Exploring Musical Time Signatures: Unusual Ticks in Rhythmic Beats

Music is a vast and diverse field of art that constantly challenges and redefines the boundaries of human expression. Among the most intriguing aspects of music is its rhythmic structure, particularly the time signatures that underpin the pulse of a composition. While many pieces adhere to conventional time signatures, others intentionally venture into the realm of the unusual, pushing the limits of what feels natural to the listener. This article delves into examples of music that utilize unusual time signatures, exploring how these elements can transform a piece and make it both captivating and innovative.

Defining 'Unusual Time Signatures'

The term ‘unusual’ time signatures can be subjective, as what seems disparate in one cultural or stylistic context may be common in others. For instance, in Western Europe and North America, the most familiar and conventional time signatures are 2/4, 3/4, 4/4, and 6/8. However, other regions and styles of music often embrace a broader range of time signatures. Balkan, Turkish, and Arab music, for example, frequently employ more complex and diverse rhythmic structures.

Western European and North American Perspectives on Unusual Time Signatures

A common example of unusual time signatures in Western music is the piece "Mars" from Gustav Holst’s The Planets, which uses a 5/4 time signature. This differs significantly from the more typical subdivisions in Western music, such as 3:3:3, and introduces a distinctive feel to the piece. Another example is Britten’s Psalm 150, which includes a section in 7/8 time, again breaking away from the norms of Western conventions.

Exploring Unusual Time Signatures in Jazz

One of the most celebrated uses of unusual time signatures can be found in the jazz music of the Dave Brubeck Quartet. Their album Time Out exemplifies this with the track "Blue Rondo à la Turk," a piece in 9/8 time that innovatively subdivides the measure into 2 2 2 3, rather than the typical 3 3 3. The quartet’s ability to manipulate time signatures is further demonstrated in their other pieces, including "Take Five," written in 5/4, and " //Pick Up Sticks," which starts in 6/4 before shifting between 3/4 and 4/4 patterns. These unconventional rhythms challenge the listener and showcase the quartet’s compositional prowess.

Counting Unusual Time Signatures: Theoretical and Practical Aspects

Time signatures, which consist of two numbers expressed as a fraction, can be described theoretically, but their practical application requires a deep understanding of rhythm and counting. The bottom number of the fraction (the denominator) typically represents the kind of note that gets one beat, and the top number (the numerator) indicates how many of these beats are in a measure. For instance, 4/4 means four quarter notes per measure, while 5/4 means five quarter notes per measure.

Though time signatures like 19/8 or 23/16 exist, they are often impractical for human musicians to count and play, especially at fast tempos. Additionally, complex time signatures such as 15 or 85 are often used for their compositional impact rather than practical counting. The musicians for whom these time signatures are written must be able to count these intricacies, and this often necessitates extensive practice and familiarity with the piece.

Pushing Boundaries with Unusual Time Signatures

While time signatures themselves are not inherently creative, their application can be. For instance, jazz trumpet player and composer Don Ellis was known for his exploration of new rhythmic patterns and unusual time signatures. His compositions pushed the boundaries of meter in ways that were both challenging and innovative.

A notable example is Mike Oldfield’s music, particularly the opening section of "Tubular Bells." This piece alternates measures of 7/8 and 8/8, with a piano heartbeat in 4/4 providing a metronome-like effect. The interplay of these different time signatures creates a unique and engaging rhythmic structure.

The Most Famous Piece in an Unusual Time Signature: "Take Five"

Benjamin Robert “Paul” Desmond’s Take Five stands out as one of the most famous pieces in an unusual time signature, specifically 5/4. This song, which was part of the album by the Dave Brubeck Quartet, became a hit and is often cited as an exemplary use of this time signature. Its distinctive and memorable rhythm cemented its place in the annals of jazz history, proving that unusual time signatures can be both beautiful and captivating.

In conclusion, the use of unusual time signatures in music paints a vivid picture of composers' and musicians' desire to explore and innovate within their art form. From the unconventional rhythms of Holst and Britten to the pioneering work of jazz groups like the Dave Brubeck Quartet, and even the intricate time signatures in the compositions of Don Ellis and Mike Oldfield, these pieces highlight the malleability and versatility of musical rhythm. By embracing the unusual, musicians can create works that challenge and inspire new generations of listeners and performers.