also has the sequence of G-Bm7-G/C-D- Em-D as its chord progression. Houston's vocals in the song span from the note of D4 to the high note of G5. Lyrically, the song speaks about the lead woman trying to discern whether a man she likes will ever like her back.

"3 Words" is an uptempo dance-pop song which features guest vocals from will.i.am who produced the song as well as, writing the lyrics with Cole and George Pajon. Serving as the opening and title song of Cole's debut album, the song is written in the key of C minor with a time signature in common time and a tempo of 129 beats per minute. Noticeably missing is the standard use of a "verse-chorus-verse song structure".

It is set in time signature of common time and features a basic chord progression of B/E–Em–Cm–G7. Houston's vocals span from the note of Am7 to the note of D5. According to Stephen Holden of New York Times, the song is a "lovelorn lament with a realistic twist". He noted that, through the verses, the singer congratulates herself for breaking up with an abusive boyfriend and admits that she is still in love.

It paces at a moderately fast metronome, at approximately 129 beats per minute, while it is set at a 4/4 time signature, following a chord progression of Em–C–G–D. Perry's vocals in the track span from G to E. The track's "uncluttered" instrumentation features woodblock percussion and a "dramatic" bass line. Lyrically, Jason Lipshutz from Billboard deemed it the "most mature offering" on Prism, claiming it served as a "predicate" to Perry's 2010 single "Teenage Dream".

"So Am I" is an electropop song, described as an "inspirational, self-acceptance anthem". According to the song's sheet music that was published on Musicnotes.com, it is set in the time signature of common time, with a tempo of 130 beats per minute, while composed in the key of G-flat major. Max's voice on the track ranges from the low note of G3 to the high note of E5, while the song is constructed in verse–chorus form.

"My Blood" is a disco-tipped indie rock song that lasts for a duration of three minutes and forty-nine. The moody, groove-driven track contains R&B; hooks and has a throbbing beat underpinned with robotic drums and thick funk generated by rolling, distorted bass line. According to the sheet music published at Musicnotes.com by Alfred Music, it is written in the time signature of common time, with a moderately fast tempo of 109 beats per minute.

Vitry took this a step further by indicating the proper division of a given piece at the beginning through the use of a "mensuration sign", equivalent to our modern "time signature". Tempus perfectum was indicated by a circle, while tempus imperfectum was denoted by a half-circle (the current symbol , used as an alternative for the time signature, is actually a holdover of this symbol, not a letter C as an abbreviation for "common time", as popularly believed). While many of these innovations are ascribed to Vitry, and somewhat present in the Ars Nova treatise, it was a contemporary—and personal acquaintance—of de Vitry, named Johannes de Muris (Jehan des Mars) who offered the most comprehensive and systematic treatment of the new mensural innovations of the Ars Nova (for a brief explanation of the mensural notation in general, see the article Renaissance music). Many scholars, citing a lack of positive attributory evidence, now consider "Vitry's" treatise to be anonymous, but this does not diminish its importance for the history of rhythmic notation.

"Big Girls Don't Cry" has a length of 4 minutes and 28 seconds. It incorporates elements from different genres such as acoustic folk and is composed by simple drums, synthesizers, violins, strings, viola, and celli. The song is written in the key of G major and is set in time signature of common time with a moderate pop tempo of 113 beats per minute. Fergie's vocal range spans from the high-tone of C5 to the lower register of G3.

"My Life Would Suck Without You" is a pop song which is somewhat closer to dance-pop than her earlier pop rock hit "Since U Been Gone". The song is set in the time signature of common time and has a moderate fast tempo of 145 beats per minute. It was written in a key of A major and Clarkson's vocal range within the song spans from A3 to E5. The instruments utilized in the song include synthesizers, guitars, drums, and bass.

The first movement begins in a time signature, an unusual feature among Mozart's 27 piano concertos. Among them only this, the fourth, the eleventh, and twenty-fourth open with a movement in . It is also traditional, in the tutti of a classical concerto, for there to be little key adventuring. There are several reasons for this, but the upshot is that, the less this is true, the harder it becomes to distinguish the tutti from the opening of a classical-era symphony.

"Scentless Apprentice" is an alternative rock song that runs for a duration of three minutes and forty-eight seconds. According to the sheet music published at Musicnotes.com by BMG Rights Management, it is written in the time signature of common time, with a moderately fast rock tempo of 111 beats per minute. "Scentless Apprentice" is composed in the key of F Minor, while Cobain's vocal range spans one octave and four notes, from a low of B4 to a high of F5.

"Nothing Fails" features an acoustic guitar introduction, which is a recurring theme of American Life. The guitar is accompanied by a "light" drum section and low-pitched vocals from Madonna and also features a cello in the first part of the song, while gospel music comes in at the later half. According to the sheet music published at Musicnotes.com by Alfred Publishing, "Nothing Fails" is written in the time signature of common time with a moderately slow tempo of 92 beats per minute.

Drummer Travis Barker was influenced by John Bonham on the song. The song is composed in the key of E major and is set in time signature of common time with a tempo of 173 beats per minute. The vocal range spans from E3 to B4. "Feeling This" opens with flanged drums. Although computer technology offered it during the album’s production, according to Hoppus, the band opted to produce the effect "the old school way", opting for two tape machines.

MusiCAD is a scorewriter program originally designed for folk music featuring irregular meter (like or ) and automatically generated accompaniment voices (bass /chords) from chord symbols and specified time signature. Created lead sheets are audibly verifiable. One of its design goals was to be as predictable as possible: 'what-you-write-is-what-you'll-hear'. The resulting music engraving is the result of the notes used and an applied set of rules (note sizes etc.) that determine how notes should be drawn.

The work is scored for soprano, two violins, viola, cello and bass; the tempo marking is Andante grazioso, the time signature is 2/4 time, the key signature is A major. A typical performance would last for about 7 minutes. It is composed as a da capo aria (bars 1–86) with a short middle section ("", bars 87–100) which has the tempo marking Allegretto and is in the parallel key of A minor. The aria consists almost wholly of two-bar phrases.

Excerpt from the Étude Op. 25, No. 12 Étude Op. 25, No. 12 in C minor is the last of Frédéric Chopin's formal studies for the piano, opus 25, dedicated À Madame la Comtesse d'Agoult. It was first published in 1837 in French, German, and English. In the first French edition, the time signature is 4/4, but most recent editions of this piece follow the manuscript and German editions, which indicate cut time.Palmer, W: Chopin Etudes for the Piano, page 126.

"An Sylvia" is written in the key of A major with a time signature of alla breve. A four-bar introduction by the piano is followed by 25 bars, a strophic form identical for each stanza. The song is in bar form, which follows a pattern of A–A'–B: a main melody, or in German, followed by an ending melody known as the . The majority of the piece stays in close proximity to the tonic and is generally simplistic in form.

"Is It Any Wonder?" was composed under an 8-beat 4/4 time signature and a 130 bpm tempo. The main key of the riff is A major, alternating to G major when the bass starts playing. The song starts with bashing piano notes, leading to Tim-Rice Oxley's deep distortion piano sound that is used to emulate abrasive electric guitar riffs. Bass guitar lines, synthesizers, and drums begin to finally introduce Tom Chaplin with the vocals of the first verse.

"Talking to the Moon" is a "sowaring" pop and R&B; power ballad. It has a stripped-down production, and instrumentation consisting primarily of drums and a piano. According to the digital sheet music, the song was written in the key of C minor and was set in a four-four time signature with a ballad tempo of 73 beats per minute. Mars' vocal range spans from G3 to C5, and the song follows the chord progression E–G7–Cm–B–A.

"Touch Me I'm Sick" is an alternative rock and garage punk song that lasts for a duration of two minutes and thirty-three seconds. According to the sheet music published at Sheet Music Plus by Better Than Your Music, it is written in the time signature of common time, with a moderately fast tempo of 120? beats per minute. "Touch Me I'm Sick" is composed in the key of G major, while Mark Arm's's vocal range spans one octave and three notes.

The song is commonly presented in the key of G (to B♭). The song structure consists of three seven-line verses and a two-line coda. The first two verses have a rhyme scheme of AABACDC. The third verse modulates three half steps (from G to B♭), with the rhyme scheme altered to ABABCDC, and the coda repeating the DC. The time signature of the song is common time with the lines introduced between the second and third beat.

The fugue of BWV 538 is very similar to the fugue of BWV 540. They both imply an alla breve time signature; they both use subjects with semibreves and syncopated minims, with a rhythm of constant quavers, rather than constant semi-quavers seen in most of Bach's fugues; they both use chromaticism, harmonic suspensions, and uninterrupted succession of subjects and answers. Bach worked in Weimar between 1708 and 1717, during which he composed most of his organ works including BWV 538.

The Merkle signature scheme however only depends on the existence of secure hash functions. This makes the Merkle signature scheme very adjustable and resistant to quantum computing. Note that Merkle signature is a one time signature with finite signing potential; the work of Moni Naor and Moti Yung on signature based on one-way permutations and functions (and the invention of universal one-way hash function) give a way to extend a Merkle like signature to a complete signature scheme.

He created his own record label, Akashic Records (later Light Without Heat Records), which he used to take Flex-Able directly to distribution channels. Flex-Able was released in January 1984. Vai began his rise to public acclaim in 1983 when, shortly before the release of Flex-Able, his composition "The Attitude Song" was published in Guitar Player magazine. The song centered itself on a main guitar riff in the time signature 7/16, played over a rhythm section centered in 4/4.

"Outshined" was written by frontman Chris Cornell and is performed in drop D tuning. The verses are in time, an unorthodox meter, common of some Soundgarden songs, such as "Spoonman", which has a riff in , and "Black Hole Sun", which has a riff in . Guitarist Kim Thayil has said that Soundgarden usually did not consider the time signature of a song until after the band had written it, and said that the use of odd meters was "a total accident."Rotondi, James.

As one of Carlos Gardel's most popular songs, this piece reflects on the beauty of Buenos Aires, Argentina. The lines of the song describe and compare the city to the feelings of love and luck, as well as getting rid of the sorrow present in the city when Gardel returns. The entire song is in a 2/4 time signature and starts in the key of B minor. As the song progresses, the key signature changes to the key of B major.

"When Love Takes Over" is a synthpop and "uplifting floor- filler" produced by Guetta and his associate Frédéric Riesterer. Jason Lipshutz from Billboard magazine described it as a "pop number built around a lush piano loop and throbbing percussion" with trance elements. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song was written in the key of F mixolydian with a time signature of common time and a tempo of 130 beats per minute.

This movement is sung exclusively by the sopranos and is patterned on a traditional processional in Christian church service. It has no time signature and can be sung in a variety of tempos in order to make the movement more flexible. The last several measures can be repeated to allow the whole ensemble to take their places. > Text: Hodie Christus natus est: > hodie Salvator apparuit: > hodie in terra canunt angeli: > laetantur archangeli: > hodie exsultant justi dicentes: > gloria in excelsis Deo.

"She Bangs" is a dance song that features Latin music influences and lasts for four minutes and forty-two seconds. According to Alfred Publishing Company's digital sheet music for the single, "She Bangs" is composed in the key of F# minor and set in common time signature, and with a groove of 142 beats per minute. Martin's vocals span from the low note of D4, to the high note of F#5. The song's instrumentation features "powerful" percussion, trumpet blasts and tropical beats.

Rhythm passed between the singer and the piano The text for the third piece in the set, "Barcarolle", was written by Marc Monnier. This piece remains typical of barcarolle form by using the buoyant flow of a 6/8 time signature. Throughout the song, the rhythmic figure, which consists of an eighth note tied to three triplet sixteenth notes, followed by another eighth note, is passed between the voice and the piano.Meister, B: "Nineteenth-Century French Song: Fauré, Chausson, Duparc, and Debussy", pp.

In music, a tuplet (also irrational rhythm or groupings, artificial division or groupings, abnormal divisions, irregular rhythm, gruppetto, extra-metric groupings, or, rarely, contrametric rhythm) is "any rhythm that involves dividing the beat into a different number of equal subdivisions from that usually permitted by the time-signature (e.g., triplets, duplets, etc.)" . This is indicated by a number (or sometimes two), indicating the fraction involved. The notes involved are also often grouped with a bracket or (in older notation) a slur.

"Aneurysm" is an alternative rock song that lasts for a duration of four minutes and thirty-five seconds. According to the sheet music published at Musicnotes.com by BMG Rights Management, it is written in the time signature of common time, with a moderately fast rock tempo of 132 beats per minute. "Aneurysm" is composed in the key of B Minor, while Kurt Cobain's vocal range spans one octave and five notes, from a low of A4 to a high of F5.

In this case, the meter is sometimes characterized as "triple septuple time". It is also possible for a time signature to be used for an irregular, or "additive" metrical pattern, such as groupings of eighth notes. Septuple meter can also be notated by using regularly alternating bars of triple and duple or quadruple meters, for example + , or + + , or through the use of compound meters, in which two or three numerals take the place of the expected numerator 7, for example, , or .

Metal riffs feature frequently during the verse sections of "Insomniatic Meat"; Barcalow showcases his refined vocal ability in both the singing and screaming, with the latter developing from guttural growling to high-pitched wailing. A quiet interlude section follows, before it ends with gentle vocal harmonies alongside screaming. "Revelation Song" contains several tempo and time signature changes and is darker than their past material. Barcalow displays a new vocal style on the song, which was compared to Static-X and Powerman 5000.

R.A. 8491 specifies that "Lupang Hinirang" when performed "shall be in accordance with the musical arrangement and composition of Julián Felipe." However, when literally followed, this means that the national anthem should only be performed by a pianist or by a brass band, as these were the only versions that were produced by Julián Felipe. Moreover, the original version was composed in duple time (i.e., in a time signature of 2/4) as compared to the present quadruple time (4/4).

"Black Coffee" is composed in the time signature of common time with a moderately fast tempo of 120 beats per minute, following a chord progression of E–Bm–D–A in the chorus and Bm7–E–Bm7–E elsewhere. It is an electropop song with elements of acid techno, ambient and R&B; music. The song has an unconventional structure with different sections being dislocated from one another. It is also unique for being more production-laden in comparison with other pop songs.

Musically, "Bad Idea" is an EDM and trap song, with a length of four minutes and twenty-seven seconds. It is written in the key of E-flat minor and set in common time signature, with a moderately fast tempo of 138 beats per minute. Grande's vocals span from the low note of E3 to the high note of A5. "Bad Idea" begins with a guitar riff and has a "melodic turn" in the hook, with ad-libs and echoes.

This song is written in the key of C minor (but in standard E tuning), and just like most other DragonForce songs it is written in a fast tempo of 200 beats per minute with a common time signature (170bpm in the first half of the guitar solo). Near the end of the recording, guitarist Herman Li broke one of his guitar strings. Despite this, the band decided to keep this recording and left it on the final album version.

Twisting by the Pool is a 1983 song by British rock band Dire Straits which appears on ExtendedancEPlay. It was released as a single in 1983, peaking at No. 1 in New Zealand, No. 14 on the UK Singles Chart and at No. 12 on the US Billboard Top Tracks chart. According to the sheet music published at Musicnotes.com by Universal Music Publishing Group, the song is set in the time signature of common time, with a tempo of 182 beats per minute.

"Impossible" is a midtempo R&B; ballad written by Arnthor Birgisson and Ina Wroldsen, in the musical key of A major with a time signature in common time and a tempo of 92 beats per minute. The melody is to be played in a moderate tone and tempo. The song's backing track consists of a simple chord progression of Fm7—A—E—D. It was conceived after Shontelle stated that she felt that radio was currently missing a "heartbreak ballad".

"Harleys in Hawaii" is a tropical, pop, trap, reggae and R&B; song, which describes Perry's emotions as she rides Harley-Davidson motorcycles in Hawaii with her lover. It has a moderately fast tempo of 140 beats per minute and follows a common time signature of 4/4. It is played in the key of B minor and follows a chord progression of B♭m-E♭m-Fm. The song has a duration of three minutes and five seconds.

The Beatles recorded "Not Guilty" in August 1968 during sessions for the White Album. The recording was produced by George Martin and engineered by Ken Scott. The song as presented to the group was difficult to learn due to its time signature changes, and during the first 18 takes on 7 August they focused only on the introduction; after a further 27 takes, recording was abandoned until the next day. The sessions eventually ran to 99 takes, many of which were incomplete performances.

The song is composed in the key of A major -- and is set in time signature of common time with a tempo of 117 beats per minute. The song features a pounding bass beat and electronic sounds, and does not include Timberlake's "famous falsetto". The song's musicscape includes two-note dirty electronic riffs, "leapfrogging keyboards", beat box sound, and incorporates the "same leaky faucet" sounds of musician Obie Trice's 2004 song "The Setup". In addition, the track features Timbaland on backing vocals.

The beat is always called ta. In simple meters, the division and subdivision are always ta-di and ta-ka-di-mi. Any note value can be the beat, depending on the time signature. In compound meters (wherein the beat is generally notated with dotted notes), the division and subdivision are always ta-ki-da and ta-va-ki-di-da-ma. The note value does not receive a particular name; the note’s position within the beat gets the name.

The opening line, "when you know the notes to sing you can sing most anything", references the song "Do-Re-Mi" from The Sound of Music. Also present in the song are "a juxtaposition of swirling disco synths, of-the- moment Philly house beats", a flamenco guitar and castanets on its bridge. According to the sheet music published by Alfred Publishing Inc., "Deeper and Deeper" is set in the time signature of common time with a fast tempo of 120 beats per minute.

Death metal is an extreme subgenre of heavy metal music. It typically employs heavily distorted and low-tuned guitars, played with techniques such as palm muting and tremolo picking, deep growling vocals, aggressive, powerful drumming featuring double kick and blast beat techniques, minor keys or atonality, abrupt tempo, key, and time signature changes, and chromatic chord progressions. The lyrical themes of death metal may include slasher film-style violence,Moynihan, Michael, and Dirik Søderlind (1998). Lords of Chaos (2nd ed.).

The Hammond B3 organ became Harrison's regular instrument for songwriting in 1967. The song is in the key of G major and the time signature throughout is 4/4. The melody is restricted within a G pedal point, with a simple melodic emphasis on scale notes 2 (A) and 7 (F). As a defining characteristic of Indian classical music, such minimal harmonic movement features in many of Harrison's other Indian-style compositions, including "Within You Without You" and "Blue Jay Way".

"The Cinema Show" is divided into two sections. The first section is a 12-string guitar-based piece, featuring vocal harmonies between Gabriel and Collins, as well as a short flute and oboe solo. The song concludes with a four-and-a-half-minute keyboard solo on the ARP Pro Soloist, with Rutherford and Collins playing a rhythm in a time signature. The lyrics, written by Banks and Rutherford, draw much of their inspiration from the T. S. Eliot poem The Waste Land.

"Breed" is an alternative rock song that runs for a duration of three minutes and three seconds. According to the sheet music published at Musicnotes.com by BMG Rights Management, it is written in the time signature of common time, with a moderately fast rock tempo of 160 beats per minute. "Breed" is composed in the key of F minor, while Kurt Cobain's vocal range spans one octave and three notes, from the low-note of C5 to the high-note of F5.

The alternative country band Old 97's covered the song, changing the time signature from 3/4 to 4/4. Their cover appears on Hit by a Train: The Best of Old 97's as well as the King of the Hill original TV soundtrack. Grady Martin released an instrumental version in 1965 on his Instrumentally Yours album. El Paso has also been recorded by Max Stalling, Michael Martin Murphey, Tom Russell, The Mills Brothers, and Jason and the Scorchers.

Because of the tropical Caribbean undertones of the tamborera, this genre is musically different from its ancestral gaita de tambora or other gaitas. Tamborera music generally utilizes a 2/4 or 4/4 time signature, but this is prone to waver with great usage of syncopation. The four percussion instruments (tamboras, furro, charrasca, maracas) layer several different rhythmic patterns together at the same time, but it is always the tamboras that lay down the foundation of the tamborera by providing the main beat.

The variation is written in C minor, in time, in the form of an étude. It keeps to the original theme, "in a flowing style of chord passages in an abundance of notes but without any lofty sentiment" in the words of Liszt's biographer Lina Ramann. Liszt was one of the few of the 50 composers who varied either the time signature or the key signature from Diabelli's original. He changed Diabelli's C major to C minor, and changed time to .

As they stand in a room of the church with our tuxes on, the son learned in childhood applied to his new marriage: "I'm the luckiest man alive, this is the best day of my life". The song is in the key of A major with a 4/4 time signature and a slow tempo of about 66 beats per minute. Its intro uses the pattern A-Aaug-D-E7, and the verses use a pattern of A-D-E-A.

It is one of only five songs the group has recorded in the 6/8 time signature, the others being "Porcelain" on Californication, "Love of Your Life" and "Open/Close" from the I'm with You sessions later released on the I'm Beside You double LP compilation, and "The Hunter" from The Getaway. Chad Smith said in The Chad & Flea Show that his drumming in the song was inspired by Mitch Mitchell's work in the Jimi Hendrix Experience song "Manic Depression".

"Too Young to Remember" lasts for three minutes and fifty-one seconds, running at a moderate tempo of 98 beats per minutes, set at 4/4 time signature. The instrumentation incorporates drums, claps and guitars, and the chorus is sung by Florrie and several background voices. The lyrics are based on throwbacks to 1991 and 1989, and include references to different moments like the Fall of the Berlin Wall, Super Mario and the Batman movie Batman: The Return of the Joker.

"Sweetest Sin" was written by Diane Warren and produced by Ric Wake. According to the sheetmusic published at Music Notes by Real Songs (ASCAP), the R&B; song is composed in the key of D major and is set in the time signature of common time with a tempo of 96 beats per minute. It has the sequence of C–D–B as its chord progression. Simpson's vocals in the song span from the note of D4 to the high note of F5.

"I Wish I Had a Girl" is a 1988 song by American musician Henry Lee Summer from his self-titled 1988 album Henry Lee Summer, which was released one year after signing with Epic Records. The song also has a BPM of 127 and plays in 4/4 time signature. The single became a major success on rock radio in the United States, reaching number one on the Billboard Mainstream Rock (chart). On the Billboard Hot 100, it peaked at number 20.

The song was written and produced by Kenny Goia and Shep Goodman. According to the digital music sheet published at Musicnotes.com, the song is composed in the key of B major and has a common time signature with a tempo of 108 beats per minute. "It Only Took a Minute" is a romantic teen pop and R&B; song written and produced by Emilio Estefan, Jr., Tim Mitchell, George Noriega and Jon Secada and lasts for three minutes and forty seconds.

"I Was Here" is a downtempo R&B; ballad that is instrumentally based on synthesizers undercurrent, indie rock guitars, musical keyboards and big drums provided by Tedder and Kutzle. The sound of the song's recurring hook uses a combination of a xylophone and a piano. According to the sheet music published by Alfred Music Publishing at the website Musicnotes.com, "I Was Here" is written in the key of E minor with a time signature and has a tempo of 37 beats per minute.

"Push" lyrics are about relationships. According to the sheet music published by Universal Music Publishing Group, the song is set in the time signature moderated with a metronome of 72 beats per minute. It was composed in the key of B-flat major with a vocal range that varies between the low note of Sol until the high note of Do. It consists in using vocals and piano chords and guitar. The lyrics were written by former guitarist of Lavigne, along with singer.

IGN's Spence D. noted that "the song is a mixed bag, tossing together slick strings for that orchestrated pop vibe, then mixing that up with a loping, though downplayed, funk groove. It's like two songs in one, though one of the songs feels like a throwback to '80s sterile pop." According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the "girl-empowerment song" has a time signature set in common time, with a tempo of 104 beats per minute.

The term metabolismics can be used to describe studies of the quantitative measurement of the rate at which heat is produced or consumed vs. time by cells (including microbes) in culture, by tissue specimens, or by small whole organisms. As described subsequently, metabolismics can be useful as a diagnostic tool; especially in either (a) identifying the nature of a specimen from its heat flow vs. time signature under a given set of conditions, or (b) determining the effects of e.g.

Joe Smith-Engelhardt of Exclaim! praised Unloved's aggression and "masterfully" executed breakdowns, writing, "If you're a fan of brutal beatdown riffs and demented experimental metal with a hardcore touch, Unloved is a necessary listen". Rolling Stone's Christopher R. Weingarten also lauded the album's unrelenting harshness, describing it positively as "a hailstorm where time-signature confusion meets shrill noise-rock affects". Metal Storm wrote that the aggression of the album was admirable, but criticized the running time for being too long and ultimately, unsustainable.

The song's time signature is a waltz-like ,"Try Some Buy Some", in George Harrison Living in the Material World: Sheet Music for Piano, Vocal & Guitar, Charles Hansen (New York, NY, 1973), pp. 80–81. similar to the verses of his composition "I Me Mine", the last track recorded by the Beatles, in January 1970.MacDonald, pp. 322–23. Lyrically, former Melody Maker editor Richard Williams describes "Try Some, Buy Some" as "a typically Harrisonian hymn to his Lord",Williams, p. 161.

Each level in the game features rhythms corresponding to a time signature related to the level number, from 1/2 through to 9/8 A secondary mode, 'Play+', is unlocked for each level after it has been completed. In this mode, the player must progress through the level on one 'life' (though still with the shield allowing one hit to be taken). Dying requires re-starting from the beginning of the level. In addition, the speed increases with the player's score multiplier.

His original hopes would eventually come to be when, in 2018, Tetris Effect was released for PS4. Lumines' subtitle "Puzzle Fusion" reflected that the game's music was essential to the game itself. Katsumi Yokota implemented strict rules for the series that the songs would follow time signature, with the exception of "Big Elpaso". This was due to the playing field being divided into 16 rows, and the Time Line needing to match the tempo of the music and in sync with the beat.

The song is a nostalgic look at music by which the narrator was inspired. It contains lyrical references to "Mainstreet" by Bob Seger, "Born to Run" by Bruce Springsteen, and "Mama Tried" by Merle Haggard. It is a piano ballad in the key of E major with a slow tempo of 60 beats per minute in 4/4 time signature. The song features a primary chord pattern of A2-B7-Cm three times, followed by A-Bsus-E-A/E-E.

"Kiss n Tell" is a dance-pop track that features standard elements of "party pop" music that is prominent on Animal. According to sheet music published at Musicnotes.com by Sony/ATV Music Publishing, "Kiss n Tell" is written in the time signature of common time, with a moderate beat rate of 144 beats per minute. The song is written in the key of E Major and Kesha's vocal range in the song spans from the note of G3 to the note of B4.

June 1994. Soundgarden also used unorthodox time signatures; "Fell on Black Days" is in 6/4, "Limo Wreck" is played in 15/8, and "The Day I Tried to Live" alternates between 7/8 and 4/4 sections. The main guitar riff of "Circle of Power" is in 5/4. Thayil has said Soundgarden usually did not consider the time signature of a song until after the band wrote it, and said the use of odd meters was "a total accident".

The tempo indication at the beginning of the piece is Lent et expressif (Slow and expressive) and performers are asked to count eighth notes, as no time signature is provided anywhere in the piece (as became usual in future Messiaen compositions). For that reason, the amount of eighth notes per bar varies greatly along the piece. The text is taken from "O sacrum convivium", a Latin text celebrating the Blessed Sacrament. This was the first time Messiaen used a Latin text, instead of a text in French.

The song was recorded by American rock band Rage Against the Machine. Their release of the song was initially included as a 'free single' which shipped with an early release of the VHS version of their 1997 home video. This rendition is performed in the band's usual rap rock style with live vocals echoed heavily. Other than the style of music, the most radical change was the 4/4 time signature which differs from Springsteen's measure of 3/4 meter, followed by three measures of 4/4.

He said of the sculpture's influence: > Since there are six boulders used in the sculpture, I based this movement in > the time signature of 6/4, with a sub-division of four and two (four on > pedestals; two on ground). I also used a six-note melodic theme that rises > six times, descends six times and then rises again six times. The rising and > falling represent different perspectives the viewer of the sculpture can > have—either looking from right to left or left to right.

"All About That Bass" is a bubblegum pop, doo-wop and retro-R&B; song. Using the 4/4 time signature with a tempo of 134 beats per minute, the song's key signature is in A major; Trainor's vocals span from E3 to C♯5. The song follows a basic chord progression of A–Bm–E–A invoking a throwback musical style of the 1950s and 1960s. Critics noted influences from a variety of genres, including hip hop, country and rock and roll.

The song is composed in the key of B major and is set in time signature of common time with a fast tempo of 206 beats per minute. DeLonge's vocal range spans from F#4 to E5. Drowned in Sound pointed out that the melody of the song's verses are "near- identical" to that of Box Car Racer's "There Is", a song by DeLonge's 2002 side project. The song has been described as "airy, uptempo rock," and Spin considered the song as reminiscent of new wave.

Early ethnomusicological analysis often perceived African music as polymetric. Pioneers such as A.M. Jones and Anthony King identified the prevailing rhythmic emphasis as metrical accents (main beats), instead of the contrametrical accents (cross-beats) they in fact are. Some of their music examples are polymetric, with multiple and conflicting main beat cycles, each requiring its own separate time signature. King shows two Yoruba dundun pressure drum ("talking drum") phrases in relation to the five-stroke standard pattern, or "clave," played on the kagano dundun (top line).

"Always" was written by bassist Mark Hoppus, drummer Travis Barker, and guitarist Tom DeLonge, while sung by DeLonge and Hoppus and produced by Jerry Finn. The song is composed in the key of B major and is set in time signature of common time with a tempo of 158 beats per minute. The vocal range spans from A3 to D7. Referred to as "the '80s song" during production, "Always" features an uptempo backbeat combined with a New Romantic-era keyboard, and pulls from new wave influences.

Since they announced their breakup in 2011 and their last appearance together in 2012, several rumors about them reuniting and making new musics have appeared. On 23 September 2018, several Irish news outlets started reporting that the group has been signed to Universal Music Group and Virgin EMI Records for a new music record deal. On 3 October 2018, the group announced that there would be new music coming soon. This song is set in the key of B major, in a moderate 4/4 time signature.

"House of Gold" is an alternative folk and rock song that lasts for a duration of two minutes and forty-three seconds. According to the sheet music published at Musicnotes.com by Alfred Publishing Co., Inc, the song is written in the time signature of common time, with a moderate tempo of 116 beats per minute. "House of Gold" is composed in the key of C Major while Tyler Joseph's vocal range spans one octave and four notes, from a low of F4 to a high of C6.

The lyrics appear to be primarily descended from an Irish folk song of the late 18th century called "The Unfortunate Rake","Folk Songs and Ballads", American Roots Music, PBS which also evolved (with a time signature change and completely different melody) into the New Orleans standard "St. James Infirmary Blues". The Irish ballad shares a melody with the British sea-song "Spanish Ladies". The Bodleian Library, Oxford, has copies of a 19th-century broadside entitled "The Unfortunate Lad", which is a version of the British ballad.

Beginning of the Étude Op. 25, No. 11 Étude Op. 25, No. 11 in A minor, often referred to as the Winter Wind in English, is a solo piano technical study composed by Frédéric Chopin in 1836. It was first published together with all études of Opus 25 in 1837, in France, Germany, and England. The first French edition indicates a common time time signature, but the manuscript and the first German edition both feature cut time.Palmer, Willard A.: Chopin Etudes for the Piano, page 116.

Swedish DJ Avicii sampled the main melody for his song "Fade into Darkness". Because it was written in the 15/8 time signature, the melody seems to end and repeat one beat sooner than expected, giving it the feel of a perpetual motion device. Another piece called "Numbers 1-4" was featured in a dance film shown on Mister Rogers' Neighborhood episode 1604, when Mr. McFeely brings the video in to show. The film featured dancers from Pittsburgh's Dance Alloy, who used fitness balls in the dance.

Lanois took an early version of the song to D'Angelo in New York; they added a percussion track with Brian Blade on drums and Cyril Neville on cowbell, while Lanois played guitar and D'Angelo played Rhodes piano, and turned it into a full song. The recording process with D'Angelo took around a week and a half. Lanois and D'Angelo originally began working on a rock-oriented song in a time signature, but "it didn't pan out". Nas also recorded a version of "Unshaken" with rap verses.

"Cliffs of Dover" begins with an ad-libbed electric guitar solo, using techniques such as string skipping and hybrid picking. In the solo intro, Johnson does not adhere to any distinct time signature. Drums are then added as the song settles into a rhythmic shuffle verse accompanied by a very accessible set of melodies that, throughout the song intro, feature variations (octavations for example) on the main chorus. The outro or coda then recalls the freestyle mood and timing of the ad-libbed intro.

Only three instruments were used for the song—acoustic guitar played Dean Parks, cello played by Suzie Katayama and keyboard played by David Foster. "One More Chance" is an acoustic pop ballad. It is set in the time signature of common time, having a tempo of 92 beats per minute. The song is played in the key of F major, with a basic sequence of Cmaj7–Bm7–Am7–Bm7 as its chord progression, while piano and guitar are used to play the background music.

Portrait of Franz Schubert by Franz Eybl (1827) "Der Wanderer" (D 489) [formerly D 493] is a lied composed by Franz Schubert in October 1816 for voice and piano. A revised version was published near the end of May 1821 as opus 4, number 1. The words are taken from a German poem by Georg Philipp Schmidt (von Lübeck). The lied is set in the key of C-sharp minor with the tempo marking sehr langsam (very slow) and the time signature alla breve.

"Drain You" is an alternative rock song that runs for a duration of three minutes and forty-three seconds. According to the sheet music published at Musicnotes.com by BMG Rights Management, it is written in the time signature of common time, with a moderately fast rock tempo of 134 beats per minute. The song is composed in the key of A Major, while Kurt Cobain's vocal range spans two octaves and five notes, from the low-note of F#4 to the high-note of B6.

"Janis", another Akkerman-penned ballad, becomes a flute showcase for van Leer with multiple tracks on that instrument. "Moving Waves", a piano and vocal solo by Thijs van Leer, features lyrics by Sufi poet/master musician Inayat Khan. "Focus II" features the entire band in a classical-jazz fusion instrumental with graceful changes of time signature. "Eruption" is a 23-minute-long instrumental piece, a hard rock version of the tale of Orpheus and Euridice and an updated and more modern version of Jacopo Peri's opera Euridice.

The music fades out for a moment as Gaga continues to sing, before the addition of an organ and Gaga closes the song. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, "Born This Way" is written in the time signature of common time, with a moderate dance beat tempo of 124 beats per minute. It is composed in the key of B major (in the F Mixolydian mode) as Gaga's voice spans the tonal nodes of F3 to C5.

According to a writer from the Los Angeles Times, the song has a highly energetic synth-pop groove while referencing 80s Madonna songs. The bridge is in a speak-sing format, where Madonna's voice, consisting of a little edge, declares that "I [didn't] recognize you with your clothes on." "Celebration" is set in the time signature of common time with a dance beat tempo of 126 beats per minute. It is set in the key of B minor with Madonna's voice spanning from F3 to B4.

"About a Girl" is an alternative rock song that runs for a duration of two minutes and forty-eight seconds. According to the sheet music published at Musicnotes.com by BMG Rights Management, it is written in the time signature of common time, with a moderately fast rock tempo of 130 beats per minute. "About a Girl" is composed in the key of E minor, while Kurt Cobain's vocal range spans one octave and six notes, from the low-note of B3 to the high-note of A4.

One measure of the "Scotch snap" or Lombard rhythm notated in sheet music in a 4/4 time signature. The Lombard rhythm or Scotch snap is a syncopated musical rhythm in which a short, accented note is followed by a longer one. This reverses the pattern normally associated with dotted notes or notes inégales, in which the longer value precedes the shorter. In Baroque music, a Lombard rhythm consists of a stressed sixteenth note, or semiquaver, followed by a dotted eighth note, or dotted quaver.

"Say It Ain't So" is an alternative rock and emo song that lasts a duration of four minutes and eighteen seconds. According to the sheet music published at Musicnotes.com by Hal Leonard Music, it is written in the time signature of common time, with a moderate rock tempo of 76 beats per minute. "Say It Ain't So" is composed in the key of C sharp minor (Cm), while Rivers Cuomo's vocal range spans two octaves, from the low-note of B3 to the high-note of B5.

The song has a feel reminiscent of Phil Spector-produced pop from the early 60s, with prominent piano, female backing vocals, and a time signature of 12/8. In Australia, after the song was played by mistake (instead of "X Offender") on the nationally broadcast music program Countdown, it was well received by the viewing audience.Che, Cathy (1999), 'Deborah Harry: Platinum Blonde', MPG Books Ltd, Cornwall, p.53 Chrysalis Records re-released the song as a single in Australia, again with "Man Overboard" as the B-side.

"Isolation" is a song which contains elements of synth pop and electronic music that lasts for a duration of two minutes and fifty-two seconds. According to the sheet music published at Musicnotes.com by Universal Music Publishing Group, it is written in the time signature of common time, with a tempo of 148 beats per minute. "Isolation" is played in the key of C major, while Ian Curtis's vocal range spans one octave, from the low-note of B3 to the high-note of B4.

The basic structure of the song is ABAC, of which A is the most prominent theme. The song starts with a complex bass riff accompanied by some right hand chords and Amos citing the plant names. She also yells out "Get out of my garden". The time signature of this first and third part is most interesting, since it consists of a combination of 6/8, 7/8, 8/8 and 9/8 bars, creating a rather complex structure that is rather hard to reproduce.

The song is composed in the key of A major and is set in time signature of common time with a tempo of 92 beats per minute. DeLonge's vocal range spans from E4 to D5. When sequenced as a part of the album, the song segues directly from the previous track, "Here's Your Letter", which relates to isolation, dislocation, loneliness and miscommunication. The song opens with the combination of an industrial loop with piano, which reminded Barker of the music of Pink Floyd or Failure.

Kalamatianó () is a type of Greek folk music associated with a dance sharing its name. Originating in the southern Greek port city of Kalamata, its most recognizable feature is its asymmetrical time signature of time, meaning that there are seven beats per measure, generally subdivided into two groups of 3 and 4 beats respectively. Although this rhythmic structure is unfamiliar to westerners, it is thoroughly at home in Greece, Cyprus and the surrounding countries. The kalamatiano is a traditional line dance admitting of varying speeds.

Music critic Barney Hoskyns rates it as "one of Richard [Manuel's] liveliest performances" and "one of The Band's most intricate arrangements." The Band never featured the song on a live album. The song features Manuel on lead vocals and the piano, Rick Danko on backing vocals and bass, Levon Helm on drums, Robertson on electric guitar, and Garth Hudson on the Lowrey organ and accordion. "Sleeping" uses a waltz time signature. Following the style of “King Harvest (Has Surely Come),” the song has no true chorus.

"Wannabe" is a dance-pop song with influences of hip hop and rap. Written in the key of B major, it is set in the time signature of common time and moves at a moderate tempo of 110 beats per minute.Spice Girls, 2008. pp. 60–64. It uses the sequence B–D–E–A–A♯ as a bass line during the refrain, the chorus, and the bridge, and uses a chord progression of F♯–G♯m–E–B for the verses.

"Everything My Heart Desires" is a dance-pop song, the song was written by K. Dahlgaard, M. Jay and J. Pederson. "Want You Back" is a romantic teen pop song that draws influences from bubblegum pop, with a length of three minutes and eighteen seconds. The song is composed in the key of B major and is set in time signature of common time with a moderately slow tempo of 96 beats per minute. "The Way to My Heart" was produced by Peter Mansson.

Jackson uses the song to criticize journalists, commenting "with your pen you torture men", describing how he was affected by the media coverage about him, and "speculate to break the one you hate", describing how reporters used sensational writing to mislead people and cast him in a negative view. "Tabloid Junkie" is played in the key of E minor and in common time signature. It has heavy beats throughout with Jackson beatboxing throughout. Jackson's voice range is from C♭4 to D♭5.

Spizer, p. 255.Tom Doyle, "George Harrison Living in the Material World", Q, November 2006, p. 156. The song is in the musical key of A, with a time signature of 4/4 throughout."Be Here Now", in George Harrison Living in the Material World: Sheet Music for Piano, Vocal & Guitar, Charles Hansen (New York, NY, 1973), pp. 78–79. According to his handwritten note on the lyrics reproduced in I, Me, Mine, Harrison played the guitar part in open G tuningHarrison, p. 253.

"Let's Make a Den", according to Partridge, is about "the idea that you play all these games and then do it in real life. First it's a den and then it's a real house. I had finally got my own home and didn't like the idea of losing it because England might get caught up in a war caused by Ronald Reagan's 'Star Wars' sabre rattling." The song was in Rundgren's original concept of Skylarking, but he wanted Partridge to change the time signature from to .

In Cats, "The Awefull Battle of the Pekes and the Pollicles" is performed in the time signature as part of a play within the musical. It is sung by Munkustrap and describes a legendary battle between two neighbouring dog tribes, the Pekes and the Pollicles, who bark "until you could hear them all over the park". Two more dog tribes, the Pugs and the Poms, eventually join in the barking as well. This goes on until the Great Rumpus Cat arrives and scares the dogs away.

The song was mastered by Ted Jensen at Sterling Studios in New York, and included background vocals from Donna DeLory and Nikki Harris. "Nothing Really Matters" is a mid-tempo EDM song which contains influences of techno, downtempo pop, and house music. It is set in time signature of common time, and is composed in the key of F major, with a moderate tempo of 117 beats per minute. Madonna's vocals range from the lower octave of F3 to the higher note of A4.

The chords used in the introduction (E throughout) and chorus (B, F, E and E7) suggest a key of B major. In musicologist Walter Everett's description, however, the B chord "reveals itself to be the V of V of A" once the verse is heard for the first time. The key change to D major occurs midway through the second verse, for the piano solo. The six-bar choruses depart from the standard 4/4 time signature by including bars in 3/4 and 5/4 time.

"Se tu della mia morte" ("Wouldst thou the boast of ending") is an aria in G minor from act 3 of Alessandro Scarlatti's 1697 opera La caduta de' decemviri (The fall of the decemviri) to a libretto by Silvio Stampiglia.Caduta de' decemviri, La, roles and details The da capo aria is accompanied only by a basso continuo. Its time signature is 12/8 to a tempo of andante and it is 24 bars long. The vocal range for a castrato soprano is from D4 to F5.

"This Is Your Life" is an alternative rock song that lasts for a duration of four minutes and eighteen seconds. According to the sheet music published at Musicnotes.com by Capitol CMG, it is written in the time signature of common time, with a steady, moderately slow tempo of 124 beats per minute. "This Is Your Life" is composed in the key of C sharp minor (Cm), while Jon Foreman's vocal range spans two octaves and five notes, from a low of B3 to a high of G5.

"I'm a Mess" is a pop song with folk music influences and a length of four minutes and five seconds. Its instrumentation included electric guitar notes, backing vocals and a beating drum. According to Sony/ATV Music Publishing's digital sheet music for the song, "I'm a Mess" is composed in the key of C# minor and set in common time signature, and has a groove of 140 beats per minute. Sheeran's vocals span from the low note of Bb3 to the high note of Bb5.

In cryptography, a Lamport signature or Lamport one-time signature scheme is a method for constructing a digital signature. Lamport signatures can be built from any cryptographically secure one-way function; usually a cryptographic hash function is used. Although the potential development of quantum computers threatens the security of many common forms of cryptography such as RSA, it is believed that Lamport signatures with large hash functions would still be secure in that event. Unfortunately, each Lamport key can only be used to sign a single message.

"Monkey Wrench" is an up-tempo rock song, written in the key of B major in 4/4 time signature with a tempo of 174 bpm. It is performed with distorted guitars in Drop-D tuning. The song opens with a four bar phrase of a descending guitar line over a chordal riff of B5/F#5/E5 repeated twice. After a single bar of 3/4 time, the main verse enters with vocals and a choppier, palm-muted version of the intro riff.

"Come as You Are" is an alternative rock song that lasts for a duration of three minutes and thirty-eight seconds. According to the sheet music published at Musicnotes.com by BMG Rights Management, it is written in the time signature of common time, with a heavy rock tempo of 120 beats per minute. "Come as You Are" is composed in the key of E Minor, while Kurt Cobain's vocal range spans one octave and one note, from a low of E4 to a high of F5.

In the examples below, bold denotes a more-stressed beat, and italics denotes a less-stressed beat. Simple: is a simple triple meter time signature that represents three quarter notes (crotchets). It is felt as ::: one and two and three and ... Compound: In principle, comprises not three groups of two eighth notes (quavers) but two groups of three eighth-note (quaver) subdivisions. It is felt as ::: one two three four five six ... These examples assume, for simplicity, that continuous eighth notes are the prevailing note values.

The 808 produces sounds in imitation of acoustic percussion: the bass drum, snare, toms, conga, rimshot, claves, handclap, maraca, cowbell, cymbal, and hi-hat (open and closed). Rather than playing samples, the machine generates sounds using analog synthesis; the TR in TR-808 stands for "Transistor Rhythm". Users can program up to 32 patterns using the step sequencer, chain up to 768 measures, and place accents on individual beats. Users can also set the tempo and time signature, including unusual signatures such as and .

Jazz bands of this era began to go beyond the confines of the 6/8 time signature the marching bands utilized. Instead, New Orleans jazz bands began incorporating a style known as "ragging"; this technique implemented the influence of ragtime 2/4 meter and eventually led to improvisation. In turn, the early jazz bands of New Orleans influenced the playing of the marching bands, who in turn began to improvise themselves more often. Again, yet another indication that jazz music is symbolic of freedom.

The ending recapitulates on the opening section and draws the death song to a close. The bleakness inherent in the piece is compounded by a 5/4 time signature at an Andante mesto pace throughout, which never allows the listener to feel any regular rhythm or comfort. The key is a very melancholic F minor, though the cadences and chord progressions employed by Ireland are never finished and are constantly left hanging, even on the final chord. This piece carries a dedication to Alfred Chenhalls.

Electronic metronome, Wittner model While tempo is described or indicated in many different ways, including with a range of words (e.g., "Slowly", "Adagio" and so on), it is typically measured in beats per minute (bpm or BPM). For example, a tempo of 60 beats per minute signifies one beat per second, while a tempo of 120 beats per minute is twice as rapid, signifying one beat every 0.5 seconds. The note value of a beat will typically be that indicated by the denominator of the time signature.

"You & Me" is a reggae and pop track, lasting for a duration of three minutes and thirty eight seconds. It is composed in the key of D♭ and is set in time signature of common time, with a moderate tempo of 92 beats per minute. The song has a basic sequence of Gb-Db(second inversion)-Db(first inversion)-Bb as its chord progression. "You & Me" lyrics are the recall to memories the singer shared with a girl, and hoping she forgot anything about him.

Musically, "Spring Day" is a midtempo alternative hip hop and pop rock power ballad, with Brit rock and electronic influences. The song is composed in the time signature of time and the key of E major, with a tempo of 108 beats per minute. Constructed in verse–chorus form, the verses have an Eb–Gm–Cm/Cm7–Ab chord progression, whilst the chorus follows an Eb-Gm-Ab-Abm sequence. The song relies on rock instrumentation that consists primarily of keyboards, synthesizer, guitar and bass.

"Obfuscation" is a song by Between the Buried and Me. The song was released as the first single from their fifth album The Great Misdirect. "Obfuscation" appears as the second track on the album, directly following up from the previous track, "Mirrors" and even features occasional time signature- followings as well as lyrics that are reflected in "Mirrors". "Obfuscation" is featured as downloadable content for Rock Band, via the Rock Band Network and appears in Saints Row: The Third on fictional radio station The Blood 106.66.

White had been experimenting with more unusual jazz and "African-type" rhythms when playing in his studio and played it to Anderson, who then adapted some chords and a melody he had written to fit it. "Face to Face" includes a 7/4 time signature. "Can I?" quotes Anderson's solo track "We Have Heaven" from Yes's fourth studio album, Fragile (1971). Howe said it sounds as if Anderson invented a new language for it and recorded the phrase "Ooh wop" as part of the backing vocals.

"Holding on to You" is a hip-pop song that runs for a duration of four minutes and twenty-three seconds. According to the sheet music published at Musicnotes.com by EMI Music Publishing, it is written in the time signature of common time, with a moderate tempo of 90 beats per minute. "Holding on to You" is composed in the key of B Major, while Tyler Joseph's vocal range while Tyler Joseph's vocal range spans three notes from a low F4 to a high of B5.

"Lucidity" was written by Kevin Parker in the key of A major in a 4/4 time signature. The verses feature heavily rhythmic strumming of the chords E7sus4add9 and E major. The pre- chorus features a variation of the verse vocal melody played on a fuzz guitar in the A major scale four times, before the verse rhythm plays one more time. The chorus then comes in with a key change to G major, and a B major, Dmaj7, A major, G major barre chord progression.

During that time it was standard to sell goods in quatty(s) worth, which was 1.5 penny in value. If an item increased in value, then the quantity you received for a quatty would decrease. The quattie was not a minted coin. Three halfpenny(ha'penny) or six farthing would be the equivalent of one quatty. In all the versions mentioned above except the earliest, the melody is written in 2/4 or 4/4 time, but in Jekyll, the time signature is 6/8.

According to the sheet music published by Kobalt Music Publishing America, Inc. on the site Musicnotes.com, the song is composed in the key of Eb minor in time signature with a tempo of 108 beats per minute. Grande's vocals range spans from the low note Eb4 to the high note Ab5 A disco-pop and R&B; song, "Greedy" opens with Grande introducing the title using high vocal register, the first verse contains a "groovy bass" and faster breathy vocals harmonizes around the end of each line.

There are several dances that are performed differently: Qaashuo (; ) is a piece with (4:4) time signature, and usually this piece demonstrates the relationship between the Sh'ale (boy) and the Pshashe (girl), this relationship which is built out of love, cooperation and strength. Usually 'Qafe' is the main social dance in a 'Djegu' (a Circassian dance gathering, literally meaning 'play') and there are more than 100 qafes written by different Circassian artists, apart from the original traditional dances, and the individualised styles by each self-trained of the Circassian society. Wygg () is a formal piece with (8:4) time signature, and usually this piece is played before Challas are going to war, but nowadays it is played at the end of the Djegu involving all couples present, and usually it follows this rhythm each eight time intervals a new musical phrase is introduced, and this piece may be repeated several times since more than ten different Wuigs are available. It is said it was also used as a form of worship by circling a great tree that symbolises the forest God, Mez-i-t'ha.

"Ghosttown" is set in the time signature of common time with a moderate tempo of 79 beats per minute. It is composed in the key of D minor, with Madonna's vocals spanning from F3 to B4. The song has a basic sequence of Dm–F–C–Gm during the verses and B–F–C–Dm during the chorus as its chord progression. Demacio "Demo" Castellon engineered and mixed the track, while Ron Taylor did additional Pro Tools editing of Madonna's vocals and Evignan provided background vocals on the song.

The song was performed with orchestral accompaniment on the album S&M.; An early demo version of this song was entitled "F.O.B.D." (recorded on December 8, 1995), because it reminded the band members of the Soundgarden song "Fell on Black Days", in that the "It grips you...It stains you..." refrain is in the same 6/4 time signature that "Fell on Black Days" is in. The band can be heard saying "Fell on Black Days" on the fanclub-only Fancan 1 CD just prior to jamming on a portion of "Until It Sleeps".

"Level of Concern" was defined as dance- pop, pop rock and dance-rock song with elements of funk, pop and soft rock that lasts for a duration of three minutes and forty seconds. According to the sheet music published at Musicnotes.com by Alfred Music, it is written in the time signature of common time, with a moderately fast tempo of 122 beats per minute. "Level of Concern" is composed in the key of E minor, while Tyler Joseph's vocal range spans two octaves, from the low-note of D4 to the high- note of D6.

The prominent chords played by the string section throughout the song (and in the chorus of "Rainy Day", another of the band's songs) are very similar to those used by "Viva la Vida" co-producer Brian Eno in his piece "An Ending (Ascent)", meaning they could have been suggested partially for the song by Eno. The song is written in the key of A-flat major. Its main chord progression is D♭/E♭/A♭/Fm. The time signature is 4/4 and the tempo is 138 beats per minute.

"Mama" is a pop ballad, written in the key of Ab Major, it is set in the time signature of common time and moves at a moderate tempo of 100 beats per minute.Spice Girls, 2008. pp. 9–13. The song is constructed in a verse-chorus form, with a bridge before the third chorus, and its instrumentation comes from keyboards, a rhythm guitar, a cello, and a violin. It opens with an instrumental introduction, with a chord progression of D–E–Fm–E/G–A, that is used in the entire song.

An analogue alt=Refer to caption. Harmonically, "Music" has a time signature of common time, and its composition is based on a static key of G minor with a moderate tempo of 120 beats per minute. Madonna's vocals range from G3 to two- lined note of D5, with a basic sequence of Gm–F–Gm–F as its chord progression. According to the book Madonna's Drowned Worlds, written by Santiago Fouz- Hernández and Freya Jarman-Ivens, "Music" is a "disco anthem, and the beat commands [the people] to get up and dance".

"#34" was named as it was the thirty- fourth song recorded by the band, similar to the band's later songs "#36," "#40," and "#41." It is in 27/8 time signature or 3 cycles of 9/8, and changes to 6/8 and 11/8 during the chorus. The song debuted live in February 1993 and was played a total of nine times at various shows up until March of that year. Each performance lasted around eight-and-a-half minutes and featured lyrics sung by Dave Matthews.

"Savior" is a punk rock song, and was described by Aaron Burgess of The A.V. Club as an "uptempo anthem". The song's composition is written in the time signature of common time, with a tempo of 94 beats per minute. It follows verse-chorus form, and is composed in the key F minor, with a melody that spans a tonal range of E♭4 to C6. John Hanson of Sputnikmusic noted that the song had a "frenetic pace", which was reminiscent of many of the tracks from the band's 2003 album Revolutions per Minute.

With 238 bars and a 92 bpm Andante tempo marked as malinconico, it has a 2/2 time signature. The introductory melody is established under a staccato accompaniment on the left hand with the middle section marked by the contrasts of the staccato rhythm of left hand over the melodic phrases of the right, followed by a series of moduations. The third motif in B-flat comes with a fortissimo shift of the melody, followed by a long coda with light variations in triplets in the final bars.

"Heartbeat" is based on an old acid house demo track that Eastgate created during his childhood using a Roland TB-303 electronic synthesiser-sequencer. The track features complex time signature progressions and a guitar solo played by Potter on the sampler at the end. "Whitesnake" was inspired by the music of Devo, Roxy Music, and Dandi Wind, while "VW" is based on a 2001 demo recorded in Eastgate's attic. In the studio, Late of the Pier hired brass players to perform the horn sections and create new scales.

Every fourth bar of each verse and the outro is cut short by more than a beat; the time signature of these bars is often inaccurately analyzed as being , but it is closer to . A lengthy interlude follows the second chorus, beginning with a clean, arpeggiated section over which Hetfield contributes a melodic solo; the riffing becomes distorted and progressively more heavy and Hammett provides a more virtuosic solo before the song eventually returns to the main verse. The song closes with a fade-out of sinister laughter. The lyrical theme is cocaine addiction.

The song's barbed lyric contains a volley of Redneck stereotypes, set to a classic country 3/4 time signature and begins with the couplet, "He's a drug store truck drivin' man/He's the head of the Ku Klux Klan." Emery was not, in fact, a Klansman. The song was subsequently performed by Joan Baez at the Woodstock Festival in 1969 and dedicated to the then-governor of California, Ronald Reagan. Baez's performance of the song also appeared on the Woodstock: Music from the Original Soundtrack and More album.

He directed the International Centre for African Music and Dance (ICAMD). He taught at the Presbyterian Training College, Akropong, serving as the Acting Principal in 1952. According to GhanaWeb: "His concept and interpretation of time and rhythmic patterns in Ghanaian and other African folk music were revolutionary, and became standard for researchers and scholars around the world." He introduced, for example, the use of the more readable time signature in his compositions as an alternative to the use of duple () time with triplets that was used earlier by his mentor and teacher, Ephraim Amu.

"Video Games" is four minutes and 42 seconds long (4:42). Set in time signature of common time with a tempo of 123 beats per minute, Del Rey's vocal range spans from E3 to A4. Lindsey Johnstone of The Scotsman described the song as an "ode to being ignored and the exquisite pain of clutching at an illusion of happiness". Alexis Petridis of The Guardian praised how Del Rey's vocal performance, against ballooning orchestration and pizzicato strings, overlapped the subdued theme of an aloof, beer-drinking boyfriend figure.

"Commander" is an electro-house-R&B; song, set in a common time signature of 125 beats per minute. It was written by Kelly Rowland, Rico Love, David Guetta and Sandy Vee with deliberate grammar errors such as "there's no other who do it like I do it" and "you won't find no lady who does it like I does it". The lyrics have themes around hair, fashion and competing with other women. Guetta also produced the synthesized dance beats, which is similar to his other production, "Sexy Bitch".

"Adam's Song" was a departure from the content of the band's previous singles, in favor of a slower tempo and more depressing lyrics. Brian Wallace of MTV wrote that Blink-182 "explores new ground on "Adam's Song," setting aside their normal pop-punk punch for a more emo-influenced approach." The song is a pop punk, emo, and alternative rock track composed in the key of C major and is set in time signature of common time with a tempo of 136 beats per minute. Hoppus' vocal range spans from G3 to G4.

Vanada is Torke's first example of this approach, and the composer has consistently used it since. Torke was influenced by Milton Babbitt's time- point system in his composition of Vanada, but added four extra notes to create a piece with a time signature, rather than using or time which is normal for Babbitt's system. Torke was also influenced by pop musician Madonna's 1983 self-titled album, including the song "Physical Attraction". Vanada has been described as instantiating a "metallic sound world", similar in character to the work of the Dutch, minimalist composer Louis Andriessen.

It may have had lyrics at some point in the past and was most commonly performed in the west of the island. The tune is characteristic of the petachtos karsilamas- an entire category of dance performed to tunes with a very rapid time signature (although today, thanks to the choreographic intervention of the dance association, it is presented as a “chair dance”). This type of karsilamas is also called aïdinikos (see the section on dance), and the rhythm has nine beats (2+2+2+3).There are similar folkloric tunes known as Gel Gel Aman.

According to the song's sheet music, the composition is written in the time signature of common time, with a fast tempo of 144 beats per minute. It follows verse-chorus form, and is composed in the key E♭ minor, with a melody that spans a tonal range of A♭3 to C♭6. The song is about forced displacement, and the societal issues surrounding refugees. The lyrics begin from the perspective of a refugee telling their child of their life before displacement, backed by "plaintive guitars and weary singing".

A reviewer from the Metro noted that the song had a hip hop vibe and feel to its production. "Trouble" was recorded in the key of A-minor and written in time signature of common time, set at a tempo of 104 beats per minute. Sony Music executive Sonny Thakrar described Lewis and Sandé's work together on "Trouble" as "killer chemistry," praising Sandé's "storytelling" abilities and Lewis' "vocal prowess". Thakrar, who is also involved with A&R;, said that "Trouble" was a showcase of an "emotional and raw" vocal from Lewis.

Eugene Ormandy and the Philadelphia Orchestra recorded Casella's orchestration in stereo on February 26, 1961, for Columbia Records. Recent musicological work has shown that the melodies that Balakirev preserved in this work are still present in folk music in the former USSR. For instance, the first theme has been found to be a variety of the Lezginka from Kabardino-Balkaria, which differs notably from Balakirev's work in its time signature. The second theme has been demonstrated to have the origins as related to Balakirev, namely that of a Tatar love song.

Musically, the song is set in the time signature of common time and in the key of C minor, with a metronome of 132 beats per minute. It has a basic sequence of A♭—E♭/G—Fm—G7—F7 as its chord progression, while piano, synths and percussion are used for the background music, with occasional flourishes from harpsichord and organ. The single distributed in France includes a duet with French singer Ours, called "22 (Vingt Deux)", which is also present on the Paris Live Session.

The dance of two Argentine tango street dancers Argentine tango is a musical genre and accompanying social dance originating at the end of the 19th century in the suburbs of Buenos Aires and Montevideo. It typically has a or rhythmic time signature, and two or three parts repeating in patterns such as ABAB or ABCAC. Its lyrics are marked by nostalgia, sadness, and laments for lost love. The typical orchestra has several melodic instruments and is given a distinctive air by the small button accordion called the bandoneon.

The studio version is recorded in 87bpm, and follows a 4/4 time signature, the most commonly used in traditional rock songs. It is in the key of A major. The song form can analyzed as "ABAB CBCB", a variation of the strophic form. The verse (A) chord progression is a plain (I-II-V), one of the most used chord progressions in music; the chorus (B) presents a (VI-III- IV-V) progression; the variation of the verse section (C) presents a (II-III- IV-V) progression.

It featured "Seven-Ate Sweet", a long progressive instrumental piece in 7/8 time signature which they had been playing live since the early days of the group. The album reached No. 139 on Billboard in 1969, the only Kaleidoscope album to chart. Around this time they also did soundtrack work on educational and other films, and also made an appearance at the Newport Folk Festival. Kaleidoscope’s fourth and final album from their Epic Records era, Bernice, featured more electric guitar work than the earlier albums, and more country influence.

"Take Me Away" lasts for a duration of two minutes and fifty seven seconds. It is composed in the key of E minor and is set in time signature of common time, with a moderate tempo of 99 beats per minute. The song has a basic sequence of Fm-Cm-D–E as its chord progression, and features a vocal range spanning from B3 to D5. "Take Me Away"'s lyrics are an outcry for her being unable to handle the confusion and hoping someone will take her out of the chaos.

Section II of the exam consists of three parts, all of which require student-produced responses. One part of the section is listening- based, one part is part-writing, and one part is sight-singing. The listening- based part of the section contains two types of questions. The first is melodic dictation, in which a one-part melody is played two or three times while a starting pitch, time signature, and key are given on the answer sheet, and the student must accurately record both the pitch and value of the played notes.

Following the first verse being on piano, the guitars and drums kick in from the second verse and Gaga's vocals build up to the final chorus uttering the lines, "When the sun goes down/ And the band won't play/ I'll always remember us this way". The song is composed in the time signature of common time and is performed in the key of A minor with a slow tempo of 65 beats per minute. It follows a chord progression of Am–F–C–G, and the vocals span from G3 to E5.

The 45 rpm plays in C major, even though on the sheet music (copyright 1959 by Music Productions, Hollywood, CA), the song is in the key of F major. The time signature is 4/4, and the tempo is indicated as "Moderate Beguine Tempo." The melody begins with a triplet on beats three and four, a motif that appears throughout the song in every second measure. In the other measures, however, the duple meter is reinforced by using eighth notes in the same location, presumably to prevent the tune from becoming a waltz.

The song is composed in the key of E minor and is set in time signature of common time with a "moderately slow" tempo of 87 beats per minute. DeLonge and Hoppus' vocal range spans from D4 to B5. "Stockholm Syndrome" has been described as "one of the most obvious examples of Blink-182's experimentation." The song begins with an interlude featuring actress Joanne Whalley reciting love letters that Hoppus' grandfather wrote to his wife while fighting in World War II. "Real sincere, genuine letters from the worst war in history," DeLonge explained.

The composition originally included a flamenco-style instrumental passage but Harrison subsequently replaced this section with a chorus repeating the line "I me-me mine". In its final form, the structure comprises an intro, two combinations of verse and chorus, followed by a verse. The verse and chorus are also differentiated by their time signature: the former is in 3/4 time while the latter is in 4/4. Musicologist Alan Pollack describes the song as "an interesting folk/blues stylistic hybrid with more than just a touch of the hard rocking waltz beat".

A quarter note (crotchet) with stem pointing up, a quarter note with stem pointing down, and a quarter rest Four quarter notes. Quarter notes are the smallest note value not beamed together. A quarter note (American) or crotchet (British) is a note played for one quarter of the duration of a whole note (or semibreve). Often, musicians will say that a crotchet is one beat, but this is not always correct, as the beat is indicated by the time signature of the music; a quarter note may or may not be the beat.

A slow-burning, country and folk pop-influenced power ballad, "Shallow" features mainly Nelson's acoustic guitar with Cooper and Gaga trading verses. The other musicians include Jesse Siebenberg on the lap steel guitar; Anthony Logerfo on drums; Corey McCormick on bass; Alberto Bof on keyboards; and Eduardo 'Tato' Melgar performing percussion. The recording is interspersed with the sound of audience noise and applause. The song is set in the time signature of common time and is composed in the key of G major with a moderate tempo of 96 beats per minute.

Musically, "Love Lockdown" is an electropop song. According to sheet music, the song is set in the time signature of common time. "Love Lockdown" is composed in the key of C# minor, with a quick tempo of 120 beats per minute (BPM) and West's vocal range spans nearly two octaves, from a low of G3 to a high of G5. The song is written in a verse-chorus form that expresses quiet-loud dynamics, featuring verses delivered in a low, somber tone before shifting into loud, chanting choruses.

The word is sung in a higher note of the musical scale, thus giving an impression of the suspension like quality of the minor ninth chord, dissociating it from the harmony of the other notes. The song is set in the time signature of common time, with a moderate tempo of 80 beats per minute. It is composed in the key of D minor, with Madonna's voice spanning the notes C5 to B3. "The Look of Love" has a basic sequence of C–Dm–Fm–B as its chord progression.

"Music of My Heart" is a teen pop song that lasts for four minutes and thirty-one seconds. The song is composed in the key of B major later changing to the key of D-flat major and is set in time signature of common time, with a moderately slow tempo of 68 beats per minute. According to the sheet music published at Musicnotes.com by Universal Music Publishing Group, the vocal range of Estefan and the members of NSYNC spans over an octave, from F4 to B and late D-flat 5. 5.

The track is set in the time signature of time, with a slow tempo of 72 beats per minute. It is composed in the key of C major and has a sequence of C–F/C–C–Em–Am–F–C/E–Dm7–F/G as its chord progression. Characterized as a love song with a lyrical theme of fatalism, "Like I'm Gonna Lose You" channels anxiety about losing someone into determination to make the most of every moment. According to Gelbuda, the track is about not taking time with loved ones for granted.

"Mine" is a country-pop song with a length of three minutes and 52 seconds. KILT-FM described "Mine" as "an uptempo song that's unmistakably Taylor" with "a big chorus and [is] very singable." Blake Boldt of Engine 145 explained that the song "is a mishmash of ideas bolted together by a terrific power-pop chorus that will stick in your brain after the second or third listen." The song is set in the time signature of common time, and has a moderate tempo of 120 beats per minute.

"5/4" is a song by Gorillaz and is the second track on their 2001 self-titled eponymous debut album. According to the Gorillaz biography Rise of the Ogre, "5/4" was originally intended to follow "Clint Eastwood" as a single, but was instead replaced by "19-2000" at the "last minute." The storyboards Jamie Hewlett had started for the accompanying music video before the switch were later included on the DVD Phase One: Celebrity Take Down. The title is a reference to the time signature of the guitar riff that appears throughout the track.

The sequence in which the musicians would join in the ensemble playing, and the approximate timing of those entrances, were planned, but nothing else – harmony, key, time signature, tempo, melody or rhythm – was prepared or set. Instead, the five musicians were held together by "contrapuntal interaction". Structure exists in the performance because of "the close interaction between musicians, as they enter in imitation of a figure previously stated by another member." Tristano opens the recording himself, then, at intervals of around 20 seconds, each of the other four musicians joins in.

The gesture leading up to the ictus is called the "preparation", and the continuous flow of steady beats is called the "" (the German word for bar, measure and beat). If the tempo is slow or slowing, or if the time signature is compound, a conductor will sometimes indicate "subdivisions" of the beats. The conductor can do this by adding a smaller movement in the same direction as the movement for the beat that it belongs to. Changes to the tempo are indicated by changing the speed of the beat.

The introduction to "Hold Out Your Hand" features a passage played on the pipe organ at St Paul's Cathedral by cathedral organist Barry Rose, who had known Squire and Jackman during their boyhoods. The organ continues throughout the song, creating a rather original sound and reflecting Squire and Jackman's experiences together as church choristers. The title of "Lucky Seven" refers to the song being in a 7/8 time signature. A melodic passage from Yes' song "Close to the Edge" appears in the finale of "Safe (Canon Song)".

Thick as a Brick was viewed by some critics as Jethro Tull's first progressive rock album. The album has a variety of musical themes, time signature changes and tempo shifts – all of which were features of the progressive rock scene. Although the finished album runs as one continuous piece, it is made up of a medley of individual songs that run into each other, none of which individually lasts more than 3–5 minutes. Parts of the suite blend classical and folk music into the typical rock music framework.

This dark, theatrical, piano- driven song opens with lyrics about Goodrem's cancer ordeal and how it changed her outlook on life. During the chorus, Goodrem sings, "The girl I used to be has a terrible case of mistaken identity, yesterday's girl is not what you see, it's a terrible case of mistaken identity". Lyrically, the song is darker, harsher, and edgier than Goodrem's previous recordings, and is written in a nine-eight time signature. Goodrem admitted that she had to fight the record company for it to be released.

The song was based on music used in Carson Robison's "Ballad of Billy the Kid" of the 1930s, which Guthrie slightly modified, adding new lyrics. It is written in a 3/4 time signature and has four-part harmony. The composition tells about the hard times that Americans experienced during the Great Depression, especially the "harsh weather and drought conditions" experienced by farm workers in the Western United States. Guthrie himself had lived in the town of Pampa, Texas, and had witnessed the devastating Black Sunday dust storm of April 14, 1935.

The songs "I'll Hold You In My Heart (Till I Can Hold You In My Arms)", "Without Love (There Is Nothing)", and "I'll Be There" were recorded in the same session. On August 7, "Suspicious Minds" was again overdubbed to stereo and mono in Las Vegas, where the final master was produced. The song's time signature changes in the bridge section, from 4/4 to the slower 6/8 then back again to the faster 4/4 rhythm. The instrumental arrangement uses an electric guitar, bass guitar, organ, strings, trumpets, trombones, and drums.

The notes for scampering Lilliputians and ponderous Brobdingnag in Telemann's Gulliver Suite. and In Telemann's Gulliver Suite for two violins the note values in the chaconne are "Lilliputian", and, in the gigue, are "Brobdingnagian" ones. Because the Lilliputian movement is written in the bizarre time signature of , and the Brobdingnagian one in the equally obtuse (which is doubly humorous because gigues are generally light and brisk), the time signatures reduce to and , perfectly normal ones for each movement, as are the tempos associated with them and the type of dance of each.

"With Love" is a moderately fast song that has a time signature and a tempo of 122 beats per minute, and it is in the key of C minor."Hilary Duff Digital Sheet Music: With Love". Musicnotes.com. Billboard magazine described it as "a beat-happy track that delivers a propulsive, guitar-laden, bleep-heavy hook", and About.com wrote that the song comprises "[e]lectronic bleeps with hand-clapping and finger-snapping beats", Duff's "adult pop vocals" and an "attack" of a "[c]runchy, dance-rock guitar [that] underlines the hook".

In DJing, phrasing, also called stage matching, refers to alignment of phrases of two tracks in a mix. This allows the transition between the tracks to be done without breaking the musical structure. Phrasing is an aspect of beatmixing, not a separate technique. Because most electronic dance music tracks have 4/4 time signature and a simple structure of 16-bar phrases, to align the phrases of two tracks it is often enough to start the track to be mixed in at a phrase boundary in the track currently playing.

The album included longer and more complex songs than their first with folk and progressive rock elements with various time signature changes, as in the nine-minute song "The Knife". Trespass is the first in a series of three Genesis album covers designed by Paul Whitehead. He had completed the cover before the band decided to include "The Knife" on the album. Feeling the cover no longer reflected the album's overall mood, the band persuaded Whitehead to slash a knife across the canvas and have the result photographed.

Synthesizer and strummed acoustics are added during the second verse, followed by the repetition of the chorus, when a change in tempo and time signature occurs, followed by the sound of a child's laughter. As Madonna finishes singing the intermediate lines, "Close your eyes, sleepy-head, It is time for your bed, Never forget what I said, Hang on...", a trumpet starts playing alongside the main rhythm. The breakdown has the feel of Spanish music, with the glissando evoking the string arrangements. This is followed by the bridge and the chorus being repeated twice.

"Old Brown Shoe" is in the key of C major, although its chords also suggest the latter's relative minor key, A minor. The time signature is 4/4 throughout. Following a four-bar introduction, the song's structure comprises two verses, a bridge, an instrumental verse, followed by a second bridge, a final verse and the outro. The verse employs blues-inflected C7 and D7 chords (or I7 and II7 chords in Roman numeral analysis) before an increase in harmonic movement is marked by changes to F, A, F, E augmented and A minor.

Bagobo people with their instruments at the Kadayawan Festival. Like secular songs from the same group, this form of music has a sort of beat, even though it is hard to put it in a form of time signature. Percussions are mainly used for these type of music and sometimes, a gong is enough. As closeness to Nature is a main feature of these ethnic groups, one can expect that dance steps falling under this category are a mimicry of the movements of plants and animals of a certain locality.

Alongside Swift and frequent collaborator Jack Antonoff, "Cruel Summer" also features writing credits from American singer-songwriter Annie Clark, professionally known as St. Vincent (pictured). Clark also contributed guitar instrumentals to the song's production. "Cruel Summer" has been described as a dreamy, melancholy synth- pop, industrial pop and electropop song with a "ranting" bridge, driven by a pulsating, throbbing "synth-swirl", robotic voice effects, distorted vocals and a hook that consists of a long, high, fluctuating "ooooh". The song has a fast tempo of 170 beats per minute with a time signature of .

According to the sheet music published at Musicnotes.com by Alfred Publishing, "Car Radio" is written in the time signature of common time, with a slow tempo of 65 beats per minute. "Car Radio" is composed in the key of A minor, while Tyler Joseph's vocal range spans four notes, from a low of C5 to a high of G5. The song has a basic sequence of F–G–Am–G during the verses and interludes and follows Fmaj7–G6–Am–G6 at the refrain as its chord progression.

Along with Jackson's vocal hiccups, Jackson's voice in the song was described as having vocal tics—from the hiccups, a "grunt", and "the 'oho!'". "Don't Stop 'Til You Get Enough" is played in the key of B Mixolydian and in common time signature and Jackson's voice range is from G3 to B5. Instruments used are a six-piece horn section (two trumpets, alto sax, tenor sax, trombone, and baritone sax), string section (arranged by Ben Wright), and two guitars, keyboards, bass, drums and percussion. The song's tempo is upbeat at 120 beats per minute.

According to author Rikky Rooksby, the lyrics are repetitive and inane and revolves around the transparent ambiguity of the stars and juxtaposition of the male character with being a heavenly body in the sky. "Lucky Star" is set in the time signature of common time with a moderate dance tempo of 108 beats per minute. It is set in the key of G major with Madonna's voice spanning from the tonal nodes of G3 to F5. The song has a basic sequence of G–A–B–D–E–F as its basic chord progression.

Dancers in figure dance teams at Oireachtas Rince na Cruinne are required to dance basic steps such as those found in approved ceili dances, and choreographies must not exceed 4 minutes. There are between 8 and 16 dancers in each team. Before each dance, the story portrayed by the dance is read aloud by the stage steward. It is common for figure dance teams to supply their own recorded music, which has the advantage of enabling changes in tempo and time signature through the dance, but live accompaniment is permitted.

The time signature is 7/8, and one player has an ostinato eighth-note rhythm controlling all tempo and major dynamic changes. This piece uses rhythms, dynamics, and accents to build structure, and shows an exposition, rise, climax, and resolution using pyramids of voices. The rhythmic structure of IV is complex because each time a rhythm repeats, another rhythm crosses it, and continues to add crossed rhythms until the midway point of the section, where the cross rhythms uncross themselves and starts again. This pattern happens a total of six times.

A realization of the bottom line of the above Diego Ortiz extract in modern notation, completed with an arbitrarily chosen clef and a time signature. In Western music and music theory, diminution (from Medieval Latin diminutio, alteration of Latin deminutio, decrease) has four distinct meanings. Diminution may be a form of embellishment in which a long note is divided into a series of shorter, usually melodic, values (also called "coloration"). Diminution may also be the compositional device where a melody, theme or motif is presented in shorter note-values than were previously used.

"The Promise" is an homage to 1960s music, particularly Phil Spector's famous Wall of Sound technique. It has been described as "a 1960s-influenced pop gem given a contemporary Girls Aloud twist". Peter Robinson, however, noted that the song "also hinted at a mellower side of 1970s New York disco, as if it were some sort of long soundtrack from a deleted scene in Saturday Night Fever." The song is written in A major with a time signature in common time and a tempo of 88 beats per minute.

The piece enters a time signature of 6/4; the band plays a series of cantabile two-bar phrases back and forth between the woodwinds and brass, with the string bass playing long strings of eighth-notes, which are passed along to the bells. The song becomes quieter again, and the section ends with another English horn solo. # The Cathedral Chorus (mm. 166-249; about 5 minutes) starts quietly, as the end of Village Song, but a crescendo in the trombones and percussion brings the rest of the band in majestically.

"Young Girls" is a pop song, performed as a "woeful" midtempo ballad. The "pop anthem" is also influenced by a groove from Mars' debut studio album, noticeable on the backing vocals, and it contains elements of "the shaded earnestness" found in "It Will Rain". According to the sheet music, the song is composed in the key of A major with a time signature in common time, and a moderate groove of 125 beats per minute. Mars's vocals range spans from the low note of F4 to the high note C6.

"Wanderlust" is a song by R.E.M. It was released as their fourth and final single from their thirteenth studio album, Around the Sun, and peaked at number 27 in the United Kingdom (their last top 40 hit there), and number 48 in Ireland. The song has a partially compound time signature; 4/4 in the verses and 7/4 in the chorus. A version of the song, called "Wanderlust (Clayton St. Studio version)", was released as a digital download only and later added in the compilation AthFest 10.

"Heart-Shaped Box" is an alternative rock song that lasts for a duration of four minutes and thirty- nine seconds. According to the sheet music published at Musicnotes.com by BMG Rights Management, it is written in a 4/4 time signature, with a moderate tempo of 100 beats per minute. "Heart-Shaped Box" is composed in the key of G# minor, modulating to G# dorian on the verses, while Kurt Cobain's vocal range spans one octave, from the low note of G#3 to the high note of G#4.

"Yo-Yo" is a teen dance-pop song, written and produced by Scott Cutler and Anne Preven and lasts for four minutes and seventeen seconds. According to the sheet music published at musicnotes.com by Universal Music Publishing Group, the song is composed in the key of F major and is set in time signature of common time with a tempo of 112 beats per minute. "From Loving You" is a teen pop ballad written by Diane Warren, produced by Alexis Dufrense and lasts for three minutes and thirty-four seconds.

"Living for Love" is an EDM, diva house, disco and electropop song which starts as Madonna sings over a "regal" piano line which is eventually joined by percussion. The song is set in the simple time signature of 4/4, with a tempo of 123 beats per minute. It is composed in the key of F minor, with Madonna's vocals spanning the range from E3 to C5. "Living for Love" has a I–IV–V–I sequence as its chord progression, with the rhythm flowing as Fm–Cm–D–A–E/A.

The only recitative, "" (For God abandons none who entrust themselves to Him), is accompanied by the oboes d'amore, shows an extended melisma on the word "" (joy) and culminates in an arioso in the final line, with a melisma on (rescue). The following four stanzas are composed as arias, not as the typical da capo arias, but mostly in two parts. Bach achieves variation by changing voice type, key and time signature. He also varies the mode, alternating major and minor keys, expresses different affekts, and he successfully "blurs" the bar form of the stanzas.

Note duration can be adjusted manually via the piano roll or in the score view. Note rhythms can be played via the software instruments, or created in the piano roll environment; rhythm correction is also included to lock notes to any time signature subdivision. GarageBand also offers global editing capabilities to MIDI information with Enhanced Timing, also known as Quantizing. While offering comprehensive control over MIDI files, GarageBand does not include several features of professional-level DAWs, such as a sequencer for drum tracks separate from the normal piano roll.

It begins with a low double-octave B, which echoes throughout the whole work (save for the last section); it should be played with the pedal down throughout (a single pedal shift is found before the last four bars). The right hand plays the notes an octave higher than noted. Considering there is no time signature, the tempo is free, yet introspective in a way that allows the player to personalize the experience of playing it by responding to the notes and occasional dissonance. Thus the use of rubato becomes essential.

The piece has a duration of 9 minutes and a total of 89 bars. It is in E major and has an unchanging time signature of . According to double bar separation, the piece has three sections: a very short first section which is marked "Sans hâte" (Without haste), a second section marked "Lent" (Slow) starting at bar 4, and a lengthy third section marked "Modéré, presque vif" (Moderate, almost quick) starting at bar 17, which contains the development, the recapitulation, and the coda. These three sections are also divided by fermatas.

The song is in the key of E major and the 4/4 time signature. On the recording issued on The Beatles, its structure comprises two combinations of verse and chorus, followed by an instrumental passage and a third verse–chorus combination. This is followed by a prolonged ending during which the performance stops, picks up again, fades out, fades back in, and then fades out one final time amidst a cacophony of sounds. The stereo mix features one more section that fades in and concludes the song.

"Spice Up Your Life" is an uptempo dance-pop song, with influences of Latin rhythms such as salsa and samba. It is written in the key of F minor, with a time signature set on common time (4/4), and moves at a fast tempo of 126 beats per minute. The song is constructed in a verse-pre- chorus-chorus form, with a bridge before the third and fourth chorus, and uses a simple chord progression of Fm–C7. It opens with an introduction, which consists of the repeated use of the word la.

"Work from Home" is a midtempo song with elements of trap music. Katherine St. Asaph of Pitchfork noted elements of Rnbass in its production, while Meaghan Garvey from MTV found tropical house influences on its beats. Discussing the song musically, Chris Martins from Billboard classified it as a "a pop-R&B; confection that siphons off the a tropically tinted EDM pool." According to the sheet music published by Sony/ATV Music Publishing, "Work from Home" is written in the time signature of common time, with a moderate tempo of 104–108 beats per minute.

The early versions of the song were described as being slower and "dirge"-like, whilst the definitive version has an "andante moderato" ("walking" to "moderate") tempo of 92.259 BPM. With a time signature of , the song is performed in the key of D minor. Stylistically, Andy Kellman of Allmusic noted the song's "relentless ska/reggae-inflicted drive", calling its sudden "drop into silence that occurs at the 22-second mark" attention- grabbing. Joe Lally's bass riff on the song has been described as "circular", funk-influenced and "catchy".

"Mars" from Gustav Holst's "The Planets" uses col legno to play a repeated rhythm in time signature. Benjamin Britten's The Young Person's Guide to the Orchestra demands its use in the "Percussion" Variation. Dmitri Shostakovich uses it in his Fourteenth Symphony in the movement 'At the Sante Jail'. Some violinists, however, object to this style of playing as it can damage the finish and impair the value of a fine bow, but most of such will compromise by using a cheap bow for at least the duration of the passage in question.

AllMusic reviewer Blake Butler noted the band came up with "very technical pop melodies" on Frame & Canvas, accompanied by frequent time signature changes. He liked the "beautiful interlocking" guitar lines, which he wrote were "fused together with yelled/sung boyish vocals" from Broach and Nanna. In the opinion of Blake, the album cemented itself as one of Braid's best works. Blake even went as far as to say that by the end of the first track "you know you will be humming these melodies in your head for at least the next few days".

"La Isla Bonita" is a Hispanic-styled pop song and is a characteristic work of the collaboration between Madonna and Leonard. The single mixes the sound of different instruments like Cuban drums and Spanish guitar, maracas and harmonicas and a mix of synthesized and real drumming. The song is written in the key of C minor and is set in the time signature of common time, moving at a moderate tempo of 100 beats per minute. "La Isla Bonita" starts with a musical introduction performed on Bongos, before descending into synthesized beats from castanets.

"Over" is written in the time signature of common time with a moderate tempo of 90 beats per minute. It is composed in the key of C minor with Lohan's voice spanning from C4 to C5. According to Spence D. of IGN, "Over" begins like a song by the Cure, complete with a "mournful acoustic guitar" and a "haunting piano-tuned synth". He wrote that since the song was not penned by Robert Smith, "it quickly turns into a slow rocker in which Lohan returns to her 'can't live without you' love torn subject matter".

According to Ann Powers of the Los Angeles Times, Spears "quick-witted" vocals are similar to the style of The Andrews Sisters. It was also noted by Daily News writer Jim Farber that Spears' delivery has a "tone of petulance". After the bridge, Spears sings the chorus one more time and the song ends while the beat drops and Spears sings the "you’re a womanizer, baby" hook. The song is set in a 12/8 time signature and composed in the key of C minor with 139 beats per minute.

A component of Tool's song repertoire relies on the use of unusual time signatures. For instance, Chancellor describes the time signature employed on the first single from Lateralus, "Schism", as "six" and "six-and-a-half" and that it later "goes into all kinds of other times". Further examples include the album's title track, which also displays shifting rhythms, as do 10,000 Days: "Wings for Marie (Pt 1)" and "10,000 Days (Wings Pt 2)".'' Beyond this aspect of the band's sound, each band member experiments within his wide musical scope.

" "Dangerous Woman", also the lead single and title track, is a mid-tempo slow-jam pop and R&B; song. The recording has a time signature that "falls neatly at the intersection of bubblegum and rock and roll", while having an arena rock chorus and a guitar solo in its bridge. The third track "Be Alright" is a song heavily inspired by 1990's deep house, also having Chicago house, and dance-pop influences. Christopher R. Weingarten of Rolling Stone went further, calling it a "tropical house swagger-jack.

The song was written by Ester Dean and Alexander Grant, with production helmed by Grant under his production name Alex da Kid. "Farewell" contains lyrics that revolve around saying goodbye to a lover who is not able to be physically present in the relationship for long periods of time. The song was composed in the key of G major and set in common time signature, and has a moderately slow tempo of 88 beats per minute. Rihanna's vocals span from the low note of G3 to the high note of D5.

"Where Are Ü Now" was written by Sonny "Skrillex" Moore and Thomas Wesley "Diplo" Pentz, Nick Kibler, Jason "Poo Bear" Boyd, Karl Rubin Brutus, and Jordan Ware, and produced by Skrillex and Diplo. The song was composed in G major with a moderately slow tempo of 69 beats per minute and a time signature of . Bieber's vocal range spans from the low note of E3 to the high note of B4. Its instrumentation consists in "fluterring synths", skipping tropical house beats and acres of space, as well as sharp dancehall stabs and an Eastern melody.

"Kiss and Make Up" is a rhythmic dance, electropop, and reggaeton song, with tropical and EDM tones. It is composed in the time signature of time in the key of E major, with a tempo of 100 beats per minute and a chord progression of Cm–A–E–B/Gm. The song has a length of three minutes and nine seconds, and features a clubby and incandescent production, consisting of bass synths, a clattering percussion, and a bouncing backbeat. The structure includes a vocodered intro, an early-2010s hook, and a rhythmic chorus.

Featuring a classical production, the song emphasizes Gaga's vocals, keeping focus on the lyrics, which clarifies that one cannot understand the feelings of a victim unless they have been in similar situation. The first verse is sung by Gaga in a vulnerable voice, which gradually changes into an aggressive tone, and finally a joyous one during the final lyrics. According to the sheet music published at Musicnotes.com, "Til It Happens to You" is set in the time signature common for a slow tempo of 59 beats per minute.

The song contains excerpts of "Someone That I Used To Love" as performed by Natalie Cole. West employs an arpeggiated piano motif which forms a figure that runs throughout. According to the sheet music published at Musicnotes.com by Universal Music Publishing Group, the song is written in the time signature of common time, with a moderate tempo of 95 beats per minute. "Heard 'Em Say" is composed in the key of F major, while Levine's vocal range spans one octave and three notes, from a low of F4 to a high of B5.

"So Happy I Could Die" is a mid-tempo Europop song, which is filled with Auto-Tune, giving it an echoing effect. According to the music sheet published by Sony/ATV Music Publishing on the website Musicnotes.com, the song is written in the time signature of common time, and is composed in the key of A minor with a tempo of 100 beats per minute. Gaga's voice ranges from the tonal nodes of A3 to A4 and the song follows a basic sequence of F–G–Em–Am as its chord progression.

Composed in the key of F♯ minor, "Walking on Air" is a deep house and disco song set in a 4/4 time signature at a moderately fast tempo of 128 beats per minute. The melody spans the tonal range of E3 to E5, while the music follows the chord progression of F♯m–E–C♯m–D. Throughout the song, various elements of 90s Eurodance and disco music can be heard. The track opens with Perry singing in her lower register over staccato synths until the song's "propulsive" beat begins.

According to sheet music published by Realsongs at Musicnotes.com, the verses of "Un-Break My Heart" are composed in the key of B minor, and the piece modulates to D minor for the chorus and G minor for the bridge; the song is set in a time signature of common time with a moderately slow tempo of 55 beats per minute. Braxton's vocal range spans from the low-note of D3 to the high-note of D5. The song was remixed by several DJs such as Hex Hector, Frankie Knuckles and Soul Solution.

"Sappy" is an alternative rock song that lasts for a duration of three minutes and twenty-four seconds. According to the sheet music published at Sheet Music Plus by BMG Rights Management, it is written in the time signature of common time, with a moderately fast tempo of 132 beats per minute. The song follows a basic sequence of D–B–G–A–B–C in the verses as its chord progression. The musical arrangement is crisp and piercing, featuring rhymthic hooks in addition to a fluctuating guitar solo.

"Sound of the Underground" was written by Brian Higgins, Niara Scarlett and Miranda Cooper. In an interview with The Daily Telegraphs Alice Vincent, Cooper explained that she was into drum and bass at the time and had been inspired by Puretone's 1998 single "Addicted to Bass". The song has been described as "a mechanistic sashay of twangy surf guitar and sultry gang vocals — Girls Aloud explodes like a five-headed Kylie Minogue." The song is written in E minor (recorded in E-flat minor) with a time signature in common time and a tempo of 163 beats per minute.

Tristano's band had two recording sessions in 1949 that proved to be significant. The sextet recorded original compositions, including his "Wow" and "Crosscurrent", that were based on familiar harmonies; reviewers commented on the linearity of the playing and its departure from bebop. Without a drummer, the other musicians also recorded the first free improvisations by a group – "Intuition" and "Digression". For these tracks, the sequence in which the musicians would join in the ensemble playing, and the approximate timing of those entrances, were planned, but nothing else – harmony, key, time signature, tempo, melody or rhythm – was prepared or set.

Tristano intensified his use of counterpoint, polyrhythm, and > chromaticism in the 1960s[.] Grove Music commented on some aspects of Tristano's style that were different from most modern jazz: "Rather than the irregular accents of bop, Tristano preferred an even rhythmic background against which to concentrate on line and focus his complex changes of time signature. Typically, his solos consisted of extraordinarily long, angular strings of almost even quavers provided with subtle rhythmic deviations and abrasive polytonal effects. He was particularly adept in his use of different levels of double time and was a master of the block-chord style".

This 28-bar duet has a duration of less than one minute. Unlike Fanfare for a New Theatre, this duet is one of the lesser-known miniatures by Stravinsky. Its structure is very simple and has the appearance of a sketch: no tempo indication is provided, no dynamics markings are specified anywhere in the score, and time signature changes are rare (Stravinsky changed time signatures a lot in the late 1910s, for example, in Renard and Les Noces). The general tone of the composition is rather inexpressive and carries little emotional intent: no accent marks are provided in the score.

The song is almost four minutes in length and is composed in the key of F-sharp major, set in the time signature of common time with a moderate tempo of 98 beats per minute. In the middle of the song, the key is changed to A-flat major, then for a short amount of time goes back to F major and finally ends with A major. Grant's vocal range spans from F3 to D♯5. The song consists of three verses that are interrupted by a bridge, "'Stop for a minute, baby I'm so glad you're mine".

"Space and the Woods" tries to weigh up what is more important: a person or an inanimate object, or an absence of anything, while "The Bears Are Coming" concerns "a silent threat". The idea for the lyric "A heartbeat, a flicker, a line" in "Heartbeat" came to Eastgate while recording the song and hearing its time signature always changing. The lyricist cannot remember writing "White Snake" and did not know there was a band of the same name in existence. "Focker" evolved out of a demo, called "6/8 Focker", Eastgate sang through a guitar amp with initially indecipherable lyrics.

"The Lazy Song" is a reggae, reggae-pop and ska track, borrowing "heavily from roots reggae". According to the digital sheet music published by Alfred Music Publishing , the song was written in the key of B major and is set in time signature of common time with a tempo of 88 beats per minute, with Mars' vocal range spaning from F4 to B5. "The Lazy Song" instrumentation features an acoustic guitar, scratching, "canned-sounding" drum track, "filler bongos", "island rhythms" and "choruses of male background singers". Its production has been compared to the reggae style of Jason Mraz.

Gillies and Pear (eds), p. 32 Different textures are defined by Grainger as "smooth", "grained" and "prickly". Grainger was a musical democrat; he believed that in a performance each player's role should be of equal importance. His elastic scoring technique was developed to enable groups of all sizes and combinations of instruments to give effective performances of his music. Experimentation is evident in Grainger's earliest works; irregular rhythms based on rapid changes of time signature were employed in Love Verses from "The Song of Solomon" (1899), and Train Music (1901), long before Stravinsky adopted this practice.

"U Smile" is a blue-eyed soul ballad, driven by piano and other instruments. Leah Greenblatt of Entertainment Weekly said the song is "the best by far" of My World 2.0, calling it "a shimmery slice of Hall & Oates-style blue-eyed soul". The song has a "bluesy" feel, and makes use of metaphors such as "You are my ends and my means/With you there’s no in between." The song composed in the key E Mixolydian and it set in time signature of compound time with twelve eighth note in a bar, with the tempo of 75 beats per minute.

Lennon was inspired to write "Good Morning Good Morning" after watching a television commercial for Kellogg's Corn Flakes, the jingle from which he adapted for the song's refrain. The track uses the bluesy Mixolydian mode in A, which Everett credits with "perfectly express[ing] Lennon's grievance against complacency".: "grievance against complacency"; : the bluesy Mixolydian mode in A. According to Greene, the song contrasts sharply with "She's Leaving Home" by providing "the more 'avant-garde' subversive study of suburban life". The time signature varies across 5/4, 3/4 and 4/4, while the arrangement includes a horn section comprising members of Sounds Inc.

The clarinet part that comes before she sings "Mira en Barranquilla se baila asi" comes from a trumpet riff in the song "Ana Mile" by Grupo Niche (between the lines "No llores mas. No por favor" and "Te pinto pajaritos en el aire"). According to EMI Music Publishing's digital sheet music for the song, "Hips Don't Lie" is set in common time signature, is in the key of B♭ minor, and has a moderate Latin groove of 100 beats per minute. Shakira's vocals span from the low note of A♭3 to the note of B♭4.

After 1998, the original foundations of Geoff McQueen's writing was relaxed to include some characters' private lives, but still remained that an incident would not be seen without a member of cast involved. The old title sequences were entirely removed, in favour of displaying things that are seen to be associated with policing, such as reflective jackets, a suspect being interviewed, and a map in the CAD room. The theme tune was also revamped, with a change from the irregular time signature. During 2000, the programme witnessed one of the largest cast changes in its history.

Traditional dance music includes reels ( or ), hornpipes ( with swung eighth notes), and jigs (double and single jigs are in time). Jigs come in various other forms for dancing – the slip jig and hop jig are commonly written in time. Later additions to the repertoire include the waltz ( with a heavy accent on the down beat) and, in Donegal, mazurkas in the same time signature, though with an accent on the 2nd beat. Donegal is also notable for its "highland," a sort of Irish version of the Scottish strathspey, but with a feel closer to a reel with the occasional scots snap.

"I Love U" is a song which runs for a duration of three minutes and 28 seconds. It is set in the simple time signature of 4/4, with a tempo of 105 beats per minute. The song starts with a spoken introduction where Tequila says "I think I love you, but if you ever hurt me I'll fucking kill you," and then transitions into a crunk beat which is built around a repetitive electric guitar riff and utilizes strong elements of hip hop music such as 808 bass, claps and hi-hats. Lyrically, the song is about a dominant female.

Matt McDonough has described the songs on the album as "even weirder" than those on L.D. 50, and also believes the album is more mature. The song "Trapped in the Wake of a Dream" boasts verses written in 17/8, choruses in 11/8 and a bridge that mixes both time signatures. McDonough said "If I hadn't pointed out which song was written in 17/8 I don't think most people would have noticed. It's a strange time signature but it works because it's smooth", while Gray added that it was the hardest song on the album to record.

"Swing Life Away" is composed entirely of acoustic strumming, and its relatively positive sound plays in stark contrast to Rise Against's hardcore oeuvre. According to the song's sheet music, the composition is written in the time signature of 6/8, with a moderate tempo of 52 beats per minute. It follows verse-chorus form, and is composed in the key G♭ major, with a melody that spans a tonal range of D♭4 to E♭5. Ultimate Guitar Archive noted that the song uses a more "sharp guitar sound" as opposed to normal acoustics, which complements the band's punk roots.

To remain faithful to the original album, Oldfield obtained a copy of the original 16 track tape, from Richard Barrie of Air Studios; this multitrack was then recorded into Digidesign Pro Tools. There were a few parts of the multitrack recording missing however; this included parts of the "Finale", "Caveman" and "The Sailors Hornpipe" sections. These original tracks were then moved into Emagic Logic, where Oldfield used MIDI to create a tempo and time signature map; some sections of the original album had not been in time. A guide MIDI keyboard was laid on top, for which Oldfield usually used some Roland Strings.

Although the underlying rhythm keeps a 4/4 time signature, several instruments keep 3/16 and 3/4 time throughout the track, including a deep second drum line—the "regular dull thud"—which juxtaposes when the 4/4 instruments and percussion drop out. The second section is a fully orchestrated arrangement of Jerusalem, with the sounds of brass, strings, organs, drums and choir. The instrumentation and vocals of the first section gradually diminish to nothing over a period of nearly two minutes. Following the climax of the hymn, howling wind and crow calls are heard and then fade out.

A publisher tried to make him change some words from "fly me to the Moon" to "take me to the Moon," but Howard refused. Many years later Howard commented that "... it took me 20 years to find out how to write a song in 20 minutes." He used his position as a piano accompanist and presenter at the Blue Angel cabaret venue to promote the song, and it was soon introduced in cabaret performances by Felicia Sanders. The song was composed in 3/4 time signature but was changed to 4/4 by Quincy Jones in his arrangement.

While most traditional compositions depend on strictly measured time for the progress of the line, using an unvarying tempo, time signature, or phrase length, Metastaseis changes intensity, register, and density of scoring, as the musical analogues of mass and energy. It is by these changes that the piece propels itself forward: the first and third movements of the work do not have even a melodic theme or motive to hold them together, but rather depend on the strength of this conceptualization of time.The Philips Pavilion, showing hyperbolic paraboloids originally used in Metastaseis. The second movement does have some sort of melodic element.

The whole note or semibreve has a note head in the shape of a hollow oval—like a half note (or minim)—but with no note stem (see Figure 1). Since it is equal to four beats in time, it occupies the entire length of a measure in that time signature. Other notes are multiples or fractions of the whole note. For example, a double whole note (or breve) lasts twice the duration of the whole note, a half note lasts one half the duration, and a quarter note (or crotchets) lasts one quarter the duration.

The time signature is 2/4 or 6/8 --counted as 2 triplets 3+3. Often in music for the pravo, both 2/4 and 6/8 time signatures will be used where 2/4 is used for the singing and 6/8 is used for the slightly faster instrumental portions. In Bulgaria, the 6/8 portion is also transcribed in 2/4 using triplets. Each dance phrase corresponds to 3 musical measures counted as quick, quick, slow, slow, (corresponding to 2+2+4+4 in 2/4 time or 1+1+2+2 in 6/8 time).

"We Dance On" was described by Gavin Martin of the Daily Mirror as having "unifying floorfiller" and crowd-pleasing attributes to it. The song's chorus "I know everything's gonna be alright/Now you're standing here by my side" and chants have been likened to the music released by reggae musician Bob Marley, namely his song "No Woman, No Cry" (1974). The sampled string section has also been interpreted as having influences from The Farm's "All Together Now" (1990). "We Dance On" is set in the time signature of common time with a metronome of 156 beats per minute.

"All Kinds of Kinds" is a mid-tempo country song in which the lyrics state that "ever since the beginning, to keep the world spinning, it takes all kinds of kinds." The lyrics refer to different characters such as "a dog-faced boy, a cross-dressing congressman and a can’t-help-herself pharmacist," and a final verse addressing the narrator herself. It features a backing vocal from Stoney LaRue. It is in the key of C major and a 3/4 time signature, with a main chord pattern of C-F/C-C-G/C-C.

458 was entered in Mozart's own handwritten thematic catalogue on 9 November 1784." It is in four movements: # Allegro vivace assai # Menuetto and Trio. Moderato # Adagio, in E-flat major # Allegro assai Neither Mozart nor Artaria called this piece "The Hunt." "For Mozart's contemporaries, the first movement of K.458 evidently evoked the 'chasse' topic, the main components of which were a 6/8 time signature (sometimes featuring a strong upbeat) and triadic melodies based largely around tonic and dominant chords (doubtless stemming from the physical limitations of the actual hunting horns to notes of the harmonic series).

The single's title refers to its 7/8 time signature. On December 21, they revealed a 30-second snippet of their collaboration 'Elements Of Nature' with Belgium Trance artist M.I.K.E.. This collaboration was initiated by a Twitter user under the name 'Ramballo'. This single was released by the end of January 2013 and received much positive feedback for its Classic Trance vibe and was even rated an 8.5/10 by the DJ Mag. On March 13, Conjure One revealed that a Rank 1 Remix for his new single "Under The Gun" would debut during Rank 1's set at ASOT #600 in Mumbai.

The song is a teen pop and dance-pop song that lasts for three minutes with thirty-nine seconds, is composed in the key of D major and is set in time signature of common time, with a moderately slow tempo of 88 beats per minute. "So Real" (Wade Robson remix), is a remix version of "So Real" was also the third single released from the record overall, the second in Australia. In its lyrics, Moore sings that what she feels about a guy is "so, so real". The song was written by Tony Battaglia, Shaun Fisher and produced by The Wasabees.

"Candy" talks about her feelings, saying that she misses and craves her love "like candy". The melody and tune of the song has a marked resemblance to the 1996 song "Do You Know (What It Takes)", which was written and composed by Max Martin and Denniz Pop and recorded, written and released by Swedish pop star Robyn. "Your Face" is a teen pop ballad that lasts for three minutes and seventeen seconds. The song is composed in the key of E major and is set in the time signature of common time with a tempo of 76 beats per minute.

"Coming Home", a song written by Jake Hook, Nick Patrick and Jeff Chegwin and produced by Patrick for The Soldier's first album Coming Home The song's lyrics are a stirring wish and plead for Army personnel to come home safely, The song features a tin whistle, piano, bass, drum and full string section. The song's structure is as follows, introduction, first verse, chorus, second verse, string section instrumental, chorus to end. The song which is four minutes and eight seconds, is in a 4/4 time signature. The vocals were recorded by Gary Chilton, Richie Maddocks and Ryan Idzi.

"No Air" is a pop and R&B; song written by James Fauntleroy II, Steven Russell, Erik “Blu2th” Griggs, Harvey Mason Jr., and Damon Thomas. The song was originally written for a male singer, but after Jordin Sparks heard the song and expressed interest in the song, Mason agreed to give it to Sparks on the condition that they make it an event duet record, and suggested Chris Brown as a singing partner. Having the chord progression of F-E-Gm-B, the song is written in the key of F# Mixolydian. Its time signature is of common time.

"Yellow Flicker Beat" references the rise of The Hunger Games heroine Katniss Everdeen, portrayed by Jennifer Lawrence (pictured in 2011) "Yellow Flicker Beat" was written by Lorde (credited under her birth-name Ella Yelich-O'Connor) and Joel Little and produced by Little and Paul Epworth. According to the sheet music published at Musicnotes.com, the track is composed in the key of A minor and follows the chord progression Am–Dm–Am–E and in the common time signature. The song moves at a tempo of 96 beats per minute, and Lorde's vocals span a range of E3 to E5.

The chorus line, "If at first you don't succeed, then dust yourself off and try again", is hypnotically repeated in a fashion similar to the sampling and vocal manipulation found in house music. According to Music Notes, the song is composed in the key of C minor and is set in time signature of common time with a tempo of 92 beats per minute, while Aaliyah's vocal range spans from G3 to G4. In the song's intro, Timbaland pays homage to Eric B. & Rakim by rapping the duo's opening verse from "I Know You Got Soul".

"Chances" is a pop rock song, containing instrumentation and elements indicative of hard rock and industrial pop. The album version has a length of four minutes and fifty-seven seconds, while the single edit is fifty seconds shorter. The song is performed in the key of E minor, and is composed in the time signature with an allegro moderato tempo of 118 beats per minute. The intro is composed of two repetitions of an E♭–D♭–B♭–C♯ sequence, and each verse and pre-chorus consists of two sequences of Em–D–Bm–C.

At the last minute, Vig decided to make the guitar tracks louder; he later claimed the song still didn't sound the way he heard it in his head. The mix was noted for Manson's voice being at the same volume as the instruments; in mainstream pop, the lead vocal is usually louder than the instruments. The song is in the key of G# minor, the time signature of 4/4, and at a tempo of 120 beats per minute. Its chord progressions are G#m–F#–E–C#m–E–F# in the verses and C#-F#-A-B in the chorus.

As recorded by the Beatles, "If I Needed Someone" is in the key of A major, over the verses, and B minor in the middle eights (or bridges). The time signature throughout is 4/4. After its introduction, the composition consists of two verses, a bridge, three verses (the second of which serves as an instrumental break), followed by a repeat of the bridge, a further verse, and an outro. The song is in the folk rock style, but incorporates aspects of Indian music through the suggestion of drone over the main musical phrase and its partly Mixolydian harmony.

On the Beatles' recording, "Your Mother Should Know" is performed in the key of A minor and its time signature is 4/4. The use of piano crotchet chords is typical of McCartney's compositions of the time, starting with "Got to Get You into My Life" in 1966. The song's rhythm suggests a foxtrot, a quality it shares with "Catcall" (formerly titled "Catwalk"), a McCartney-written instrumental recorded by Chris Barber's trad jazz band in July 1967. Musicologist Walter Everett comments that the two pieces also share a similar "syncopated ascending octave-arpeggiation of a minor triad".

Jaz-O was the rapper to pioneer the "triplet flow," which allows the rapper to flow far beyond sixteen syllables within the four-fourth time signature beat. Being able to add extra syllables to the sixteen multiplies the syllables into twenty-fourths, which makes a triplet of an eighth. Since the 1990s, the triplet rhyme technique has become a common among distinction some of the most respected hip-hop lyricists to date. Several lyricists who are well known for the technique include former apprentice Jay-Z, as well as Twista, Bone Thugs- N-Harmony, Fu-Schnickens, Spice-1, and Tech N9ne.

The lyrics talk about Morissette being a "handful", and that she's not the type to get emotional. "Mary Jane" is built over a ballad's tense and ringing electric guitar, and sees Morissette trying to reassure a friend who's having a rough time, or possibly smoking marijuana ("Mary Jane" is another name for the drug). "Ironic" is a pop rock song, set in the time signature of common time, composed in a moderate tempo of eighty-two beats per minute. The song's use of situational irony led to some fascination with whether it is a correct application of the term ironic.

"Cannonball" is an alternative rock, pop rock, indie pop and grunge song that lasts for a duration of three minute and thirty-six seconds, featuring a balance of quirky pop hooks and surging power which support playful, goofball lyrics. According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is written in the time signature of common time, with a moderately fast rock tempo of 112 beats per minute. "Cannonball" is composed in the key of E-flat major (E), while Kim Deal's vocal range spans from a low of E3 to a high of B4.

According to the sheet music published at Musicnotes.com by Universal Music Publishing Group, it is written in the time signature of common time with a moderate tempo of 86 beats per minute. The song is composed in the key of D major while M.I.A.'s vocal range spans one octave, from the low-note of F♯3 to the high-note of F♯4. The musical composition incorporates verse-chorus form, with a bridge preceding the fourth and final chorus, where a distorted guitar riff provides accompaniment to the piece playing out the coda.

The chorus is a repetition of the same three lines of the lyrics, while the bridge consists of a series of double entendres in regards to the lyrics of the song which describes what she is prepared to do for her lover and that she is individualistic and shameless. According to the sheet music published at Musicnotes.com by Alfred Publishing, "Burning Up" is written in the time signature of common time with a dance beat tempo of 138 beats per minute. The song is composed in the key of B minor, with Madonna's vocals ranging from the tonal nodes of A3 to B4.

"Miss Movin' On" is a power pop song that lasts for three minutes and 14 seconds. Its written in the key of F# Major and is set in the time signature of common time with a moderate tempo of 76 beats per minute. Songwriting and production is largely based on previous The Suspex productions, most notably Demi Lovato's "Heart Attack" which shows similar explosive chorus, huge vocals and soaring hooks. The song begins guitar chords Camila Cabello and Lauren Jauregui belt out the song's first verses with the chord progression of F–C–Dm, followed by the explosive synth-backed chorus.

Mozart probably wrote the piano and wind parts at different times, resulting in an oversight by the composer. Alfred Brendel, who has recorded the concerto on multiple occasions, argues that performers should not follow the score literally but correct Mozart's error. Brendel further argues that the time signature for the whole movement is another notational error: played in cut common time, which calls for two beats per bar rather than four, the movement is, in his view, too fast. The form of the movement is nearly identical to that of the second movement of Mozart's Piano Sonata in B major, K. 570.

The passepied was remodelled by Jean-Baptiste Lully as a pastoral concert dance, first appearing in the 1680s as a faster minuet . It is accounted the fastest of the triple-time dances of the time, usually with a time signature of (also occasionally or ), its phrases starting upon the last beat of the measure. Its phrasing had to divide into four measures to accommodate the four characteristic tiny steps over two measures. It used the steps of the minuet, which Lully had long before similarly adapted, to quite different effect, moving lightly and tracing elaborate patterns upon the floor .

Boogie-woogie is characterized by a regular left-hand bass figure, which is transposed following the chord changes. :Another : Boogie-woogie is not strictly a solo piano style; it can accompany singers and be featured in orchestras and small combos. It is sometimes called "eight to the bar", as much of it is written in common time () time using eighth notes (quavers) (see time signature). The chord progressions are typically based on I – IV – V – I (with many formal variations of it, such as I/i – IV/iv – v/I, as well as chords that lead into these ones).

The Palm and May is prefixed with the fifth line from Spring, the Sweet Spring, a poem from Thomas Nashe's poem cycle Summer's Last Will and Testament: : The Palm and May make country houses gay.'' This piece, in contrast to the preceding one, is full of mirth and gaiety. The fast tempo markings (Con moto; = 6366) and 6/8 time signature conjure up an image of a country dance or jig. The left hand paints most of the colour in the opening section with constant falling and rising arpeggios, while the right hand introduces the first theme.

The track's ambient production consists of a melodic piano introduction, which is followed by a buzzing synth beat accompanied by guitar riffs in the chorus. According to the sheet music published by Kobalt Music Publishing America, Inc on the website Musicnotes.com, "Cool for the Summer" is in the key of C minor and is set in a time signature at a moderate tempo of 114 beats per minute. On the recording, Lovato's voice ranges from the low note of B3 to the high note of F5, while the music follows the chord progression of Amaj7 – Fm – Cm – E/B.

The asymmetric time signature , on the other hand, while also having eight quavers in a bar, divides them into three beats, the first three quavers long, the second three quavers long, and the last just two quavers long. These kinds of rhythms are used, for example, by Béla Bartók, who was influenced by similar rhythms in Bulgarian folk music. Stravinsky's Octet for Wind Instruments "ends with a jazzy 3+3+2 = 8 swung coda" . Additive patterns also occur in some music of Philip Glass, and other minimalists, most noticeably the "one-two-one-two-three" chorus parts in Einstein on the Beach.

The opening bars of No. 1 in C minor The Nocturne in C-sharp minor is initially marked larghetto and is in 4/4 meter, written as common time. It transitions to più mosso (more movement) in measure 29, along with a time signature change to 3/4 meter. The piece returns to its original tempo and meter in measure 84, and ends in an adagio beginning in measure 99. The piece is 101 measures long and written in ternary form with coda; the primary theme is introduced, followed by a secondary theme and a repetition of the first.

While this notation has not been adopted by music publishers generally (except in Orff's own compositions), it is used extensively in music education textbooks. Similarly, American composers George Crumb and Joseph Schwantner, among others, have used this system in many of their works. Another possibility is to extend the barline where a time change is to take place above the top instrument's line in a score and to write the time signature there, and there only, saving the ink and effort that would have been spent writing it in each instrument's staff. Henryk Górecki's Beatus Vir is an example of this.

"Juke" is played as a swinging shuffle featuring a boogie- woogie guitar pattern, and is originally in the key of E; Walter played it in "second position" (cross harp) on a harmonica tuned to the key of A. "Juke" is a standard twelve-bar blues, set for the most part in the time signature of 4/4, but its time changes once to 3/4 and once to 2/4. "Juke" contains eight choruses. The harmonica playing in "Juke" is deep-toned and features long saxophone-like phrases. "Juke" is a dynamic song, building and releasing in intensity several times.

Evans changed his name when his first band, The Blades, changed their name to The John Evan Band. Jeffrey Hammond apparently thought 'The John Evan Band' sounded better than 'The John Evans Band'. He participated in the Blackpool musical scene, with most of the musicians that would become Jethro Tull, including Barrie Barlow and Ian Anderson. Later on, Evan was attending college when he happened to recognize his then future bandmates on the radio with the song "Living in the Past", remarking years later that it stood out to him because of its quite unusual time signature for a pop song ().

The last movement is a rollicking virtuoso movement in 6/8 time signature in the key of F major. It starts with a forte chord and is followed by a passage of fast 16th notes in the right hand. This is directly followed by parallel sixths between the left hand and right hand lower voice, creating a harmony contrasting to the opening single 16th notes passage. There is a change of character in measure 16 where the music is marked piano/dolce and the right hand has a simple melody embellished with ornamentation and back-and-forth contrasting legato to staccato articulations.

Unmake, released digitally June 17, 2016, was a collection of four simple home recordings and the single "Race To The Bottom" featuring drummer Loel Campbell (Wintersleep, Holy Fuck) which was recorded at Afterlife Studios in Vancouver, BC and produced by John Raham. The five song EP features a cover of Robyn's "Hang With Me", revisited stripped-down versions of "Kitsch" and "Forgetery" from Club Meds (The latter featuring Tegan Quin of Tegan and Sara) and the song "Whistleblower", a B-side initially recorded with Blacksmith in 6/8 time signature for Club Meds, but re-worked acoustically in 4/4.

The conga is danced with small sliding steps, advancing alternately. Imagining two measures of time (the traditional time signature for the conga), if the right foot starts on the first eighth note of the first measure, then the left foot steps on the third eighth note of the first measure, the right again on the first eighth note of the second measure, the left on the third eighth note of the second measure, and so on. This basic step is called the "arrollao." The arms are bent at the elbow and swung opposite to the rhythm of the feet (Fernández 1974:91).

"Responsible Citizen" was originally titled "Hard Rock" after the Hard Rock Cafe, "Arjans" was a sandwich shop in Cardiff and was the working title for "In The Mountains", "Millennium Stadium" was the working title for "Sleepwalking" - this was because the band felt the song had a stadium rock feel to it. "Light Entertainment" was initially titled "Seven Eight" because of its time signature, "This Ship" was known as "Paul Harris" - the man responsible for signing the band to Polydor/B-Unique. "Secret Police" when performed in 2007 and during recording was titled "Revolution" - a reference to the lyrics.

"Heartless" is a mid-tempo pop song that runs for a duration of three minutes and thirty seconds. The song is almost entirely built around a sample of the bridge section of the self-titled track off of Ammonia Avenue, an album released in December 1983 by The Alan Parsons Project. It is set in the time signature of common time, with a moderate tempo of 90 beats per minute. The song is composed in the key of Bb minor, and West's vocal range spans nearly two octaves, from a low of B2 to a high of A4.

The restless character of the music has been noted by many commentators, including Donald Francis Tovey, who described the movement as one "full of passionate and lonely energy", and Charles Rosen, who wrote of the "despairing and impassioned" mood. The movement is cast in sonata form in which the exposition is not repeated, and the development section is based almost entirely on the first subject. The second movement is a gentle sonata-rondo movement in E major (the tonic major) and a time signature. Its Romantic character, which foreshadows Schubert's style in particular, has long been noted by numerous musicians and musicologists, e.g.

Released February 2012. In their earlier incarnation as 1-2-3, they had performed a re-written version of the song that included elements similar to those later used by Yes; changes in time signature, classical interludes, newly written segments, etc. A live tape exists of this being performed at the Marquee in April 1967, prior to the release of any known recording by any artist, including Paul Simon, himself. Simon had recorded demos at Levy studios in London in 1965, and tapes of these were passed to the band by a studio engineer (Stu Francis of Radio Luxembourg).

According to Kobalt Music Publishing's digital sheet music for the song, "Sugar" is composed in the key of D major and set in common time signature, and has a moderate groove of 120 beats per minute. Levine's vocals span from the low note of D4 to the high note of F5, over one octave higher. Kyle Anderson of Entertainment Weekly noted the reminiscence of "Sugar" to the music of singer Bruno Mars. Brad Wete of Billboard magazine compared the song's production to that of Katy Perry's 2014 single "Birthday", which was also produced by Cirkut, together with Dr. Luke.

The Number Twelve Looks Like You's music has been described as mathcore and screamo. AllMusic describes them as a "particularly dark and dystopian form of screamo" that incorporates elements of "Japanese-style noise rock à la the Boredoms and the show-offy tempo, time signature, and dynamic shifts of Frank Zappa." The band tried to expand their sound with every album and Pareja attributes that as a crucial factor in their reunion. Regarding their eclectic style, he said: Founding member Alexis Pareja, a classically trained guitarist, has cited jazz fusion players John McLaughlin and Robert Fripp as some of his primary inspirations.

"Hold Me Now" is a pop, new wave and synthpop ballad, performed with a "hypnotic, swaying groove", that features the sound of a marimba in the background. The song is composed in the key of D major, with a time signature set in common time, and moves at a moderate tempo of 108 beats per minute. While most of the group's previous songs have a dance-oriented sound, "Hold Me Now" has a mainstream piano-based melody but keeps the prominent bass line and Currie's Latin percussion of earlier releases. The song is in a verse-chorus form, employing a simple melody.

"You Know You're Right" is an alternative rock song that lasts for a duration of three minutes and thirty-seven seconds. According to the sheet music published at Sheet Music Plus by EMI Music Publishing, it is written in the time signature of common time, with a moderately slow tempo of 84 beats per minute. "You Know You're Right" is composed in the key of F minor, while Kurt Cobain's vocal range spans one octave and three notes. The song follows a basic sequence of F5–D–E in the verses and pre-chorus and is mainly restricted to a droning chord of F5 throughout the refrain as its chord progression.

The same occurs between the second pair of voices, in 6/4 and 9/4 respectively. In the score, only one voice was written out for each canon, with the mensuration marks (approximately equivalent to a modern time signature) given alongside, so the singers would understand that they are to sing in those proportions, and thus at different speeds; in addition, the intervals between the voices are given in the score by the positions of the C clefs. What has so astonished musicians and listeners from Ockeghem's age to the present day is that he was able to accomplish this extraordinarily difficult feat.Atlas, p.

On May 14, 2012, the band announced in a video announcement on their YouTube channel that their new album would be delayed until the fall, instead of the previous tentative release date of July 2012, though a new song would be released until the end of the month. On May 18, 2012, the band released a teaser of the single and announced that the full song would be released on SoundCloud May 25, 2012. Gregory Adams of Exclaim! describes the song as fused the band's typical "post-hardcore licks" with elements of new wave of British heavy metal and a time signature of 6/8.

When Soft Machine acquired their first record deal, The Wilde Flowers decided they needed one too, and reconstituted themselves as Caravan. Coughlan had trained to be a dental technician, but with the formation of Caravan, he chose to be a professional musician instead. Caravan's brand of art rock emphasised Coughlan's drumming, which enabled him to contribute to some of the band's compositions, including the 19/8 time signature on the "A Hunting We Shall Go/L'Auberge du Sanglier" song suite. The group was active from 1968 to the early 1980s, during which time they recorded ten albums and toured Continental Europe and North America.

The song, which begins with a spoken introduction by Kris Kristofferson, tells the tale of Niles Harris, a soldier in the 173rd Airborne Brigade of the United States Army during Operation Hump in South Vietnam on November 8, 1965. The intro mentions that Harris was "the guy that gave Big Kenny his top hat", and that he was among the wounded who were saved by Army medic Lawrence Joel, the first living African American to receive the Medal of Honor since the Spanish–American War of 1898. The song is in a 6/8 time signature, and is in A mixolydian with a primary chord pattern of A–G–D–A.

The song became popular after the war, and was adopted by the Royal New Zealand Navy as its official slow march. It is still played by military bands of the New Zealand Defence Force, in particular by the band of the 7th Wellington and Hawke's Bay Battalion of the New Zealand Army. Composed as an action song, Tomoana originally wrote the score in a 6/8 time signature, however in contemporary performances it is often performed as a slow lullaby in 3/4. Contemporary Māori performances often include a slow verse in 3/4 followed by a verse in double time, in which actions and poi may be used.

Most contemporary arrangements of the song use a 4/4 time signature, but performances by Tomoana's descendants still use the original arrangement. The origin of the tune is subject to debate; in the song's first publication in 1921, Tomoana wrote that "it emanated from the North of Auckland", and was later popularised by Māori soldiers who were training near Auckland before embarking for the war in Europe. The question of the tune's origin has never been settled. Some descendants of Āpirana Ngata have claimed that he was the true composer of the song's lyrics, but this was not supported by any claim made by Ngata himself.

After the release of Infinity Land the band had stated that they felt they had pushed their original sound to its limit, and wanted to try a more straightforward approach to songwriting. Lyrically, the album deals mainly with the death of Simon Neil's mother Eleanor, who had died a few years prior to the recording of Puzzle. The most noticeable difference between Puzzle and the band's previous work is the more streamlined and accessible nature of the songs, with fewer of the abrupt structure and time signature changes which characterised their early material. Influences such as Sunny Day Real Estate and Red House Painters can be heard heavily on this album.

"4th Time Around" was commonly speculated to be a response to the Beatles' song "Norwegian Wood" – written by John Lennon and Paul McCartney for the 1965 album Rubber Soul – as the two tracks share a reasonably similar melody, lyrical premise, and 3/4 time signature. "4th Time Around" has been seen as either a playful homage, or a satirical warning to Lennon about co-opting Dylan's well-known songwriting devices. Lennon expressed a range of opinions on this topic in interviews between 1970 and 1980. He initially felt it to be a somewhat pointed parody of "Norwegian Wood", but later he considered Dylan's effort to be more a playful homage.

For "Through the Tunnel", Rabin was inspired to do a shuffle in a similar 20/8 time signature, "which means basically six triplets and then two-thirds of a triplet at the end, chopping off the last triplet". It features Rabin playing an Alembic bass. "Rescue" is a rearrangement of a song Rabin originally wrote for his score to the 2006 film The Guardian titled "Rescuing Fischer" which features Liz Constantine singing wordless vocals. Rabin felt it would be suitable for Jacaranda, but he co-owns the rights to the original arrangement with The Walt Disney Company, leaving him the choice of re-recording it with added guitar parts.

Godard's long list of works includes five symphonies: Symphonie gothique (1883), Symphonie orientale (1884), and Symphonie légendaire (1886); Concerto romantique for violin and orchestra (1876), two piano concertos, three string quartets, four sonatas for violin and piano, a sonata for cello and piano, two piano trios, and various other orchestral works. Among his piano pieces may be mentioned Mazurka No. 2, Valse No. 2, Au Matin, Postillon, En Courant, En Train, and Les Hirondelles. Florian's Song is also very popular and has been arranged for many instruments. One of Godard's sonatas for violin and piano contains a scherzo written in the unusual time signature of .

"Stop" is an up-tempo dance-pop song with influences of Motown and blue-eyed soul, and is reminiscent of classic singles by The Supremes or Martha and the Vandellas. It is written in the key of C major, with a time signature set on common time, and moves at a fast tempo of 132 beats per minute. Lyrically, the song calls for a slowing down on the courtship process, and it is particularly addressed to appeal to the young female audience, as the female to female bonds are not threatened. It is constructed in a verse- pre-chorus-chorus form, with a bridge before the third and fourth chorus.

It was written in the key of D minor with a time signature in common time, with a moderate groove of 102 beats per minute. The group's vocal range spans from the low note of G3 to the high note of A4, with Scherzinger adopting breathy vocals. The group takes a submissive stance towards Snoop Dogg who "seems to be as the object of affection for the girls, who ask him to 'loosen up [our] buttons' and to not 'leave [us] asking for more'." A writer for Complex magazine wrote that "it's lyrics right into the burlesque strip tease performances that PCD actually originated from".

"Giant in My Heart" is an electropop and house song which runs for a duration of four minutes and 29 seconds. It incorporates elements of garage and '90s-inspired music The song opens with subtle electronic smatterings, distinctly grave sounding synths, and the lyrics "I'm trying to pretend it isn't true, but even when I want, it's like I can't get over you, over you, over you, over you." According to Michael Baggs of Gigwise, Kiesza solicits "powerful, diva-esque vocals, before building to a seriously retro hook". "Giant in My Heart" is set in the time signature of common time, with a moderately fast tempo of 124 beats per minute.

Lyrically, Cruz explained the song's message saying, "the song is actually about sending sexy pictures to your significant other, if you miss each other and you can't see each other, you're far away from each other, you send pictures to remind each other of how sexy you are." According to sheet music published at Musicnotes.com by EMI Music Publishing, "Dirty Picture" is written in the time signature of common time, with a moderate beat rate of 125 beats per minute. The song is written in the key of F Minor; Cruz' vocal range spans from the note of Eb4 to the note of F5.

"Moonshine" is a midtempo pop, power pop, and R&B; song. Critics noticed being heavily influenced by quiet storm and dance-pop, while having a "disco groove", as well as, having a "retro" and "slightly ’80s-informed" vibe. Mitchell Peters, while writing the Billboard cover story where Mars was featured, called "Moonshine" a "sexed-up rocker" According to the sheet music published at Music Notes, the recording is composed in the key of A minor with a time signature in common time, and a moderate groove of 104 beats per minute. Mars's vocals range spans from the note of C4 to E♭5.

After receiving strong radio airplay in Australia, it was released as the second single from the album in the country, on September 18, 2007 through 19 Recordings and RCA Records. "One Minute" is an alternative rock song with electropop influences, and begins with Clarkson singing, "You're going crazy, running on empty / You can't make up your mind / You try to hide it, but you had to say it / Restless all this time." It is composed in the key of A major and is set in time signature of common time, with a tempo of 124 beats per minute. Clarkson's vocal range spans over an octave, from A3 to D5.

This symmetrical formation of strings, where each depict a beat, are reflected both vertically and horizontally and were created to form a harpsichord. The strings are held together at the top in a v-shaped form from a top angle, and represents the intensity of human joy and tempo emanating from these chords. The calligraphy inscribed among the structure is the artistic signature of Presser that is constantly seen throughout her various other artworks. Variation 3, 1983: This artwork consists of sterling silver wire, handcrafted paper, silk thread, pencil and pastel and is based on Variation 3 from the Goldberg Variations. Variation 3 had a time signature of 12/8.

"In My Head" is a trap and R&B; song, with a length of three minutes and forty-two seconds. The track is written in the key of G major and set in common time signature, with an electro ballad tempo of 68 beats per minute. Grande's vocals span from the low note of G3 to the high note of G5. The song begins with the recorded voicemail by Middlebrook, then continues with a synthetic drum beat and a distended bassline while the artist sings the opening lines, "Painted a picture, I thought I knew you well / I got a habit of seeing what isn't there".

" Other reviews are either average, mixed, or negative: Mojo gave the album three stars out of five and stated that "for all that bombast... there's a disappointing, un-Texan restraint." Uncut also gave it three stars and said it was "no less viscerally thrilling [than its predecessor] but pursues a number of ear-bogglingly unlikely paths." Blender likewise gave it three stars and called it "Unexpectedly clean-cut... the time-signature shifts and feedback swirls that earned [the band] minor adulation are sidelined in favor of pushy, arena-sized choruses." Likewise, Alternative Press gave it three stars and called it "The least pretentious-- and most accessible--thing AYWKUBTTOD have ever released.

Rolling Stone magazine wrote that "the track's production mainly stays out of Rihanna's way, letting the pop star build hooks with layers of her voice." In a review of Unapologetic, Stacy-Ann Ellis of Vibe noted that an improvement in the singer's singing is evinced by ballads such as "Diamonds" and "Stay". According to EMI Music Publishing's digital sheet music for the song, "Diamonds" is composed in the key of B minor and set in common time signature, and has a moderately slow groove of 92 beats per minute. Rihanna's vocals span from the low note of F3 to the high note of F5.

"All You Need Is Love" contains an asymmetric time signature and complex changes. Musicologist Russell Reising writes that, although the song represents the peak of the Beatles' overtly psychedelic phase, the change in metre during the verses is the sole example of the experimental aspect that typifies the band's work in that genre. The main verse pattern contains a total of 29 beats, split into two measures, a single bar of , followed by a one bar return of before repeating the pattern. The chorus, however, maintains a steady beat with the exception of the last bar of (on the lyric "love is all you need").

The song features a striking tempo change towards the end of the song. The phrasing and meter also change: the first part of the song is in 4/4 but the second, slower, 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). Thayil has said that Soundgarden usually did not consider the time signature of a song until after the band had written it, and said that the use of odd meters was "a total accident".Rotondi, James.

During the first decade of the 20th century, some songs under the name of tango were recorded, but these recordings did not achieve great popularity. However, in 1921, 'El Sonido de la Milonga' helped bring about the rise of tango, and introduced it properly as a form to the people. Classically trained musicians weren't associated with tango music until Julio De Caro, violinist, formed an orchestra in 1920 and made the tango more elegant, complex and refined, as well as changing the time signature of most pieces from 2/4 to 4/4. With Pedro Laurenz on bandoneon, De Caro's orchestra was famous for over a decade.

It was meant as a reference to Ravel's Bolero, written for Dennis Russell Davies, to thank him for putting Glass' works on stage. He was inspired by dance music that he heard during the carnival, resulting in a samba-like rhythmical structure with a lot of time signature changes and varieties, such as 14/8, 15/8 and 9/8+4/4. The 2008 film The Incredible Hulk featured aerial footage of Rocinha, showing the large number of intermodal containers repurposed as housing, and included an extensive chase scene filmed in the favela on the ground and across rooftops. It was also featured in the 2011 film Fast Five.

"This Is How We Do" is a dance-pop song, and was written by Perry with producers Max Martin and Klas Åhlund, who were also responsible for programming of the song, while Perry also provided background vocals. It is set in the time signature of common time and has a moderate hip-hop tempo of 96 beats per minute. The song is written in the key of A minor, and Perry's vocals span from the low- note of A3 to the high-note of C6. The song has been described as a "wobbling dance track", with hip-hop underpinnings and "faux-urban west coast pose".

The battlefield imagery that had come to Peart while writing its lyrics made him recall a line from "Dover Beach" by English poet Matthew Arnold which excited him due to its synchronicity. As a tribute, Peart included a different line from the poem into the lyric: "Confused alarms of struggle and flight". "Workin' Them Angels" has Peart shifting between a 3/4 and 4/4 time signature throughout and suggested to have the choruses in 4/4 to take the "lilt" out of the track for a moment. The change forced him to become more creative and devise ways of switching between the two rhythms seamlessly.

Nocturne in E-flat major, Op. 55, No. 2 The second nocturne in E major features a 12/8 time signature, triplet quavers in the bass, and a lento sostenuto tempo marking. The left-hand features sweeping legato arpeggi from the bass to the tenor, while the right-hand often plays a contrapuntal duet and a soaring single melody. There is a considerable amount of ornamentation in the right hand, for instance the prolonged trills in measures 34 and 52-54. The characteristic chromatic ornaments, in measures 7, 25, 36, and 50, often subdivide the beats in a syncopated fashion in contrast with the steady triplets in the left hand.

The song "MacArthur Park", which was first recorded by Richard Harris, was originally offered to the Association for inclusion on this album. Producer Bones Howes challenged Jimmy Webb to write a pop song that incorporated classical instrumentation and an odd time signature, which he planned to have the Association record. According to rumors, the song was intended as a centerpiece for a twenty-four minute cantata that would occupy one side of the record; but the group rejected the idea and were only interested (albeit reluctantly) in recording the “MacArthur Park” section. This rumor was later debunked by Webb himself, claiming there was only one composition.

The fifth quartet of the set, in F major, is numbered III/48 in the Hoboken-Verzeichnis catalogue. Its movements are: #Allegro moderato #Poco adagio #Tempo di Menuetto: Allegretto #Finale: Vivace With its 2/4 time signature, pulse occurring on the eight notes, and "allegro moderato" tempo, the metre of the first movement is a throwback to an earlier and simpler style of opening movement. It begins with a simple duet between the two violins, before a second subject area that involves rapid sextuplets. The movement continues to feature subtle textural conversation between the violins, viola and cello that is not resolved until the coda.

"Put It in a Love Song" is a song that lasts for three minutes and fifteen seconds. The song is composed in the key of A♭ major and is set in time signature of common time, with a moderate tempo of 100 beats per minute. While reviewing The Element of Freedom, Greg Kot of Chicago Tribune compared the song with Knowles' song "Single Ladies (Put a Ring on It)" (2008) commenting that it had the same "sassiness on the tribal groove". A writer of The New York Times also compared the song with "Single Ladies" saying that it had a similar "thumping, step-dancing atmosphere".

Stomps and stamps are also present. Khigga goes by the time signature of and tempo between 100 and 115. Connection can also be made by pinkies, such as in the variant danced by Assyrians from Syria ("khigga'd suria"), which is accompanied by a faster beat, usually at around 115-120bpm, where the dancers wave their connected pinkies whilst taking a few steps forward and one step backwards in a brisk manner. This Syrian khigga form is generally danced from left to right and it also is the first beat danced in a Syrian-Assyrian wedding when the married couple are welcomed in the reception.

Consequently, students of one genre of shamisen will find it difficult to read tablature from other genres of shamisen, unless they are specially trained to read these kinds of tablatures. Tablature can be written in traditional Japanese vertical right-to-left notation, or it can be written in more modern horizontal left-to-right notation, which resembles modern guitar tablature. In traditional vertical notation, Chinese characters and older symbols for dynamics are used, however notation from Western style music notation, such as Italian names for dynamics, time signature and the fermata have been imported. What tuning a work calls for is usually indicated on the tablature.

Death rock songs usually incorporate a driving, repetitive rhythm section; the drums and bass guitar laying the foundation within a time signature while the guitars either play simple chords or effects-driven leads to create atmosphere. Lyrics can vary, but are typically introspective and surreal, and deal with the dark themes of isolation, gloom, disillusionment, loss, life, death, etc.; as can the style, varying from harsh and dark to upbeat, melodic, and tongue-in-cheek. Death rock lyrics and other musical stylistic elements often incorporate the themes of campy horror and sci-fi films, which in turn leads some bands to adopt elements of rockabilly.

During the album's sessions, Genesis recorded the live favourite "Twilight Alehouse", which had been performed when founding member and guitarist Anthony Phillips was in the band. It remained unreleased until it was put out as a limited single by ZigZag magazine and the band's fan club in 1973. A piece devised by Rutherford and rehearsed by the band in a 3/4 time signature was not used, but it was adapted by Hackett into "Shadow of the Hierophant" on Voyage of the Acolyte. The group tried an early take of the Banks-penned "Firth of Fifth" but it failed to inspire the band's interest.

" The sound of the album was notably different than Forever as the female vocals and violins had disappeared and the band's focus had shifted away from melody towards more technicality and progressiveness, featuring more complex song structures and time signature changes. Remy Beauchamp elaborated, "Basically, it was over three years between the recordings of both albums so within that time, the music we listen to has changed. Also, we all improved on our instruments... The female vocals are just something we tried a long time ago. The song was actually written in 1994, and then every band started doing it so we decided to drop it.

The fourth movement, "" ("I stand ready to receive the inheritance of my divinity with desire and longing from Jesus' hands"), is a recitativo accompagnato with strings. It begins as a declamatory recitative, with sustained string accompaniment. After seven bars the time signature changes from 4/4 to 3/4, resuming a simple, calm version of the second half of the abgesang from the first movement and repeating words related to the Book of Revelation in a triplet rhythm. Gardiner describes this change: " ... now slowed to adagio and transposed to F minor, and from there by means of melisma floating effortlessly upwards, for the first time, to C major".

"One Sweet Day" is a "big" R&B; ballad. It incorporates organ instrumentation and different contemporary grooves and beats into its primary arrangement, adding percussion and synthesizers as well, while incorporating "flourishes and harmonies" from both Carey and Boyz II Men. The song is set in the time signature common time and moves at a slow tempo of 64 beats per minute. It is written in the key of A major and features a basic chord progression of A–Dmaj9–A–Dmaj9–Gadd9, while the basic melodic line spans roughly an octave and a half from E4 to A5; the piano in the piece ranges from D2 to A5.

"Promise This" is an up-tempo dance-pop song written by American songwriter Priscilla Hamilton, British music producer Wayne Wilkins, who was responsible for Cole's debut single "Fight for This Love", and Christopher Jackson. It is written in the music key of C minor with a time signature in common time and a tempo of 151 beats per minute. Cole's vocal range spans from G3 to E♭5. The basic chord progression of the song is Cm, Cm7, Cm6, Cm, E♭, B♭, F, Cm, E♭, B♭ and F. The song sees Cole singing some of the lyrics in French, referencing the children's song "Alouette".

6 Morrison comments that even in this early work, conventional sweetness is enlivened by subtle dissonance. ;Barcarolle No 2 in G major, Op. 41 (1885) The second barcarolle, dedicated to the pianist Marie Poitevin, is a longer and more ambitious work than the first, with what Morrison calls an Italianate profusion of detail. Duchen writes of the work as complex and questing, harmonically and melodically, and points to the influence of Saint-Saëns, Liszt and even, unusually for Fauré, of Wagner. The work opens in 6/8 time like the first, but Fauré varies the time signature to an unexpected 9/8 in the middle of the piece.

Its eeriness, omnipresent in previous Del Rey tracks, takes on a full-on psychedelia sound, recalling The Turtles' "You Showed Me" (1969). "West Coast" is set in the simple time signature of 4/4, with a moderately fast tempo of 123 beats per minute in its verses, and a slow tempo of 65 beats per minute in its chorus. It is composed in the key of F minor, with Del Rey's vocals spanning the range from F2 to C5. The track has basic a chord progression of Fm-Fm-E-D-Fm-E-D in its first verse, and Bm-D-Fm-Fm-Cm-D-D-E in its chorus.

With the song's lyrics being only two stanzas long, Jack Bruce's vocals are stretched out throughout the length of the song and are backed by Eric Clapton's psychedelic-style guitar work and Ginger Baker's drum beat which, at least when played live, uses Timpani drum mallets instead of regular drumsticks. The 6/8 time signature also gives the song a distinct and irregular sound. Bruce's vocals are falsetto and crooning-like and are accompanied with a slow bass line and a bluesy/psychedelic guitar melody; however Baker’s drumming is often frenetic and fast paced, making it completely at odds with the rest of the instruments.

"Why Won't You Make Up Your Mind?" was written by Kevin Parker in the key of F major in a 4/4 time signature. It is based around four repeating barre chords of A minor, B-flat major, E minor and F major, played on electric guitar, to create a trance-like, hypnotic and spacious atmosphere, while the bass is played rhythmically to fill in the guitar spaces. It starts with three hi-hat hits on the drums, which was included by Parker as a tribute to the Outkast song Hey Ya! which starts with an uncommon three upbeats, rather than the more common four upbeats.

This was taken from watching neighborhood pimps, who would dance in the clubs but were too "cool" to do the jerk like regular folks. The producer was afraid that a song with the word pimp in the title would be banned or fail to receive much positive attention, and had the title changed to its current form. The Go-Go's, The Outsiders, Todd Rundgren, Big Trouble, Human Sexual Response, The La De Das, The Creation, The Tremeloes, and The Coasters have covered the song. Todd Rundgren did his version in an odd time signature (7/4), giving an obviously jerky feel to the song.

Starting with John Wetton's bass, shortly after joined by Bill Bruford on woodblocks and cymbals, it gradually progresses and increases until the entire drum kit is utilized. Robert Fripp's guitar repeats a single note theme on two adjacent guitar strings, gradually ascending in pitch while steadily increasing the loudness and distortion in line with the bass, while Bruford's drumming becomes more chaotic and complex. The tempo of this section remains consistent. The song's final section begins with an abrupt transition to a fast, jazzy saxophone solo with distorted guitars and bass, expressive tribal drumming, and the tempo doubling up to a time signature of 13/8.

In the contemporary English language, the nouns Polack ( and ) or Polak are ethnic slurs, and derogatory references to a person of Polish descent. It is an Anglicisation of the Polish masculine noun Polak, which denotes a person of Polish ethnicity and male gender.Some sources connect the feminine form Polka to the musical form and genre of that name; others link the latter to Czech pulka, meaning "half" and likely referring to the half steps performed by the dancers or the dance's 2/4 as opposed to 4/4 time signature. However, the English loanword is considered now an ethnic slur and therefore considered insulting in nearly all contemporary usages.

Eric Harvey of The A.V. Club said Plumb is "polite and smart, arranging its unceasing collection of hooks like books on a shelf". Sunday Star-Times writer James Belfield called it "a surprisingly listenable mish-mash of poppy hooks, staccato time-signature shifts and elegantly scruffy everyday lyrics", and said while the unusual structure can be off-putting at times, the "overall effect is majestic". Likewise, Matt Wescott of The Northern Echo called Plumb a richly-layered album best heard in one sitting. Michelle Read of mX called the album "beautiful, challenging and thought provoking", writing: "just when the songs get too self-indulgent and threaten to run away, the brothers turn around and beckon with something intriguing".

In 2011, Ohene released his fourth solo album, I Am Ohene, self-produced with all live and synthesized instruments (no samples) played by Ohene himself, featuring time signature changes and distinct movements on each track.2DopeBoyz: Ohene - I Am Ohene (album) That same year, he also released the house music album The House That O Built under his new moniker O'hene Savànt.13th Floor Growing Old: Album of the Day In 2012, O'hene surprised fans with the unscheduled release of a twelve track EP, The Unknown.Ohene: The Unknown He announce via Facebook that his self-titled fifth studio solo album is due out early 2013 with planned features by Big Daddy Kane and Meshell Ndegeocello.

Her phrasing is much more flexible than in her previous pop songs, as she "[elongates] and [spaces] syllables behind and ahead of the beat", while Tuca's offbeat guitar is "syncopated to the natural flow of emotion instead of paying strict attention to the bars or the time signature." Hardy chose to abandon the lyrics for "Chanson d'O" ("Song of O"), opting for what have been described as "ecstatic vocalizations", including "sighs, growls and groans of pleasure." The song is considered a reference to Histoire d'O, an erotic novel published in 1954 that dealt with female submission. "Le martien" ("The Martian") has a "dreamy" and surreal atmosphere, with an "otherworldly" background created through breaths and traditional instruments.

Jacaranda opens with "Spider Boogie", a short track that Rabin recorded while he was testing out a new amplifier. He proceeded to "mess around" on his Westone guitar which led to an improvised riff that he decided to cut into a track for the album. "Market Street", the first of two tracks with Colaiuta on the drums, had not been fully written or arranged when it came to recording the drum tracks. Rabin asked him to perform six to seven minutes of drums with a 20/8 time signature with varied fills which Colaiuta did in one take, leaving Rabin to develop the song further with the different rhythms that were played.

"Master Sir" is about colonial Sri Lanka, narrating a story about the dignity of labour- a story about social justice. The song was recorded both in English (by Mendis and Sandra Edema) and Sinhala (by Neville Fernando; lyrics translated to Sinhala by Karunaratne Abeysekera). The song has remained a hit in Sri Lanka for over thirty years, mostly as a result of Neela Wickramasinghe's popularized version based on the musical arrangement of the English version (time signature, riffs etc.). His composition Ganga Addara ("By the Banks of the River"), translated into Sinhala by Augustus Vinayagaratnam, and sung by Vijaya Kumaranatunga, for the film of the same name (directed by Sumitra Peiris), is also popular.

Chorale and Shaker Dance is a lively composition based on two musical themes, an original melody (the "chorale") and the Shaker tune, Simple Gifts. It begins with a woodwind chorale composed of piccolo, flute, oboe, E♭ clarinet, B♭ clarinet, E♭ alto clarinet, B♭ bass clarinet, bassoon, and alto saxophone with a canon theme exhibited several times between the saxophone and flute. Soon after, a call-and-response melody is featured between high and low woodwind. Then approximately halfway through the piece, the time signature is switched to 2/2 and changes several times between 2/2, 3/2, 3/4, 4/4, and 5/4 through a gloomy and dark passage.

B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford University Press, 2005) pp. 184-89. A landmark in this early period was the release, by Topic, of the EP 3/4 A.D by Alexis Korner and Davy Graham in April 1962. This includes the instrumental "Angi" which was to become Graham's best-known composition, as well as the title track "3/4 A.D.", named after its time signature and the initials of the two performers. This instrumental piece took its inspiration from jazz sources such as Miles Davis and Charles Mingus, but was in the form of an acoustic guitar duet by Korner and Graham—one of the earliest recordings of folk baroque.

Second shortest count off, "& four &", followed by one measure of drum beat for reference. A count off, count in, or lead-in is a verbal, instrumental or visual cue used in musical performances and recordings to ensure a uniform entrance to the performance by the musicians and to establish the piece's initial tempo, time signature and style. Although a count off usually lasts just one or two bars, it is able to convey the music's style, tempo, and dynamics from the leader (such as the conductor, bandleader or principal) to the other performers. A count off is generally in the same style of the piece of music—for instance, a joyful swing tune should have an energized count off.

Rouse writes music that is idiomatically and stylistically indebted to popular music, yet he uses complex rhythmic techniques derived from world music, the avant-garde and minimalism, including a technique he calls "counterpoetry" in which separate lines of a song sung by separate characters or groups are set to phrases of differing lengths (such as 9 and 10 beats) and often played over a background time signature of 4/4. Metric sleight of hand, simple in concept but often complex in perception, is common. One of the basic rhythms of Rouse's opera Failing Kansas is a five- beat isorhythm (rhythmic ostinato) against which either the harmony or drum pattern often reinforces the four- or eight-beat meter.

Rabiz (), or rabis, is a genre of Armenian popular music and a subculture, distinguished by its lyrics and dance-oriented synthesized melodies in 6/8 time signature with elements of Armenian folk music. Despite the term's widespread use, the etymology or definition of the word "rabiz" is not clearly understood. According to some sources it stems from the Russian phrase "работники искусства" (rabotniki iskusstva) used during Soviet times, meaning "Art Workers", in reference to unions which specialized in new music composition. Played by musicians such as Tatul Avoyan and Hayk Ghevondyan (better known as Spitakci Hayko), rabiz music is also widely popular among by Armenian diasporan communities in Los Angeles and Russia.

"Christmas Eve/Sarajevo 12/24" consists of four sections, alternating between soft and loud, as well as between the two component pieces in the medley. Part one consists of "God Rest Ye Merry, Gentlemen" performed on a cello, accompanied only by a picked electric guitar and a flute in round. After a short ritard, part two abruptly begins, with "Shchedryk" (recognizable in the English-speaking world as the melody from "Carol of the Bells") being played at full volume, full orchestration and the synthesizers and electric guitars taking lead melody. The time signature also abruptly shifts from cut time to a driving triple meter, which persists through the rest of the piece.

Its production was built on a "deep" and "infectious" groove, around a wafting "late night"-style trumpet sample with quietly "jiggling" funk guitar and scratching sounds—all adding depth to the subversively "poppy" vocal chorus and accentuating the song's "slinky" hooks. Michael Arceneaux of Complex called the track a "darker, mellower, and far jazzier" sound than any of its predecessors, which was "perfect" for Watkins' alto voice. Musically, "Creep" is set in the time signature of common time with a moderate tempo of 96 beats per minute. It was composed in the traditional verse–chorus form in C minor with Watkins and Thomas' vocals ranging from the chords of C4 to F5.

Today, it is common to see popping danced to more current music genres such as modern hip hop (often abstract/instrumental hip hop) and various forms of electronic dance music such as dubstep. Songs that are generally favored have a straight and steady beat at around 90-120 beats per minute, a 4/4 time signature and a strong emphasis on the back beat, normally by a snare drum or a drum machine. The pops performed by the popper normally occur on every beat or on the distinct back beats. The popper can also choose to follow the music more freely such as by timing the pops to the rhythm of a melody or other rhythmic elements.

"Poker Face" is a synth-pop and dance-pop song, and follows the footsteps of Gaga's previous single "Just Dance". Whereas "Just Dance" was predominately electropop, "Poker Face" carries a dark sound with clear vocals on the chorus and a pop hook while combining the synths from "Just Dance" and the more dance-oriented beat of the next single "LoveGame". According to Kerri Mason of Billboard, the composition "carr[ies] the pleather-and-sequins vibe of the downtown New York scene out of the underground and onto the FM dial without losing its smut and sass." Poker Face is set in a common time time signature, with a fast tempo of 120 beats per minute.

During the tour Tanega was initially backed by members of the Outsiders. Since they were unable to follow Tanega's more idiosyncratic music, the Outsiders were later replaced by session musicians accompanying her onstage. While some of her songs riffed on traditional tunes like "Hey Girl", derived from Lead Belly's take on "In the Pines", many of her songs diverged from the structure of typical pop and folk music, such as her song "No Stranger Am I", set to a 5/4 time signature. With Tanega's next three singles having less commercial success than "Walkin' My Cat Named Dog", her debut album was named for its big hit and its popularity spawned several cover versions by contemporary artists.

"Down and Out", one of the three tracks written collectively, was written during the band's rehearsals. Thompson found its more complex time signature difficult to reproduce on stage at first as Collins could not explain the riff and rhythm which Rutherford noted merely "added to the confusion". Collins wrote the lyrics, which concern American record labels who drop artists when they are no longer in fashion; the chorus is spoken from the artists's view and the verses from the label. The band had originally planned to develop and arrange Banks's song "Undertow" further, but its basic track of guitar, drums and piano, coupled with its simple chorus, was strong enough to keep as it was.

"Sweet but Psycho" is a pop, dance-pop, electropop, and synth-pop song that was inspired by music of the 1980s. According to the song's sheet music that was published on Musicnotes.com, it is set in the time signature of common time, with a tempo of 137 beats per minute, while composed in the key of D major. Max's voice on the track ranges from the low note of A3 to the high note of D5, while the song is constructed in verse–chorus form. Three distinct, hypnotic hooks are used in the electronic dance music-themed chorus; the hooks overlap with each other, including "psycho/right though", "m-m-m-m-mind", and "run, don’t walk away".

Much of the album is written in a 3/4 time signature. A writer for the National Post compared much of the material to that of Hemispheres (1978) with the "unexpected, angular chord changes". Peart was inspired to write lyrics on various themes including faith, fear, the association of religion and war, hope and despair, and the religious billboards he saw on his motorcycle journey across the US which he detailed in his fourth book Roadshow: Landscape with Drums – A Concert Tour by Motorcycle (2006), written during the R30 tour. He was also inspired by Robert Frost's epitaph: "I had a lover's quarrel with the world" and used lyrical ideas that he had initially put down fifteen years prior.

Critic Steve Huey wrote that "it was Che's manic explosions and stop- on-a-dime shifts in time signature that mapped out the trail his bandmates followed." The three-piece Don Caballero issued two singles for the Pittsburgh-based labels Pop Bus and Broken Giraffe in 1992 before Ian Williams joined as a second guitarist. A recording session with Steve Albini and a deal with the prestigious Chicago based label Touch and Go Records yielded yet another single and then finally their debut album, 1993's For Respect. In the fall of 1993 bass player Pat Morris left Don Caballero to form the band Six Horse with Louisville transplant Shannon Burns and Blunderbuss drummer Bill Baxter.

Alla breve, the time signature , takes its name from the note value breve. In the mensural notation of the Renaissance, it was an alternative term for proportio dupla, which meant that the brevis was to be considered the unit of time (tactus), instead of the usual semibrevis. The old symbol , used as an alternative to the numerical proportion 2:1 in mensural notation, is carried over into modern notational practice to indicate a smaller relative value per note shape. It is normally used for music in a relatively quick tempo, where it indicates two minim (half note) beats in a bar of four crotchets (quarter notes), while is the equivalent of , with four crotchet beats .

This portion of the composition consists of eight-bar "A" sections and twelve-bar "B" sections, structured in an A-B-A-B pattern. The alap's lack of a distinct time signature is contrasted with a temporal reference in the lyrics to the opening verse: "Each day just goes so fast / I turn around, it's past". Throughout, the vocal line avoids the melodic embellishment typical of khyal, apart from the use of melisma over the last line in each of the A sections. In keeping with the minimal harmonic movement of Indian music, the composition's only deviation from its I chord of C is a series of implied VII chord changes, which occur in the B sections.

Rolling Stone attributes the development of the Los Angeles and San Francisco music scenes, including subsequent releases by the Beach Boys, Love and the Grateful Dead, to the influence of Revolver, particularly the "conjunction of melodic immediacy and acid-fueled mind games" in "She Said She Said". The song was much admired by American composer and conductor Leonard Bernstein. In his 1967 television special Inside Pop: The Rock Revolution, he described it as a "remarkable song" and demonstrated its shift in time signature as an example of the Beatles' talent for inventive and unexpected musical devices in their work. Starr's drumming on "She Said She Said" is often included among his best performances.

Music critic Ian MacDonald describes the chorus as a section that "drop[s] beats left, right, and centre" in contrast to the "barrelhouse 4/4" of the verse. In his analysis of the song, Pollack says that while he had long considered the chorus's metre to vary in this way, the effect is more one of syncopation within 4/4, rather than formal changes in time signature. Within the three two-bar pairings, he continues, this is achieved through rhythmic accents falling on beats 1 and 4 of the first bar and beat 3 of the second bar. Like the Revolver track "She Said She Said", the song closes with an imitative canon in the voices.

In the format most commonly used in the U.S., May 4 is written "5/4", recalling the time signature of "Take Five", Brubeck's best known recording. In September 2019, musicologist Stephen A. Crist's book, Dave Brubeck's Time Out, provided the first scholarly book length analysis of the seminal album. In addition to his musical analyses of each of the album's original compositions, Crist provides insight into Brubeck's career during a time he was rising to the top of the jazz charts. A new biography of Dave Brubeck, by the British writer Philip Clark, was published by Da Capo Press in the US and Headline Publishing Group in the UK on February 18, 2020.

On Election Day 1990, when Whitney Houston was announced as the vocal performer of "The Star-Spangled Banner" at Super Bowl XXV, Houston knew instantly how she wanted to interpret the tune there—with jazz chords and soulful gospel rhythms. So, her longtime musical director Rickey Minor suggested changing the song from standard, waltz tempo— time signature—to , with the extra beat per measure allowing Houston to open up her lungs and 'breathe'. Two weeks before the Super Bowl, Houston heard the arrangement, played by The Florida Orchestra and recorded at Tampa Bay Performing Arts Center earlier in January, for the first time. And about ten days later, she recorded a breathtaking game-day master at a California studio.

According to Rikky Rooksby, author of The Complete Guide to the Music of Madonna, Madonna's voice sounds "expressive" when she sings the line "From the look of love" and utters the word "look" over the D minor chord present underneath. The word is sung in a higher note of the musical scale, thus giving an impression of the suspension like quality of the minor ninth chord, dissociating it from the harmony of the other notes. The song is set in the time signature of common time, with a moderate tempo of 80 beats per minute. It is composed in the key of D minor, with Madonna's voice spanning the notes C5 to B3.

Chris True of AllMusic described the song as "slicker, more stylish, and less hooky than anything she had previously recorded." According to the demo sheet music at Sheet Music Direct published by Music Sales Group, the song is set in time signature of common time with a tempo of 78 beats per minute. During the opening sequence and first verse, it has a chord progression of F♭-F-F♭-F-F♭-F-F♭-F-F/A-F♭-F, and Minogue's vocals span from B♭3 to E♭5. Julie Aspinall stated that the lyrical content is "about a woman who has never been able to get over her ex-boyfriend".

When these palos are played in the guitar, either as accompaniment or as solo, they are known as toques libres, meaning free guitar playing. The guitar accompaniment used for most of this palos (when they are accompanied) consists in short musical phrases leading to a chord that the singer has previously reached at the end of a line of verse. So the function of the guitar, more than really accompanying the melody throughout, consists in responding to the singer and underlying the harmonic progression of the song, plus adding a chord occasionally to support the singer. Guitar written scores for toques libres do not include any time signature for the totally free sections.

"Fight for This Love" is Cole's first solo single outside of girl band Girls Aloud following 20 top-ten singles with the group. The song is an uptempo pop, dance-pop and R&B; song with a synthy production, written in the key of G major with a time signature in common time and a tempo of 123 beats per minute. The vocal range spans from E3 to D5. The basic chord progression of the song is Am, G, D, G, Bm, and Em. In the middle eight it features a breakdown where the song's usual instruments are replaced with hand claps whilst some of the media reported that Cole's voice had a Whitney Houston-like tone to it.

Along with Wale and Gaga, songwriters who worked on "Chillin" included Gary De Carlo, Dale Frashuer, Roy C Hammond, Paul Leka, Andre Christopher Lyon, Makeba Riddick, Kirk Robinson and Marcello Valenzano. "Chillin" has influence of 1990s style rapping, and samples from the 1969 song "Na Na Hey Hey Kiss Him Goodbye" by Steam, and the 1987 song "Top Billin'" by Audio Two. The song is written in the time signature of common time with a tempo of 100 beats per minute, and is composed in the key of G minor. Nathan Rabin from The A.V. Club called it a "throwback slab of electro-funk", with robotic new wave inspired vocals by Gaga.

Prolation is a term used in the theory of the mensural notation of medieval and Renaissance music to describe its rhythmic structure on a small scale, as opposed to tempus, which described a larger scale. The term "prolation" is derived from the Latin prolatio, first used by Philippe de Vitry in describing Ars Nova, a musical style that came about in 14th-century France. Prolation, together with tempus, corresponds roughly to the concept of time signature in modern music. Prolation describes whether a semibreve (whole note) is equal in length to two minims (half notes) (minor prolation or imperfect prolation; in Latin "prolatio minor") or three minims (major prolation or perfect prolation; in Latin "prolatio maior").

Through the Devil Softly is the second studio album from Hope Sandoval & the Warm Inventions. Recorded between 2007 and 2009 in Northern California and Ireland, the album was released by Nettwerk on 28 September 2009 (see 2009 in music) - eight years after the release of their previous studio album, Bavarian Fruit Bread. The set won critical acclaim for its dark and complex production, with the band employing unorthodox techniques such as sudden and abrupt time signature shifts, coupled with frequent use of "irrational" measure lengths. The production also utilized the use of intricate musical arrangements, with several songs on the album, such as "Sets the Blaze", "Thinking Like That", "Trouble" and "Blue Bird", featuring no discernible choruses.

The VB played rock music with a wide dynamic range. The band experimented with the different fads of the time and kept the bits they found relevant from free-form improvisation; math rock (frequent time signature changes and odd meters); lo-fi; slowcore; and emo/spazcore/screamo as it developed on the East Coast through bands such as Rites of Spring and Fugazi, and in the Northwest with more mainstream acts such as Sunny Day Real Estate; and heavy use of tape delay. Some songs were fairly straightforward, but a common theme was creating tension through music and then providing a release. The VB began performing at the Dharma Coffeehouse and The Music Store in Fairfax City, Virginia.

In a pre-release review of certain album tracks, Peter Robinson from the NME blog wrote that Gaga channels "Whitney Houston-esque pop euphoria" into the song, notably that from the singer's musical peak. The chorus is followed by a funk- rock influenced breakdown, where Gaga sings the line: "Nothing's too cool/To take me from you/New York is not just a tan that you'll never lose." According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, "Marry the Night" was written in the time signature of common time, with a slow tempo of 64 beats per minute for the intro, followed by a driving pop beat of 132 beats per minute.

The middle section is not demarcated by the title of trio as are the middle sections of the scherzi from Brahms's previous two piano quartets. Moreover, this middle section serves more as a section of contrasting material than as a structural contrast—it maintains the same key signature, time signature, and tempo as the scherzo, is not musically marked off in any clear way, and even develops the same themes as the scherzo. One may argue whether it is in fact a trio at all, as nineteenth century composers knew it. Nonetheless, the middle section begins with a new theme, an ascending line in quarter notes in the strings, accompanied by a descending triplet figure played by the piano.

As the first track on an album that was a major reinvention for the band, "Zoo Station" was an introduction to U2's new sound. The song features layers of distorted guitar and vocals, and industrial-influenced percussion. Irish rock journalist Bill Graham cites David Bowie's album Low as a major influence on "Zoo Station", which he called a "new brand of glam rock" with "Spartan rhythms and sudden flurries of melody".Graham (2004), pp. 43–47 The song is played at a tempo of 130 beats per minute in a 4/4 time signature, but only one element of the song's introduction, a marimba-like texture, is played in common time.

"Killing Strangers" is a downtempo rock song which runs for a duration of five minutes and 36 seconds. According to Ultimate Guitar, the song has a slow tempo of 60 beats per minute in a time signature of . It is composed of verses sung over a continuously repeating D minor drone harmony throughout, with choruses following a chord sequence of Dm-F-Bb-Gm. The track has been described as a "slow burner", and "atmospheric", and has been favorably compared to some of the band's previous album openers, including "GodEatGod" from Holy Wood (In the Shadow of the Valley of Death) (2001) and "If I Was Your Vampire" from Eat Me, Drink Me (2007).

In the following duet the voices are homophonic for most of the time, but with little rhythmical differences, showing their different attitude to the darkness of the grave (): the alto expresses "" (I truly fear) on steady long notes, whereas the tenor tells in ornamented figuration "" (I do not fear). In the continuation they also deviate only on one word, "" (lamented) in the alto, "" (hoped) in the tenor. The flowing 12/8 time signature of the duet and a virtuoso solo violin are reminiscent of the original purpose of the music in the congratulatory cantata. It is most fitting for the middle section of the da capo form, when both voices agree: "" (Now my heart is full of comfort).

The member Dinah Jane then is introduced, backgrounded with handclaps, Normani Kordei performs the pre-chorus (which is then performed by Ally Brooke after the second verse), while the second verse is sung by Camila Cabello, who delivers the song's most suggestive lines, "Come harder just because/I don't like it, like it too soft/I like it a little rough/Not too much, but maybe just enough". Lauren Jauregui is the only member of the band that doesn't sing in the song. According to the sheet music published by Sony Music Publishing at Musicnotes.com, the song is written in the key of C minor and is set in a time signature with a moderate tempo of 100 beats per minute.

In percussion, three types of tremolos may be seen in sheet music; a tremolo with a single, double, or triple slash going through the stem: A single slash indicates a diddle, or two double strokes from a single hand, that subdivides the note in two. RR or LL A double slash indicates two diddles, or two double strokes from each hand, that subdivides the note in four. RRLL or LLRR A triple slash indicates four diddles, playing two double strokes twice from each hand, that subdivides the note into eight. RRLLRRLL or LLRRLLRR In a 4/4 time signature, a triple slash quarter note would entail playing double strokes for two eighth notes with a single slash each, or four sixteenth notes RRLL or LLRR.

Beethoven's music for Vestas Feuer sounds unmistakably Beethovenian, indeed, characteristic of the emerging Middle Period of his career. Nonetheless, clear influences from Mozart have been discerned. Lockwood hears in the "Halt ein!" portion of the scene Beethoven set an echo of 'a parallel moment in The Magic Flute in which Papageno is saved by intervention of the Three Boys from suicide. The love duet between Volivia and Sartagones, in E flat major and 6/8 time, evokes Mozart's "Bei Männern welche Liebe fühlen" (sung by Pamina and Papageno in The Magic Flute), which has the same key and time signature and was the subject of a set of variations for cello and piano by Beethoven (WoO 46),Lockwood (2008:84) written 1801.

According to the sheet music published at Musicnotes.com by Universal Music Publishing, the song is written in the key of G Major and is set in time signature of common time with a tempo of 128 beats per minute; Minogue's vocals span between G4 and G5. Lyrically, the song focuses on having fun and dancing before hypothetically running out of time; in further detail, St Asaph exemplified the lyric "Fast, time is ticking oh so fast," and said "how it's really, really necessary to get all your dancing done before impending disaster/apocalypse/time-bomb explosions." However, Jude Rogers noted that the chorus lyrics "We're on a timebomb, we might not last long, so let's just do it right now," was a reference about sex.

The beat is often defined as the rhythm listeners would tap their toes to when listening to a piece of music, or the numbers a musician counts while performing, though in practice this may be technically incorrect (often the first multiple level). In popular use, beat can refer to a variety of related concepts, including pulse, tempo, meter, specific rhythms, and groove. Rhythm in music is characterized by a repeating sequence of stressed and unstressed beats (often called "strong" and "weak") and divided into bars organized by time signature and tempo indications. Beats are related to and distinguished from pulse, rhythm (grouping), and meter: Metric levels faster than the beat level are division levels, and slower levels are multiple levels.

Types of bar lines Fifteen-bar multirest In musical notation, a bar (or measure) is a segment of time corresponding to a specific number of beats in which each beat is represented by a particular note value and the boundaries of the bar are indicated by vertical bar lines. Dividing music into bars provides regular reference points to pinpoint locations within a musical composition. It also makes written music easier to follow, since each bar of staff symbols can be read and played as a batch. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by the time signature.

One of the pieces Strauss had been working on before Metamorphosen was the orchestral movement Munich Memorial Waltz, sketches of which appear in the same notebook in which Strauss began sketches for Metamorphosen. The Munich Memorial Waltz has a different time signature (Metamorphosen is in 4/4) and is based on different thematic material, including a waltz and other themes from the opera Feuersnot relating to fire. In fact the Munich Waltz is mainly based on music Strauss wrote for a 1939 film about Munich, which has been called a Gelegenheitswalzer ("Occasional Waltz") and premiered on 24 May 1939. In late 1944 and 1945 Strauss sketched some music in waltz time described in his sketchbook as Trauer um München ("Mourning for Munich").

Johann Caspar Ferdinand Fischer, a highly influential composer, who lived a generation before Bach, also "adopted" this new transformation of an Austrian/German national musical style. A study of Fischer is outside the scope of the topic of notes inégales, but his large Chaconne in G Major – a copy of which was made by Purcell's teacher, John Blow, surely not a coincidence – is written solely in even eighth notes in the first of its two G Major sections (as well as the Chaconne dénouement conclusion). Fischer's Chaconne greatly resembles the Chaconnes of Louis Couperin and Nicolas Le Bègue in key, time signature, texture and affect, both of whom are contemporary to Lully, and fully qualify for notes inégales treatment of the evenly notated eighth notes.

"Palette" is a fizzy, electro-pop track which is considered the centerpiece of IU's album and has strong R&B; leanings and is described as a charming millennial coming-of-age song with clever word play. The track was written by IU and G-Dragon, while it was produced and composed by IU. It runs for three minutes and thirty seven seconds and is performed in the key of C. The tempo runs at 103 beats per minute and is set in a 4/4 time signature. Lyrically, the song feels like a declaration of who IU really is. The track describes that now, IU is confident in herself and though she still has questions about herself, she's at least moving forward with self-assurance.

This 'rondel' type variant is the ancestor of the populasied dance known as The Circassian Circle danced by the Circassians' distant Celtic cousins after a cultural influx in the 18th century. Tlleperush is a dance which originates from the Black Sea coastal area. It is a piece with (4:4) time signature, and the word "Tleperush" means "leg kick" and usually this piece is faster than Kafa and Widj, almost equal in tempo to known "Lezginka" but different in style and follows this rhythm (1&2..3&4) and this rhythm is produced by Pshina and Pxachach and Pkhetaw (a wood hitting instrument for tempo). Abkhazians have this dance too, and they call it "Apsua Koshara" Zefauk' () means "approach to each other".

Christina Lee of Idolator opined that the lyrics, "You got that 9-to-5, but baby, so do I / so don't be thinking I'll be home making apple pies" and Trainor's "slight twang" on the song recalled the works of American singer Wanda Jackson. Rolling Stone writer Jon Dolan opined that the song's lyrical content describes "marriage as a contract between equals who work and don't cook," and deemed it a "YA dream that's no pastel-colored fantasy". The track's melody was likened to those of 1961 songs "Runaround Sue" by Dion and "Quarter to Three" by Gary U.S. Bonds. "Dear Future Husband" is set in the time signature of common time, with a tempo of 159 beats per minute.

The song, which is two minutes and 30 seconds in length, begins with the sound of an infant crying. The main body of the song is a 50s progression, with time signature in 6/8, commonly heard in doo-wop songs such as "Stand by Me", progressing from C Major to A minor, then F Major to G Major, played softly on piano and synthesiser. The first half of the lyrics are sung by David Gilmour in a gentle tone, beginning with "Mama loves her baby", and a refrain of "Ooh babe, ooh, baby blue". A bass guitar creates a dissonant effect mid-song, when it plays an F♯ against an A minor, the major sixth of the chord, and the augmented fourth of the key.

AllMusic's Tom Maginnis argued that the singer was instead likening the experience to the first time hearing jazz pianist Jelly Roll Morton. The largely acoustic title track featured piano, guitar, saxophone, electric bass, and a flute over-dub backing Morrison, who sang of an adult romance set in Autumn and imitated a saxophone with his voice near the song's conclusion. "This is a rock musician singing jazz, not a jazz singer, though the music itself has a jazz swing", Hinton remarked, noting how its rhythm is played in triplets rather than rock's archetypical quadruple time signature. "Crazy Love" was recorded with Morrison's voice so close to the microphone that it captured the click of Morrison's tongue hitting the roof of his mouth as he sang.

Messerschmitt Bf 110G-4 fuselage showing the twin MG FF/M Schräge Musik installation, with the cannon muzzles just protruding from each side of the top of the rear cockpit, France c. 1944 Schräge Musik, which may also be spelled Schraege Musik, was a common name for the fitting of an upward-firing autocannon or machine gun, to an interceptor aircraft, such as a night fighter. The term was introduced by the German Luftwaffe during World War II. "Schräge Musik" was previously a German colloquialism, meaning music that featured an unusual tuning and/or time signature. By itself, the word Schräge has often been translated as "slanting" or "oblique", although it may instead be rendered into English as "weird" or "strange".

A Wilhelm Scream sought to expand their sound on the album while being tighter and more focused than they were on their debut album Mute Print. As a result the average track length is significantly longer and the songs themselves are considerably more progressive, with many time signature and key changes throughout. Ruiner is considered by fans to be the darkest album by A Wilhelm Scream of both musically and lyrically. Guitarist/vocalist Trevor Reilly states that this was because of significant infighting in the band at the time, conflict which ultimately led to the departure of bassist Jon Teves. Many of the album's songs cover interpersonal and introspective themes such as breakups, evaluating ones’ self worth, and mental illness.

Musically, "Smile" is a bubbly, mid-tempo tune with "a barroom piano lick", subdued horns and a reggae beat, singing in a light falsetto, while the organ riff contains a sample of Jackie Mittoo playing keyboards on the 1960s rocksteady song "Free Soul" by The Soul Brothers, also written by Mittoo. He and Clement Dodd received credit on the song as co-writers. It was described to have a "cod-reggae groove that smoulders like a barbecue", as a guitar and piano were used for the background music, following the notes Gm—F as its basic chord progression. It is set in the time signature of common time, having a metronome of 96 beats per minute, and is played in the key of F major.

"Jesus, Take the Wheel" is a Christian country song that lasts for three minutes and forty-six seconds. The song is composed in the key of A major and is set in the time signature of 4/4 common time with a moderately slow tempo of 76 beats per minute. Underwood's vocal range spans over two octaves from F to G. The song was written at co-writer Hillary Lindsey's house and is centered around the premise of what happens "when Jesus takes the wheel," which phrase Gordie Sampson brought to the writing session as a possible title. Lyrically, the song tells the story of a woman who survives a car crash, seemingly as part of a miracle of divine intervention.

Although the theme of Time Out is non-common-time signatures, things are not quite so simple. "Blue Rondo à la Turk" starts in , with a typically Balkan subdivision into short and long beats (the rhythm of the Turkish zeybek, equivalent of the Greek zeibekiko) as opposed to the more typical way of subdividing as , but the saxophone and piano solos are in . The title is a play on Mozart's "Rondo alla Turca" from his Piano Sonata No. 11, and reflects the fact that the band heard the rhythm while traveling in Turkey. "Strange Meadow Lark" begins with a piano solo that exhibits no clear time signature, but then settles into a fairly ordinary swing once the rest of the group joins.

"America" is a song that "creates a cinematic vista that tells of the singer's search for a literal and physical America that seems to have disappeared, along with the country's beauty and ideals." Art Garfunkel once described the song as "young lovers with their adventure and optimism". The song has been described as a "folk song with a lilting soprano saxophone in its refrain as a small pipe organ paints acoustic guitars, framed by the ghostly traces of classic American Songbook pop structures." According to EMI Music Publishing's digital sheet music for the song, "America" is composed in the key of E-flat major and set in a 6/8 time signature, and has a moderately fast groove of 172 beats per minute.

Melodically, "Don't Hold Your Breath" consists of an up-tempo common time signature of 112 beats per minute. It uses a simple three-note chord progression of D–Fm–E. The style of the production and arrangement were compared to songs by Gloria Gaynor, according to Robert Copsey from Digital Spy. Lyrically, the song's theme and content was described as "Scherzinger staving off an ex’s advances" and making it clear that the relationship is officially over. As well as incorporating elements of club music, her tone is scornful on lines such as "You can’t touch me now, there’s no feeling left/ If you think I’m comin’ back, don’t hold your breath/ What you did to me, boy I can’t forget".

The song describes a hitchhiking journey south along the eastern coast of the United States from New England in the northeast through Roanoke, Virginia, with the intended destination of Raleigh, North Carolina, where the narrator hopes to see his lover. As the narrator is walking south of Roanoke, he meets (but does not likely travel far with) a trucker who is traveling from Philadelphia through Virginia westward toward the Cumberland Gap and Johnson City, Tennessee. Old Crow Medicine Show's version of the song is in 2/4 time signature, with an approximate tempo of 76 half notes per minute. It uses the I–V–vi–IV pattern in the key of A major, with the main chord pattern of A–E–Fm–D.

Musically, "On a Night Like This" is a dance-pop song that incorporates elements of disco in its instrumentation, as described by Nick Levine from Digital Spy and radio station Pandora. Minogue recorded the track at Dreamhouse Studios in London, United Kingdom during early 2000, and it was mixed by Mark Taylor and Graham Stack. A staff member of Pandora Radio commented the recording's instrumentation as consisting of string sections, acoustic guitars, keyboards and synthesisers managed by Taylor and Stack; the pre-chorus and chorus sections feature background vocals. According to the sheet music published by Universal Music, the song is written in the key of C minor and is set in time signature of common time with a tempo of 130 beats per minute.

Gaga's vocal delivery is similar to that of David Bowie in his persona Ziggy Stardust, while the song's structure is reminiscent of Bananarama's 1986 single of the same name. Along with the Bowie-esque verses, there's one hook where the beat drops, then another hook where it starts building up, and finally the chorus is reached. When Bradley Stern from MuuMuse reviewed the single, he described the chorus as "total pop euphoria" with Gaga belting the lyrics, "When you touch me I die just a little inside / I wonder if this could be love!" The song is written in the key of F minor and composed in the time signature of common time, with a tempo of 122 beats per minute.

Regardless, Lennon began writing the song in January 1965, while on holiday with his wife, Cynthia, and record producer George Martin at St. Moritz in the Swiss Alps. Over the following days, Lennon expanded on an acoustic arrangement of the song, which was written in a Dylanesque time signature, and showed it to Martin while he recovered from a skiing injury. In his book The Songs of Lennon: The Beatle Years, author John Stevens describes "Norwegian Wood" as a turning point in folk-style ballads, writing that "Lennon moves quickly from one lyrical image to another, leaving it up to the listener's imagination to complete the picture". He also said the song marked a pivotal moment in Lennon's use of surreal lyrics, following on from the songs "Ask Me Why" and "There's a Place".

The zortziko is a dance rhythm that originates in the Basque Country. It is also used as an accompaniment rhythm for vocal melodies, such as "Gernikako arbola", the unofficial anthem of the Basques, composed in 1853 by José María Iparraguirre . The zortziko has a distinctive 5/8 time signature, consisting of three subdivisions of 1, 2, and 2 beats. Some theories hold that it is in 5/4 time, "like the Rueda except that the 2nd and 4th beats are almost always dotted notes" , or that it actually is a double compound meter combining an irregular binary (5/16 divided 2 + 3) and an irregular ternary (8/16 divided 2 + 3 + 3), creating an ostinato pattern of "irregular bichrome" measures, which in Constantin Brăiloiu's terminology is called an aksak rhythm .

According to Metacritic, Everything Will Be Alright in the End has received an aggregated score of 77/100 based on 33 reviews, indicating "generally favorable reviews". Stephen Thomas Erlewine at AllMusic states "there's a sense that Weezer made another record of massive, hooky rock not only because that's what the fans want but because they know it's what they do best", citing songs like "The British Are Coming", "Ain't Got Nobody", "Cleopatra" and "Go Away". Scott Heisel of Alternative Press comments that it "might not be the best Weezer album, but most definitely is the perfect Weezer album, at least right now." Heisel points out risks on the album, such as 5/4 to 4/4 time signature shifts heard on "Cleopatra" that eventually feels "right at home".

The track contains no proper vocals, instead using spoken words played at half-speed to invoke images of interstellar space travel. In addition to jazz elements, Unterberger identified Hendrix's use of surf music motifs in the track that are reminiscent of earlier works by the Ventures, a group from the Pacific Northwest that Hendrix would have heard during his childhood. Hendrix described "Manic Depression" as "ugly times music"; during a live performance he explained the meaning of the lyrics: "It's a story about a cat wishing he could make love to music instead of the same old everyday woman." The song is unusual in that its written in triple meter, or time, which is the time signature commonly associated with a waltz; most rock music is written in .

Unlike the other tracks on the album, "Human Nature" does not employ the pentatonic melody and is devoid of the melancholy nature of Bedtime Stories, as observed by Jon Pareles of The New York Times. Composed in the time signature of common time, "Human Nature" has a key of C major while progressing in 88 beats per minute. Madonna's "nasal" vocals range from F3 to E7 and the song follows a repetitive sequence of Fmaj7–E7–Am7–Fmaj7–E7–Am7 as its chord progression. Rikky Rooksby, author of The Complete Guide to the Music of Madonna felt that the lyrics, along with being an answer-song, could also be interpreted as a rebellious one, where Madonna looks back on a relationship where she was not allowed to speak her mind.

Despite touring almost every year since 1975, they have not had another hit single, nor any success in the album chart, since the late 1970s. The follow-up album, Rocket Cottage (1976), also produced by Batt, proved to be a commercial flop, despite having much in common musically with its immediate predecessor. The opening track, "London", was penned by Rick Kemp as a follow-up to "All Around My Hat", in response to a request from the record label that Kemp describes as "we'll have another one of those, please", and released as a single. The song failed to make the UK Chart, in complete contrast to "All Around My Hat", despite having much in common with its predecessor – a 12/8 time signature, upbeat tempo, solo verses and full harmony chorus.

"Lithium" is an alternative rock song that runs for a duration of four minutes and sixteen seconds. According to the sheet music published at Musicnotes.com by BMG Rights Management, it is written in the time signature of common time, with a moderate tempo of 124 beats per minute. "Lithium" is composed in the key of E Major, while Kurt Cobain's vocal range spans one octave and three notes, from the low-note of D4 to the high-note of G5. The song has a basic sequence of E5–G5–C5–A5–C–D–B–D in the verses and B5–D5–E5–G5–C5–A5–C5/G–D5/A–B5–D5 at the chorus and alternates between the chords A5 and C5 during the bridge as its chord progression.

The song's principal key is G major in Mixolydian mode, and the time signature throughout is 4/4. Its structure comprises an intro, two verses and a chorus, followed by a third verse and repeated choruses. From its opening chord of G major, the verses introduce a VII/I (Fadd9/G), a chord change that constitutes a pedal point on G (sustained harmonic tone) and so recalls some of the Beatles' Indian- inspired melodies from Revolver. Among musicologists, Everett says that from the seventh bar of the verse, C major is revealed as the true key, whereas Alan Pollack writes that the emphasis given to C major at the end of the musical phrases instead suggests "a perilously high center of gravity with respect to G being the home key".

In mensural notation, diminution of the duration of note shapes is the most common function of coloration. Diminution is most often by one-third of the note-value, so that three colored notes fit into the time of two uncolored notes of the same shape; it is thus often found in notation of triplet or hemiola figures. (subscription needed) (subscription needed) Diminution may also be achieved by a sign of proportion. Thus a sign such as is in proportional notation not a modern time signature, but a proportional signature indicating diminutio sesquialtera, that is, that after the sign each three notes of the basic note value integer valor occupy the time of two such notes elsewhere in the piece, either previously in the same voice, or simultaneously in another voice.

The original score for The Shadow was composed by Jerry Goldsmith, who used his (at the time) signature music style for big orchestra, supported by a prominent percussion section, and musical effects with the help of instruments, especially synthesizers. Among the leitmotifs of his score are a romantically dark, yet lush heroic melodical main theme for the protagonist, which is accompanied by several secondary themes. For the antagonist, rather than a fully developed theme, Goldsmith used a musical effect in horns and synthesizers imitating a howling sound, a technique that would later echo in his scores for The Ghost and the Darkness (1996) and The Edge (1997). Camille Saint-Saëns's 1872 composition "Le Rouet d'Omphale" ("Omphale's Spinning Wheel"), which introduced the radio serial, was not used within the film's score.

The group's first album was recorded throughout the autumn of 1967, and in October of that year they recorded their first session for John Peel's radio show Top Gear. The album included classical and jazz influences including extracts from Leoš Janáček's Sinfonietta and a rearrangement of Dave Brubeck's "Blue Rondo a la Turk" renamed as "Rondo", changing the time signature from the original 9/8 to 4/4 in the process. The group clashed with producer Oldham in the studio over the length of the track, but eventually won the argument; the full eight- minute piece was included on the album. After the album was released, the group realised that Oldham had a conflict of interest as manager and record company owner, so they recruited sports journalist Tony Stratton-Smith to take over management duties.

Bach structured the cantata in seven movements, beginning with a chorale fantasia and ending in a closing chorale, as usually in his chorale cantatas, but with an unusual sequence of only one recitative and four arias, setting the poetic hymn stanzas. He scored it for three vocal soloists (soprano (S), tenor (T) and bass) (B), a four-part choir, and a Baroque chamber ensemble of corno da caccia (Co) to support the chorale tune in the outer movements, two flauti traversi (Ft), two oboes d'amore (Oa), two violins (Vl), two violas (Va) and basso continuo (Bc). In the following table of the movements, the scoring follows the Neue Bach-Ausgabe, the keys are given for the Weimar version. The time signature is provided using the symbol for common time (4/4).

Usually, rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become extremely diverse. Like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, and jazz rock, many of which contributed to the development of psychedelic rock, which was influenced by the countercultural psychedelic and hippie scene. New genres that emerged included progressive rock, which extended the artistic elements, glam rock, which highlighted showmanship and visual style, and the diverse and enduring subgenre of heavy metal, which emphasized volume, power, and speed.

Sequenced tracks with a strong beat almost always work well, but very busy or heavily compressed tracks or those with irregular rhythms can drift in and out of time, making some of the automatically generated dances difficult to perform or hard to learn. It can cope with some tempo and time signature changes, but not all. It cannot resolve fractions of a beat shorter than an eighth note (quaver), whereas some pre-programmed games use sixteenth notes (semi-quavers or demi- quavers), especially at high difficulty levels. Dance Factory has three difficulty settings but the actual difficulty of the dances it generates is influenced as much by the track it is asked to analyse, so a fast song may be more difficult at "easy" setting than a slow one at "normal" or "pro" difficulty.

Brent Ables of cokemachineglow wrote that the structure of the songs can make it a challenging listen at first, but that Plumb was Field Music at their best. The Northern Echo writer Matt Westcott said "their style won't appeal to everyone, but I found them a refreshing alternative to more mainstream bands". Bernard Zuel of The Sydney Morning Herald called the album "entertaining, even as it disorients", and said "Once the initial head-spinning has passed, the oddities and quirks become part of the patchwork of clever pop songs." Dave Simpson of The Guardian said Plumb can sound "baffling" on first listen because of the shifts in time signature and tone, but that "perseverance brings rich rewards, as the complexities start to make a weird sense and you end up swept along in their ever-changing moods".

First played in the early 1970s on Radio Ceylon, the oldest radio station in South Asia, the song was recorded both in English (by Mendis and Sandra Edema) and Sinhala (by Neville Fernando of Los Caballeros; lyrics translated to Sinhala by Karunaratne Abeysekera), with both versions released on the Lotus label and distributed by Lotus Entertainment. It has remained a hit in Sri Lanka for over thirty years, mostly as a result of Neela Wickramasinghe's later version based on the 4/4 time signature arrangement and riffs of the original English version. An authorized cover of the song was performed live and recorded by popular Sri Lankan duo Bathiya and Santhush. It has been covered by several other Sri Lankan musicians, and still receives extensive airplay on the Sri Lanka Broadcasting Corporation and other commercial radio stations in Colombo.

Zappa explained, "I get kind of a laugh out of the fact that other people are going to try to interpret that stuff and come up with some grotesque interpretations of it. It gives me a certain amount of satisfaction." The album concludes with "King Kong", a piece in 3/8, although the instrumental's prelude, a free jazz improvisation over a rhythm section playing in a 5/8 time signature, occurs much earlier in the album. Six variations of the melody appear as the album's finale, with the first establishing its simple melody, the second being a Fender Rhodes Electric Piano solo by Preston, the third showcasing a saxophone solo by Motorhead Sherwood, and the fourth featuring Bunk Gardner playing a soprano saxophone through various electronic effects that emulate the sound of a contrabassoon doubling his solo lines.

The part-writing part of section II requires that the student—using knowledge of "eighteenth century composition guidelines" (as indicated on CollegeBoard's latest rubric and on the released 2003-2006 exams on AP Central), standard circle-of-fifths chord progressions, cadences, voicing, and part ranges—write a short two-part or four-part texture given starting pitch, key, time signature, and more information that varies with each question. Students may be given such frameworks as figured bass notation, a completed bass part, Roman numerals, or a completed soprano line. For questions with supplied figured bass notation and completed bass line, the student must write the Roman numeral notation of each chord and fill in the remaining tenor, alto, and soprano lines. For the question with the supplied Roman numeral notation, the student must write all four (SATB) parts of the texture.

McCartney II was described as an influence on Hot Chip's album Made in the Dark (2008), especially with songs like "Wrestlers", "Bendable Poseable", "Whistle for Will" and "We're Looking for a Lot of Love". "Now There Is Nothing" from the band's later album In Our Heads (2012) has been described as a homage to McCartney II, with their guitarist Al Doyle explaining the song has "quite deliberately quirky time signature changes and key changes and these sort of very wandering harmonies — very typical of that period and McCartney productions." Alexis Taylor of the group has described McCartney II as one of his favourite albums of all time. The album has also been championed by multiple other musicians such as disc jockey Erol Alkan, Chris Carter of Throbbing Gristle, Gruff Rhys of Super Furry Animals and Ty Bulmer of New Young Pony Club.

Additionally, Field Music released an album of covers in 2012 called Field Music Play..., and worked with the band Slug on their 2015 album Ripe. David said of the hiatus: "As much fun as we might have had on our own or collaborating, we missed just spending time in the studio, the two of us, trying things out together." Commontime featured a wider array of supporting musicians than past Field Music albums, including the band's original keyboardist Andrew Moore, Peter's wife Jennie Brewis on vocals, and backup singer Liz Corney, from the band Cornshed Sisters. The album title Commontime refers to the common time signature referred to by musicians as "common time", and was intended as a joke by Field Music in reference to their reputation for using various types of time signatures in their songs.

"She Said She Said" uses both 3/4 and 4/4 time, shifting to 3/4 on the line "No, no, no, you're wrong" and back again on "I said …" The middle part consists of another song fragment that Lennon had penned. At Harrison's suggestion, Lennon used this fragment in the middle of "She Said She Said".NRK's podcast "Vår daglige Beatles" In this section, the subject of Lennon's lyrics changes from his recollection of the LSD episode with Fonda to a reminiscence of childhood, as Lennon sings: "When I was a boy everything was right / Everything was right". According to musicologist Walter Everett, this abstraction is Lennon's refuge from the disturbing sensation that he's "never been born", and the change in time signature to 3/4 serves as an appropriate device for the shift in lyrical focus back in time.

Split into five sections, the track goes through many style and time signature changes, with Loudwire observing, "Jam- packed with a head-spinning mix of quiet interludes, face melting jams and, courtesy of bassist Myung and Mangini, forests full of rhythmic majesty, this suite plays like a mini album in itself." Dream Theater features two instrumentals, "False Awakening Suite" and "Enigma Machine", the former of which was written specifically to open the band's live shows. They were the first instrumentals that the band had written for a studio album since "Stream of Consciousness" on 2003's Train of Thought. Many of the album's lyrics are based on real events; for example, "The Enemy Inside", which deals with post- traumatic stress disorder (PTSD), was written in response to the Boston Marathon bombings, and "Behind the Veil" references the Elizabeth Smart kidnapping.

The pieces featured on Agharta were part of a typical set list for the group, but their performances of each sometimes changed almost beyond recognition from concert to concert. This, along with the track names, led to the widespread misunderstanding that the music was mostly or entirely improvised and unstructured. Lucas explained that the band started each performance with a "very defined compositional basis" before developing it further in a highly structured yet "very free way"; the "Right Off" segment was improvised from the original recording's E-flat riff. Davis had the band play around a single chord in a piece for several minutes with variations as each member performed in a different time signature; Foster might have been playing in common time and Mtume in compound duple metre or septuple time, while the guitarists would comp in another tempo altogether.

According to jazz scholar Christopher Meeder, the Lifetime eschewed the funk influence of Miles Davis' early fusion music with a mixture of heavy rock drumming and the "light, rapid swing" that was Williams' signature. "Emergency! synthesized the best elements of free jazz, modal jazz, and British rock", Meeder wrote, "and added a rhythmic complexity in tracks like 'Via the Spectrum Road,' a blues of sorts in the unusual time signature of 11/8." In Paul Hegarty's opinion, the music was more oriented with progressive music's rock side rather than its jazz, fusing psychedelic elements while featuring "reprises, crescendos, an oscillation between the simpler time signatures of rock and the more progressive metres of jazz". He cited "Via the Spectrum Road" as an example of how Williams' singing approached the "non-rock, non-jazz softness" of progressive rock pioneer Robert Wyatt.

The time signature (also known as meter signature,Alexander R. Brinkman, Pascal Programming for Music Research (Chicago: University of Chicago Press, 1990): 443, 450–63, 757, 759, 767. ; Mary Elizabeth Clark and David Carr Glover, Piano Theory: Primer Level (Miami: Belwin Mills, 1967): 12; Steven M. Demorest, Building Choral Excellence: Teaching Sight-Singing in the Choral Rehearsal (Oxford and New York: Oxford University Press, 2003): 66. ; William Duckworth, A Creative Approach to Music Fundamentals, eleventh edition (Boston, MA: Schirmer Cengage Learning, 2013): 54, 59, 379. ; Edwin Gordon, Tonal and Rhythm Patterns: An Objective Analysis: A Taxonomy of Tonal Patterns and Rhythm Patterns and Seminal Experimental Evidence of Their Difficulty and Growth Rate (Albany: SUNY Press, 1976): 36–37, 54–55, 57. ; Demar Irvine, Reinhard G. Pauly, Mark A. Radice, Irvine’s Writing about Music, third edition (Portland, Oregon: Amadeus Press, 1999): 209–10. .

In his book Inner Sound: Altered States of Consciousness in Electronic Music and Audio-visual Media, Jonathan Weinel described the track as a Chicago house track began with piano chords over a time signature. The track contains vocals declaring "Gimmie that house music to set me free / Lost in house music is where I wanna be" with a refrain of "Move Your Body / Rock Your Body". Weinel noted that the lyrics celebrate the "ecstatic revelry and physicality of losing oneself in dance" while critic Simon Reynolds reflected that "the social scene of Chicago house was one in which gay black men were able to find liberating communal experience of dance in response to their status as exiles from mainstream culture." Weinel reflected on this noting that these themes extended to other Chicago house tracks such as Joe Smooth's "Promised Land" and Fingers Inc.

In the notation system of mensural notation (after c.1300), and in the century or so preceding the invention of that system, the term modus was used to describe a part of the overall metric organisation of a piece, comparable not to a modern time signature, but rather to what is sometimes called hypermeter—organization of measures into regular groups of twos or threes. It referred to the division of the note called a longa into either three (modus perfectus) or two (modus imperfectus) breves, for which reason it is called modus longarum. Similar divisions on subsequently lower levels were described by the terms tempus (corresponding to the modern concept of a measure or bar and referring to the division of breves into two or three semibreves) and prolatio (the division of semibreves into two or three minims).

The song was rearranged by the progressive rock band Yes in 1970, performing it in concert on the first tour after Steve Howe replaced Peter Banks. Yes added elements typical to progressive rock, such as changes in time signature and long instrumental segments, while dropping the song's original repeat and fade ending. At one point bassist Chris Squire quotes "America" from West Side Story in the intro. The Yes studio version clocks in at ten and a half minutes, with live versions on the 1970–1971 tour extended to more than fifteen minutes. The studio recording first appeared in 1972 on the sampler album The New Age of Atlantic and was later included on the compilation album Yesterdays in 1975, the box set In a Word: Yes (1969–) in 2002, and on the 2003 re-issue of their album Fragile.

In a 1934 article, Anne Geddes Gilchrist suggested that the performer whose tune Ross heard, played the song with extreme rubato, causing Ross to mistake the time signature of the piece for common time (4/4) rather than 3/4. Gilchrist asserted that adjusting the rhythm of the piece as she proposed produced a tune more typical of Irish folk music. In 1974, Hugh Shields found a long-forgotten traditional song which was very similar to Gilchrist's modified version of the melody. The song, "Aislean an Oigfear" (recte "Aisling an Óigfhir", "The Young Man's Dream"), had been transcribed by Edward Bunting in 1792 based on a performance by harper Donnchadh Ó Hámsaigh (Denis Hempson) at the Belfast Harp Festival, and the tune would later become well known far outside of Ireland as The Last Rose of Summer.

Russ, p. 133 The first theme is presented by the piano, unaccompanied. Ravel said he took as his model the theme from the Larghetto of Mozart's Clarinet Quintet, but in an analysis of the work published in 2000 Michael Russ comments that whereas the Mozart melody unfolds across 20 bars, Ravel builds an even longer – 34-bar – melody, without repeating a single bar.Russ, p. 133 The musicologist Michel Fleury calls the opening an "extended monologue in the style of a stately Sarabande", and remarks that it derives "its curiously hypnotic character" from the rhythmic discrepancy between the time signature of the melody in the right hand and the signature of the accompaniment.Fleury, Michel. Notes to Ars CD ARS38178 (2015) After thirty bars – about three minutes in a typical performance – the solo flute enters with a C and oboe, clarinet and flute carry the melody into the second theme.

Instead, Willner re-entered the picture and the concept of the album of classic standards was expanded to include not only material contemporary to Weill's Weimar Republic era but a more recent song by Bob Dylan, two early folk-era spirituals, traditional piano blues with accompaniment by Dr. John (credited as Mac Rebennack), and all new material was written specifically for the project. The album’s title track was written by Tom Waits and Kathleen Brennan, and "Hello Stranger" was written by Rebennack and Doc Pomus. Faithfull also re-recorded her 1964 hit, "As Tears Go By," in a markedly different arrangement using a slower time signature, and sung a full octave lower than the original. Strange Weather failed to make it to the US Album charts (it did chart in both the UK and Australia), and never charted its only single "As Tears Go By".

In particular, the first three songs on the album – "Start The Day Right", "It's Okay To Change", and "Sorry Again, Mate" – blend into each other with direct transitions and time signature changes; Helen Clarke of musicOMH said they "sound like one long, Queen-inspired epic". However, there are also full-length, individual songs that the album is built around, such as "A New Town", "(I Keep Thinking About) A New Thing", and "From Hide and Seek to Heartache". Brent Ables of cokemachineglow described this structure as a "juxtaposition of discrete musical ideas that obey their own logic", with tracks that "flow together as fluently as the individual parts of each". Ian King of PopMatters called it a "linear collage-pop structure", while Pitchfork writer Aaron Leitko called it "a record of sweetly melodic miniatures" that take form only long enough to shift into an entirely new suite.

Western music inherited the concept of metre from poetry, where it denotes: the number of lines in a verse; the number of syllables in each line; and the arrangement of those syllables as long or short, accented or unaccented. The first coherent system of rhythmic notation in modern Western music was based on rhythmic modes derived from the basic types of metrical unit in the quantitative meter of classical ancient Greek and Latin poetry. Later music for dances such as the pavane and galliard consisted of musical phrases to accompany a fixed sequence of basic steps with a defined tempo and time signature. The English word "measure", originally an exact or just amount of time, came to denote either a poetic rhythm, a bar of music, or else an entire melodic verse or dance involving sequences of notes, words, or movements that may last four, eight or sixteen bars.

It stemmed from the band's enjoyment of recording "La Villa Strangiato", a nine-minute instrumental on Hemispheres (1978), which they wanted to do again for Moving Pictures only shorter. The code was adapted into the song's rhythm of a time signature, where the dashes (-) are played using eighth notes and the dots (.) use sixteenth notes. The lyrics to "Limelight" are autobiographical and based on Peart's own dissatisfaction with fame and its intrusion into one's personal life. The song contains two self-references: the first, the line "living in a fish-eye lens, caught in the camera eye" references the album's following track, "The Camera Eye", while the line "all the world's indeed a stage, and we are merely players", references the title of the band's first live album All the World's a Stage (1976), itself taken from William Shakespeare's comedy play As You Like It.

Although author Charles Keil admits that "there are as many styles of polka as there are polka localities",Keil, Charles, Deeper Polka, Ethnomusicology Forum 14.1 (2005): 118-120 he and his wife have divided American polka music into three major genres: # Slavic, with its subgenres, Polish-American, Czech- American, and Slovenian-American # Germanic, with its subgenres, German- American # Southwestern, with its subgenres, Mexican-American and Papago- PimaKeil Charles, Polka Happiness, Philadelphia, PA: Temple University Press, 1992. The two Slavic genres are found in eastern and midwestern America, the Germanic genres in midwestern and western America, and the Southwestern genres in southwestern America. The different genres are united by the characteristic 2/4 time signature that exists in all polkas as well as by instruments and lyrics that are similar throughout all styles. Polka bands across all genres typically include an accordion or concertina, wind instruments, and drums.

According to the sheet music of the song published by Guitar Tabs, "Turn Up the Radio" is set in the time signature of common time, with a moderate tempo of 127 beats per minute. It is composed in the key of D major with Madonna's vocals ranging from C to A. The song follows a sequence of D–B–Amin–G in the verses and D–G–B–Emin during the chorus. Lyrically, Madonna pleads the listener to stop for a moment, to get away from the world through music, with the lines going as: "I don't know how I got to this stage / Let me out of my cage cause I'm dying / Turn up the radio, turn up the radio / Don't ask me where I wanna go, we gotta turn up the radio." It also talks about the need to relax as well as the need to have fun.

The song "We Are Sex Bob-Omb" had originally been written in the first graphic novel, where O'Malley "not only lays out all the lyrics they're singing for the reader, but also provides chord progressions, charts for fingerings and even the time signature and feel" of the song. The graphic novels noted that Crash and the Boys' songs are three seconds long, which Godrich took as defining precisely what kind of band and sound that makes them. Knudsen recorded the lyrics for their two songs (Broken Social Scene had written four, but two were not used); O'Malley recalled that Knudsen's favorite band is Broken Social Scene, and that the actor was thrilled to be working with Kevin Drew from the band for the film. Broken Social Scene were asked to create Crash and the Boys' songs "because they had become friends of [Wright and Godrich] in Toronto".

The two worked on drastically overhauling the song – Keenan requested they change the tempo and time signature to time, while Sardy recommended muting out a number of the song's extra parts, stripping the song down to its drum beat and basic melody. Howerdel, initially struggled with the time change, but agreed to Keenan's change, eventually leading Keenan to respond favorably to the song's final instrumental form, leading him to write the vocal melody and lyrics found in the song's final release. The song was mastered and completed in January 2018, and released on February 5, 2018, the third song released ahead of Eat the Elephant's April 20, 2018 release, following "The Doomed" in October 2017, and "Disillusioned" in January 2018. A video of the song was also released at the time of the song's release, consisting only of footage of a multi-color octopus squirming in a person's hands for the entirety of the song.

"Killarney 1 & 2" was recorded with two Neumann 87 model microphones. He saw the album as an opportunity to use instruments that he liked the most, "forget[ing] the orchestra that I have been just swimming in for forty films, pick them up and play". Among them was his dobro that he had used for colouring and textural purposes in his film scores, and features him using a chrome metal slide to play the instrument as if it was a slide guitar. Five musicians perform additional instruments, including drummers Lou Molino III ("Anerley Road", "Freethought", and "Zoo Lake"), Vinnie Colaiuta ("Market Street" and "Through the Tunnel"), and Rabins' son Ryan ("The Branch Office" and "Me and My Boy"), who impressed Rabin when it came to recording the latter as it features an odd time signature of 7/8, making Rabin think he would have to sit him down to explain what he wanted, but Ryan sat down and played it "perfectly".

"Meant to Live" is an alternative rock song that lasts for a duration of three minutes and twenty seconds. According to the sheet music published at Musicnotes.com by Capitol CMG, it is written in the time signature of common time, with a heavy, moderately slow rock tempo of 76 beats per minute. "Meant to Live" is composed in the key of B Minor, while Jon Foreman's vocal range spans one octave and three notes, from a low of D4 to a high of G5. The song has a basic sequence of B5-A5-E5-G5-A5-B5-A5-E5-D5-G5-E5-A5 during its introduction, changes to G5-F#5-D5-E5-D5-F#5-D5 in the verses, follows G5-A5-B5-E5-G5-E5 at the refrain, has Dsus2-G6-Dsus2-G6-Dsus2-Em7-Csus2-G5 during its bridge and concludes with Dsus2-G6-B5-A5-E5 in the outro as its chord progression.

In his teens, Bach travelled and studied at the French-modelled Court of Georg Wilhelm in Celle (near Lüneburg) in northern Germany, where there was an orchestra modelled on the Concert Royal of Lully. During this time it is believed he studied and wrote compositions in the French Style, such as a five-part incomplete Fantasie and Fugue for organ, BWV 562, that is based exactly on the voicing, texture, and structure of the works of the French baroque composer De Grigny, and would make it eligible for notes inégales. His later work, the Fantasia and Fugue in C minor, BWV 537, also uses the same mostly 8th note texture, is written in the same time signature, features a similar texture, and responds well to the application of long–short notes inégales to the evenly notated 8th notes, and short–long to the slurred 8th note pairs, also typical and consistent to classic baroque French notes inégales procedures.

There are influences of folk music... While some of the melodies are virtually identical to their influence for example 'My Heart is Full of Thankfulness' is extremely akin to the Robert Burns' song 'My Love is like a Red Red Rose' other Getty melodies appear to be more subtle 're-workings' of well known songs. These include 'Across The Lands' which draws from the well known Folk Song 'Wild Mountain Thyme' the melodic structure namely the first 8 notes are identical, the verses of 'Hear the Call of the Kingdom' draws from 'Battle of the Royal Republic', 'In Christ Alone' appears as a re-working of the Hymn 'Before the Throne of God' and 'Over Fields of Green' being very similar to 'Dawning of the Day/Raglan Road' however set to an alternative time signature. These amongst other examples have prompted many to conclude that The Gettys do not 'create' new melodies but Keith Getty has mastered reworking existing melodies in new and fresh approaches.

The song is in the 12/8 time signature, in the key of E and begins (on "If you wear red tonight ...") with a I–IV–ii7–V7 chord progression (E–A–F#m7–B7) in which the word "tonight" (B melody note) appears as a "delicately haunting" 4th above the F#m7, creating a suspension. The melodic pitches of this first two bar phrase are repeated (with initial repetition of the G# melody note) on "remember what I said tonight," except that the B melody note on the second "tonight" is now backed by a ♭VII (D) chord that shapes the B melody note into a more "luscious" 6th. The chorus ("Yes it is, it's true. Yes it is, it's true") involves a I (E chord) – III (G# chord) – IV (A chord) – I (E chord) progression in which the major III (G#) chord appears for the first time in the song to propel the Plagal drop from IV (A) to the tonic I (E) chord.

Author John Winn divides the completed composition into five sections: the fingerpicked guitar intro, with the line "She's not a girl who misses much"; the portion when the full band enters, containing more of the lyrical images supplied by Taylor; the blues-based "I need a fix" section; the "Mother Superior" refrain; and the doo wop-style section exploring the "warm gun" theme. The composite structure features several changes in time signature. According to Kenneth Womack, this consists of shifts from 4/4 to 6/4 time in the "Dirty Old Man" section; 9/8 and 12/8 in "the Junkie", although the drums play in 6/8 throughout; four-bar sequences of 6/8, 6/4, 6/8 and 7/4 over the "Mother Superior" portion; and 6/8 and 4/4 for "the Gunman" (even though the drums remain in 4/4). The musical keys used in the song are E minor, A major, A Lydian and C major.

The title is borrowed from John Keats' 1817 poem "On First Looking into Chapman's Homer": The song was frequently used to open the group's live performances and features as the first track on their 1973 live album Genesis Live. The song opens with a Mellotron intro. According to Tony Banks, the introductory section was intended to take advantage of idiosyncrasies in the tuning of the Mellotron model he was using at the time: The two chords in question are Bmaj7/F# and C#/F#.Transcription of song opening The long keyboard introduction crossfades into the main ensemble section, which features a prominent single-note staccato pattern in a 6/4 time signature (reminiscent of the 5/4 rhythmic pattern from "Mars" in Gustav Holst's The Planets suite) played over a pattern of sustained organ chords. Following the vocal sections of the song, there is an unusual polyrhythm part, where the staccato riff changes to 8/4 time, played against a Mellotron/organ chord part in 6/4.

It is set into motion at the height of a quarter of a quarter of a circle, which is done by moving the plumb-bob two feet from perpendicular, or from its resting position, when the peg is in hole 72, or one foot when the peg is in hole 36, and six inches when the peg is in hole 18, and always a bit less as the pendulum becomes shorter. If one lets go of the plumb-bob without forcing it, the pendulum can mark with utmost precision the quickness or the slowness of the musical beat, as a result of the swings [vibrations] at its various lengths. :If a composer wants to mark the desired tempo for performing an air he has composed, irrespective of the time signature he must begin by putting the peg in one of the holes and then setting the pendulum in motion. If the swings are too slow, he must shorten the pendulum by putting the peg in a lower number.

Susan Feder's program notes of the St. Louis Symphony recording of this piece include imagery given by Tower regarding the title: > "The Island is remote, lush, tropical with stretches of white beach > interspersed with thick green jungle. Above is a large, powerful, and > brightly colored bird which soars and glides, spirals up, and plummets with > folded wings as it dominates but lives in complete harmony with its island > home." Tower's analysis of Island Prelude divides it into three main sections, possibly fitting the sonata form, or at least a variation of the ABA form. The beginning largo section portrays "a very slow-moving consonant landscape that gradually becomes more active and dissonant." The beginning time signature is 5/4 with the quarter note ca. 40 beats per minute. While the quarter pulse is kept constant, the number of beats per measure frequently changes between 5/4, 4/4, 3/4, and 2/4, creating the unpredictable, yet constant terrain. In the quintet, the horn begins the piece on an A, concert pitch.

In the post-war period, Gian Carlo Menotti used a quintuple-meter funeral march as an instrumental transition to the final scene of his opera The Consul (1950), and Benjamin Britten set "Green Leaves Are We, Red Rose Our Golden Queen", the opening chorus from his opera Gloriana, Op. 53 (1952–53, rev. 1966), in time. Dmitri Shostakovich set Fugues 12, 17, and 19 from his Twenty-Four Preludes and Fugues for piano, Op. 87 (1950–51) entirely in time, and also interspersed this time signature with other meters in Preludes 9, 20, and 24, and in Fugues 15 and 16 from the same collection. Quintuple meter is sometimes employed to characterize particular variations of works in variation form. Examples include the third movement, "Variations on a Ground", from the Double Concerto for Two Violins and Orchestra, Op. 49 (1929), by Gustav Holst (11th and 18th variations in ), "Variation IV: Più mosso" (in time), in Part I of The Age of Anxiety: Symphony No. 2 (1949) by Leonard Bernstein.

The song is played at 117 beats per minute, has an unusual rhythmic feel and uses different time signatures. Beats are played in groups of 2, 3 and 4, and time signature changes frequently. Parts with and bars alternate, with transitions. Most of the song uses simple time, where the beats are divided into two, but the middle eight sections use compound time, where the beats are divided into triplets. The song is divided into seven sections, two of which are repeated once and one twice, in a time- symmetric pattern A, B, C, B, C, B, A (disregarding the fade out of the last bar): > A: 4,4,4,4,4 (introduction: five bars, 20 beats) > B: 5,5,5,3,4,5,4,3,3,4,4 (eleven bars, 44 beats) > C: 5,5,5,3,4,4,4,4,4,4 (contains refrain: ten bars, 42 beats) > B: 5,5,5,3,4,5,4,3,3,4,4 (eleven bars, 44 beats) > C: 5,5,5,3,4,4,4,4,4,4 (contains refrain: ten bars, 42 beats) > B: 5,5,5,3,4,5,4,3,3,4,4 (eleven bars, 44 beats) > A: 4,4,4,4,4,4 (end: six bars, 24 beats, with fade out bar) This adds up to 64 bars with 260 beats, which at published 117 beats per minute would result in a length of 2:13,333... minutes.

Following the theme, "Monsters in the Parasol", which originally appeared on the Desert Sessions album, Volume 4: Hard Walls and Little Trips, is about Homme's first experience on LSD, kicking in just as his friends' father and sister came home leading to a bad trip. The song "Better Living Through Chemistry" offers an opposing stance on prescription drugs, while Homme's favorite song from the album closer, "I Think I Lost My Headache", is described as being about "Paranoia... when you think something strange is going on, and everyone around you is so adamant about telling you it's fine... but then you start thinking 'Wouldn't that be exactly what you'd say if you didn't want me to know, and there is something going on?' And so it's kind of about that paranoid mentality which maybe I have sometimes." The song is also notable for its unconventional intro and outro in the 15/8 time signature, with the outro culminating in several minutes of an incessantly jarring and repetitive horn part, added to punish those who may have fallen asleep listening to the album.

Alison Latham (ed), "Cross-rhythm", The Oxford Companion to Music (Oxford and New York: Oxford University Press, 2002). In compound time ( or ). Where a regular pattern of two beats to a measure is established at the start of a phrase. This changes to a pattern of three beats at the end of the phrase. Archaic hemiola The minuet from J. S. Bach's keyboard Partita No. 5 in G major articulates groups of 2 times 3 quavers that are really in time, despite the metre stated in the initial time- signature Alison Latham (ed.), "Cross-rhythm", The Oxford Companion to Music (Oxford and New York: Oxford University Press, 2002).. The latter time is restored only at the cadences (bars 4 and 11–12): Bach: Minuet from Partita 5 in G bars 1–12 Bach: Minuet from Partita 5 in G bars 1–12 Later in the same piece, Bach creates a conflict between the two metres ( against ): Bach Minuet from Partita 5 in G bars 37–52Bach: Minuet from Partita 5 in G, bars 37–52.

42-01 are primarily influenced by classic and contemporary rock, metal, and progressive rock or metal bands, as is the case with Guns N' Roses, Pink Floyd, The White Stripes, Megadeth, Metallica, Dream Theater, Rush, Radiohead, Iron Maiden, Arctic Monkeys, Pearl Jam, Nirvana, Foo Fighters, Mastodon, Tool, Muse, Avenged Sevenfold, St. Vincent, The Dead Weather, and The Kills. Despite their influences, 42-01 does not specifically classify themselves as part of a specific rock or metal subgenre, something which can be noted in how they manage to blend different genres in various songs and have songs that could fit in vastly different subgenres of music. In their music, 42-01 greatly value technical and compositional proficiency because of their heavy influence from bands such as Dream Theater, Rush, and Megadeth, making intricate melodic and rhythmic parts and key signature and time signature changes a common occurrence in their music. Due to Kelmer Messina's role as primary songwriter, 42-01's music tends to be guitar-focused, having riffing and guitar soloing prominent elements in most of their songs.

The record also served as the sound track of a music video by the same title, which garnered six major awards, including the CMA Vocal Collaboration of the Year, Vocal Event of the Year, and Music Video of the year, the ACM Music Video of the Year, the TNN/MCN Music Video of the Year, and the Country Music Video of the Year. The video utilizes a television kinescope (movie) that captures the elder Williams singing a different song (Hey Good Lookin') that he wrote and recorded with the same time signature but with a faster tempo and, of course, different words. After the video's producer solved both of those problems, he made it appear that the senior Williams was actually performing the song that would appear on the video. After the elder Williams technologically sings the first half of the song as presented in the video, the younger Williams seemingly appears to walk into the picture next to his father, where he joins him in completing the performance.

On the other hand, although he denounces this environment throughout the song, the narrator concludes, taking leave of the caller and telling him that he must get on his way home, which can be interpreted as an admission of the fact he himself belongs to the middle class, or at least is close to. The first part of the song is a slow 3/4 time signature of a repetitive theme, of a somber mood, where, from the perspective of voice, tension grows moderately but steadily, and eventually explodes when the narrator evokes Frida, reflecting his passion for her; the music then returns to its first depressed theme for the end of the song. The song has since been covered by French popular music bands such as Ange, Oxmo Puccino and Noir Désir, although Ange may have missed the point of the song by excluding the part about Frida; on the Le Cimetière des arlequins album cover, is mentioned: "To Jacques Brel, we didn't dare take Frida from you".

Stump formed in London in 1983. Initially featuring several line-up changes, the band settled in 1985 on the line-up of former Microdisney members Mick Lynch (vocals), Rob McKahey (drums), Kev Hopper (bass) and Chris Salmon (guitar). Becoming popular in indie circles for the band's unique, experimental sound, they built a following and released the four track EP Mud on a Colon in 1986 through the Ron Johnson record label. According to The Quietus, "the four tracks suggest Stump came out of the womb fully formed; the beguiling mélange of thwarted funk, traditional Irish drum rhythms (many of McKahey's time signature are concomitant with that of Irish jigs, usually performed in 12/8 time) and Lynch's lyrics, which tended to play continual tricks with the English language, piling up Surrealist imagery with a humorous scorn for syntax." Their song "Buffalo" featured on the NME's influential cassette compilation C86, featuring 22 tracks from bands within the British indie music scene, although Stump were said to stand out from the other jangle pop bands associated with the scene due to their quirky avant-garde bent.