Songs that use 10/4 time
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- čas přidán 6. 01. 2023
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Whether or not you consider it an odd time signature, 10/4 time is certainly an interesting and less often used meter. Today we'll take a look at some songs that use this unusual time signature and get a sense of what it sounds and feels like.
And, an extra special thanks goes to Douglas Lind, Vidad Flowers, Ivan Pang, Waylon Fairbanks, Jon Dye, Austin Russell, Christopher Ryan, Toot & Paul Peijzel, the channel’s Patreon saints! 😇
This video was edited by David Hartley. Check out his CZcams channel here: / davidhartley94
SUPPORT ME ON PATREON: / davidbennettpiano 🎹
Closing each video with an original composition that demonstrates what has just been discussed was a great and highly enjoyable innovation.
Totally agree. I always look forward to those at the end of the videos
Love this. I watch all these videos looking forward to this part
This channel is awesome 💯
Everything in its right place is such an amazing track. For more than 20 years there is no other song that sounds like this.
Autechre, Aphex Twin’s more ambient stuff
Yesterday I woke up sucking on a lemon
Luckily. I find it very disorienting in an unenjoyable way
Agreed! It’s a shame I couldn’t use the original version but last week Radiohead’s publisher actually issued me a copyright strike! Get three strikes and the channel is suspended! So now I can’t use original Radiohead recordings in my videos 😢
@@DavidBennettPiano I have to say that is absolutely ridiculous. You do more to promote Radiohead's music than any other site I've come across. You clearly treasure their music and communicate that enthusiasm everytime you use them as an example in one of your videos. These kind of over zealous publishers are not just philistines but also generate animosity towards the acts they claim to represent..
David and using Radiohead as an example : Name a more iconic duo.
David and using The Beatles as an example
David and using both Radiohead and the Beatles as examples.
@@matthewungar601 was hoping someone would follow with that
Your original composition is beautiful. I'm surprised that no one mentioned that you seem to be the only person who is able to play three-handed 😊
Thanks!
p-
Tim Henson is definitely a three handed player
With the way these are incrementing, soon we'll be at 13/16 and finally Brad Fiedel's theme to The Terminator will be featured! :) Great video.
😎😎
@@DavidBennettPiano If you ever release a video about 13/16, please include Passing by Leprous as an example!
hope he remembers to put skimbleshanks the railway cat in the 13/16 video (or 13/8?)
Heat Distraction by Women also spends a lot of time in 13/16
Errors by Alfa Mist is also in 13/16
When I saw 10/4, the first thing that came to mind was the verses of “Heat of the Moment” by Asia, which have a 3-3-4 feel
That was the first song I thought of too. And all due respect to David, Heat of the Moment probably is the most popular example of a song in 10/4. Lead track off the biggest selling album in 1982 and is a bigger selling album than anything in Radiohead's discography. Still gets a lot of airplay on classic rock radio stations.
@@ciciusss Didn't Thriller come out in 82?
althealligator,
Thriller was released November 29, 1982. Asia's first album was released March 8, 1982. For the year, 1982, Asia sold more albums. Obviously, going forward Thriller was even a far greater seller than Asia's first album. Thriller was the best selling album in 1983 and 1984.
According to Billboard, there were 10 artists that held the Number 1 weekly sales chart position in 1982. AC/DC, Foreigner, J. Geils Band, Go Go's, Vangelis, Asia, Paul McCartney, Fleetwood Mac, John Cougar and Men at Work. each artist on this list held the #1 spot for multiple weeks. Asia held the #1 spot for a total of 9 weeks.
Even with Michael Jackson's release of Thriller in late November, 1982, Men at Work topped the weekly Billboard charts that December.
John Cougar's American Fool was the 2nd biggest selling album in 1982.
@@ciciusss Ah okay nice
I really liked the mellotron song at the end. Reminded me of some of the more psychedelic Pink Floyd from the early years :)
Thank you 😊
Always enjoy these segments, David. Taking examples from actual songs really cements the concept, both visually and aurally. Thank you!
😃😃😃
Tarkus by Emerson, Lake, and Palmer has sections that seem to be in 10/ 8. The sections are subdivided into a 4:3:3 pattern.
I adore Just Like You Imagined, one of NIN's best instrumental tracks!
The Grudge by Tool is an amazing song in 10/4. Very underated.
*5/4 or 10/8
@@thecoconutgum ☠
@@thecoconutgum ☠︎
Nothing by Tool is underrated lol
The intro of the song is in 5/8, then after that, it switches to 5/4. There are also occasional bars of 2/4 in the song.
Another excellent video essay! You communicate complex ideas so effectively - it is a lesson to other educators, as well as to students of this knowledge! Thank you for your continued hard work!
Down and Out by Genesis is also in 10/4. I have found the easiest way to think about this is one bar of 7/4, and then two bars of 3/8, as there are two quick triplets at the end, which would otherwise occur on the downbeat of 8 and the '+' of beat 9, so breaking it up this way would make it so much easier to subdivide.
First thing I thought of too.
Here We Are from the Undertale soundtrack is one of my favorite 10/4 songs! it uses a 3-3-2-2 pattern, and stretches out the bars of Alphys' 3/4 motif to take up all 10 beats, kinda hiding the motif under a much slower, ambient feel. also the percussion's just cool lol
Insane, I didn't know that
Cool fact!
I always thought that it was 5/4, which would make more sense since the percussion takes up 5 counts instead of ten. It’s either 5/4 or 10/8 probably
Was looking for this comment!
I have never seen the transparent/ghost hands before like you did at the end with the Mellotron.
Kinda brilliant!
It makes it easy to see the keys and fingering.
I really love it!
Loving these videos about odd time signatures. This was always something that really interested me in music.
Just Like You Imagined is so underrated, great picks and great video!
Love how you finished the video with a composition of your own reflecting the topic discussed. Good send off.
Great job. I've watched a few of your videos now, and have learnt a lot. Thanks for sharing your knowledge!
great video. wonderful original composition as always. i still remember your track in "Microtonality in Western Music".
Thank you, David. I enjoy your videos quite a bit.
I practice bass guitar and I'm working right now on Hotel California. Having watched many of your videos about chord progression, I found that Hotel California has an interesting progression. Perhaps you might include this song as an example in one of your future videos.
Absolutely love these odd time signatures videos, please continue bringing more examples!
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Finally, at long last, David used a Grateful Dead example!
excellent video, David, thank you.
Ooh, I really like what you did at the end. A very nice song indeed
Hi David! I’m really grateful for everything you teach us! I take a lot of your information in and helps in my piano lessons! I’m a 14 year old and going to take my Grade 2 Exam soon! Thanks again, this is really cool! 👍 🎼
Great video as always…check out Paul Simon’s ‘How the heart approaches what it yearns’ from ‘One Trick Pony’. It’s slow enough to count the beats and the chord usually changes every ten so easier to identify. The bridge section is in 6 though making a nice contrast
Great Visual Effect at the end Dave
The thing about "Playing in the Band" is that different parts of the song (which is in 10/4 throughout) subdivide the beat differently. There's an instrumental interlude between verses which subdivides as three bars of 6/8 and one of 2/8 (at least that's how I hear it), and a second interlude between sections that feels almost like 5/4+4/4+2/8 (it doesn't feel like two 5s because the last beat of the first five-beat phrase drops down a fourth, as does the *fourth* beat of the next four beats...and the last two 8ths are a pickup to a repeat of the same phrase). Live versions get even weirder...in that the collective improvisation tends to work off that "6/8" feel subdivision...to the extent that the 10/4 meter dissipates into a free flow where that "group of 6/8 plus a 2" feeling is freely altered...or maybe I'm just bad at counting!
When I saw this video title, the only reason I clicked was in the hope that the Grateful Dead got a mention for Playing in the Band. It gets the briefest mention but I was happy to read your comment discussing the interlude too!
@@Hootonium242 ha, same!
Another wonderful video!
Fantastic explanation, fantastic video
Fiery Gun Hand by Cardiacs is also a good example of a song that utilizes 10/4.
I think David would love Cardiacs.
Loving the serene outro on this rainy day in central CA.
Nice Radioheadesque feel to the song at the end there. Love your stuff as always.
Thanks!
It wouldn’t be a David Bennett video without Radiohead
I love these videos!
If you ever make another video about common chord progressions, I recommend the I-iii-IV-V progression, which I like to call the "Crocodile Rock progression" (maybe you could come up with a better name for it). One of Elton John's most enduringly popular songs (any guesses which one?) goes through this progression twice during the verse section. Another song that uses the Crocodile Rock progression is one of the more obscure songs by a band even more famous than Elton: "Octopus's Garden" by the Beatles.
Just a practical point-
Octopus’s Garden came out well before Crocodile Rock (1969 vs 1972) so if either gets to be the name of the progression it should be the former.
That said, both I think are trying to goof on the 50s “doo wop” chord progression, but are substituting the iii chord in place of the vi chord. It uses a different progression than these two but Queen’s “Crazy Little Thing Called Love” is borrowing from the same set of ideas.
Another song in 10/4 is 'How the heart approaches what it needs' by Paul Simon; the song eventually loses a beat and turns into 3/4 time.... After reading the comments, I see that someone has already pointed this out.
That composition at the end was hauntingly beautiful.
I think it's also possible to view a time signature like 5/2 as an equivalent 10/4 with 2-beat groupings (1-2 | 3-4 | 5-6 | 7-8 | 9-10). This would definitely contribute to 10/4 "feeling" like an odd time signature since its variation, 5/2, is actually an odd time signature according to the typical definition of odd meter
To my ears, Everything In Its Right Place actually feels more like 6/4 and 4/4 alternating, rather than 4+4+2. The positions of the chord changes is what makes it feel like this to me - when the bass moves up to the Eb, that to me feels like the anticipation of beat 1 of the 4/4 bar.
In fact, thinking about this a little more, the other thing that makes it feel like 6+4 is probably the fact that beat 8 of the 10/4 bar is the first time the right hand has played on the beat since beat 2. And beat 8 would be beat 2 of the 4/4 bar.
Good morning by the Beatles I Think is another exemple. Great video as usual!
You should do a breakdown of how you put together the song at the end with the percussion at the end? Did you do it through a DAW and what samples you used (if they were or not), etc.?
I agree, Welcome Home (Sanitarium) indeed has 2/4 at the end of the cycle. Also Hiatus Kaiyote sounds oddly like KNOWER.
amazing, david after all have more than two hands!
This is one of my favourites to use when I'm writing. Most of the time I like to divide it six by four so you get both that 6/8 feel and the 4/4 feel one after the other. Really love using it for breakdowns in songs that are otherwise 4/4 or 3/4 'cause it lets you slow down and lose the pulse a little bit without actually having to change the tempo.
And it's all 'cause I heard what NIN did in Just Like You Imagined and... well, I listen to a lot of instrumental songs, and that's still one of my all-time favourite wordless tracks.
I remember hearing a section in 10/4 somewhere in Doom Eternal's soundtrack -- I think it was one of David Levy's tracks -- and I was surprised when I counted it out because that's not a meter I often seem to hear in games, even though a lot of games use other unusual ones -- maybe that constant shifting in patterns that you get with 10/4 could be a little too distracting.
Or maybe I'm just not playing the right games :P
There's always been a nagging subconscious thought about Radiohead's "Go To Sleep" that has never gone away where the pacing feels like the song has an ebb and flow throughout it. Now that I'm learning more about music theory, the quarter note and dotted quarter note pairing clicked immediately! All of this stuff is so cool, and I really appreciate these breakdowns.
My life is so interesting that I was waiting "Everything in it's right place" in the video "Songs that use 10/4 time" for about 8 months now, happy that finally happened and I can rest
So happy to see this
New record! Only made it 33 seconds into a David Bennett video before he started talking about Radiohead 😆
I love these unusual songs
Love this original composition. S tier stuff.
Thanks!!
10/4 is such a good time signature, i love it
Thrilled to see the inclusion of Hiatus Kaiyote! Was this your first time analyzing one of their songs in a vid or did I miss the past ones?
Love the vids massive fan
😁😁😁😁😁
@@DavidBennettPiano hope so see you soon
So interesting I always fel that part of Everything In It's Right Place as alternating bars of 6/4 and 4/4. Weird how people "feel" music differently.
I cannot believe that you left out King Crimson from their Larks' Tongues in Aspic/Starless and Bible Black/Red phase when 3+3+2+2 was their signature meter!
it's quite possible he doesn't know them
@@MarceloKatayama everyone knows kc especially someone who knows alot about music theory and odd time sigs
@@growskull Quite an interesting statement* when even Robert Fripp complains about there not being enough attention garnered by KC. Let's also consider that, out of the prog giants of the 70s, King Crimson was the least succesful and the least known. Also keep in mind that the only stuff most people will ever listen to regarding KC is their first album.
Most people who know music theory will learn it by studying pieces made by classical composers, occasionally some jazz and rarely will rock be included for musical theory examples, so I don't think it is a valid statement even for the group of people you intended it for.
No one has a need to know KC. No one should be expected to know KC. And, most of all, no one should feel obligated to know KC, not even a music theory pro.
Edit: I forgot to add a word there.
I love king crimson but didn’t they always take down their music on CZcams in the past? It was hard to find anything from them on here. I’m not surprised they’ve become kinda unknown
I find your interpretation of 'Everything In It's Right Place' rather interesting. While there is 10 beats, it is, as you said, is split into 2 bars of 4/4 and then one of 2/4, however when you mentioned the bar of 9/4, in "Yesterday I was sucking a lemon', I found it quite interesting because in the official score of the song, there isn't a beat that's dropped. I love listening to different people's interpretations of music!
If there's a 9/4 bar, there also needs to be a 11/4 bar somewhere. I don't really see a reason to change to 9/4 - I don't feel like the "downbeat" in the 9/4 measure gets much emphasis either. The whole song is consistently in 10/4, although I would probably just notate it with time signature changes (4/4+2/4+4/4 for most of the song).
@@MaggaraMarine that's what I thought. Though I'd differ from your lay out and say 4/4, 4/4, 2/4.
@@UnfriendlyGhostK I think the 2/4 measure is definitely in the middle. Listen to the harmonic rhythm (4 beats on the first chord, 2 beats on the 2nd, 4 beats on the last chord - of course syncopated so that the chord change happens a 8th note before the beat). Actually, I think there's even an argument for 3/2+2/2. (I feel like the last chord is the "target", whereas the chord in the middle is an "approach".)
But any way, I don't think the second last beat gets enough emphasis to be called a downbeat in 2/4, whereas the chord change on the (anticipation of the) 7th beat makes that beat much stronger. This is why I think 4+2+4 makes more sense.
One of my favorite 10/4 so g is Dancing Madly Backwards by Captain Beyond. Good stuff
...the first half anyways.
Brad Mehldau's "Ten Tune" and Michael League's "Lingus" are both songs in 10/4 although "Lingus" ends on a 4/4 vamp that one band member does an extended solo over with backing figures.
Came here for Lingus!
the track you composed sounds really mysterious
One of my favorite examples of a 10/4 track is "Not Ready To Die" by Avenged Sevenfold off of the Call Of Duty: Zombies soundtrack. The main riff is divided into 6/4 and then 4/4, which if you weren't paying attention, just sounds like a standard drumbeat. It's super cool
Nice "Mellotron" at the end, man😄😄
Clicked this video to hear the RHCP song, instant gratification
Excellent David! I love the random meandering sound of your original piece at the end! The time signature is not obvious. I've written a piece that has 3 bars of 3/4 followed by a bar of 4/4 that repeats. Would this be correct in calling it 13/4 ??
You should check out Tarkus by Emerson, Lake, and Palmer. It's divided into 7 parts, Eruption, Stones of Years, Iconoclast, Mass, Manticore, Battlefield, and Aquatarkus.
Eruption is mostly 10/8 with 2/4, 4/4, 6/8, and 9/8 thrown in there.
Stones of years is all in 4/4 before moving into
Iconoclast which is a continuation of Eruption with 10/8, 2/4, and 9/8
Mass is pretty consistent with a mix of 4/4 and 2/4
Manticore is a similar to iconoclast and Eruption. It's in mostly 6/8 this time with 4/4, 2/4, and 9/8
Battlefield is in 4/4 with tiny amounts of 2/4
Aquatarkus is in mostly 4/4 and tiny bits of 2/4, but transitions into Eruption's sound and time signature of 10/8, 7/4, and 2/4.
That's not to mention the weird chord progressions, insane keyboards, tempo changes.
Hi David, big fan... You know how Spotify has all sorts of playlists created by users? I would LOVE to see playlists like "Songs that use 10/4 time" and such on Spotify. I think you're the correct person to create such content and your audience would very much enjoy them.
Nothing trains the ear more than repetition. I would just open up, say, "Songs that use the Dorian mode" and obsess over the playlist, so that the next time I hear the Dorian scale, I would know what I'm hearing.
6:22 - I see you used our Bradley Hall Master of Puppets album cover. cheers!😅
That's wild, I knew the second I heard Chance's voice
Please do a video on The Smile’s The Smoke’s time signature. Sounds like 4/4 to me, with the riff changing it’s start point slightly until it loops around. But I’ve seen people say it alternates between 4/4 and 3/4.
This is really interesting and even with graphical representation I still couldn't tell the difference in speed when it was 4 quarter notes and then 4 quarter and a half notes.
Mission impossible is also a great example. It divides the measures into 3-3-2-2
You would count that so quickly though that most people would feel that as more like 8th or 16th notes. So it's more like 5/4 with a 3-3-2-2 8th note pattern
Red Hot Chili Peppers it's my favourite band. So seeing one of their songs being t'he first example... feels really good!
BTW, David, I'm new to your channel and I love your videos!, especially those like this one.
Usually with these videos i try to list a few of my favourite examples of songs that use the time signature in question but this is one of those cases where I can't think of any. I'm sure I know some other songs that use the approach, but in my head I would never count in single bars of 10/4, seems to get a little absurd to count something that long as one bar of music, and I'd be far more inclined to subdivide into bars that the music seems to imply (like with your examples of 4-4-2 and 4-6)
maybe that's just me, or just the music i tend to listen to, but it makes it hard to think of songs that use it
If there is a consistent repeating pattern that adds up to 10, it might be useful to the performer to list the time signature both ways, for example
10 (4+4+2)
4
Yes, I agree - I would notate most of these examples as alternating time signatures. Yes, that means more time signature changes, but sometimes that just makes it easier to read. The issue with 10/4 isn't necessarily the number of beats per se, though. I think a bigger issue is the fact that the meter (I mean, how exactly the 10 beats are divided into groups) is difficult to see from the score. This is why alternating time signatures makes it much clearer. If it's 4+2+4 or 4+4+2, just notate it that way. Notating it as 10/4 makes the meter ambiguous - it doesn't really tell the musician how to feel the meter.
Then again, if you explicitly state that "the meter is felt as 4+2+4" (or even use (4+2+4)/4 as the time signature), then I don't see an issue with it. (But even then just using time signature changes may still be clearer.)
I would say generally speaking 7 beats is pretty much the maximum length of a measure (and even then sometimes alternating between 3/4 and 4/4 is a better solution).
In /8 or /16 time signatures it's of course different, but in those cases the note value that actually gets the beat is not 8th or 16th note (for example in 12/8, dotted quarter gets the beat).
There are a couple by TMBG I would mention: Thermostat from 1994's John Henry, and The Bells Are Ringing from 1996's Factory Showroom.
When you think David couldn't find any more time signatures to make videos about and he does it yet again
😃😃
there are infinite time signatures 🤯 lol
I love these videos. Can't wait for more!
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Would love to see you exploring more metal songs. Check out Between the Buried and Me
I’m here because I came up with a 10/4 riff today and when I went to record it on garage band, I discovered that it doesn’t have a 10/4 setting. I had to record 5 measures of 4/4 to make it work.
7:32 idk why but it reminds me of the transition to the guitar solo of kid charlemagne by steely dan
Just hit me that Dave Brubeck had a quartet. With his penchant for odd signatures, it would have been fitting for him to have formed a quintet, heptet, or nonet.
I was curious and went back through the "official" Kid-A sheet music, and they have it notated in alternating bars of 6/4 and 4/4. Maybe they thought it would be more approachable for the general consumer instead of having just 10/4 throughout?
I think the Blur song ‘To The End’ is in 10/4 as well, but it kind of works more like it’s 2 bars of 4/4 with a bar of 2/4 tacked on at the end of the progression. Any other thoughts on this?
10-4 Good Buddy!
man i don't even play an instrument. i'm just here to find weird music. you got a good taste
We're playing Everything In Its Right Place at my dci corps at our music has it written as 4/4 and 6/4 alternating
David, you really should check out early 70's King Crimson for some amazing, odd time signatures.
A rare hymn that is in 10/4: How Deep The Father's Love For Us - Stuart Townend
Ever talked about 3:2 time saw it used in a dark souls and some classic music piece has a very odd slow unpredictable sound
Wished you'd discussed the Brubck piece more - how it's subdivided etc.
If there's a sequel, I suggest "Shipoopi" from The Music Man. A 10/4 piece in a genre not known for 10/4 pieces.
Apropos "Welcome Home (Sanitarium)": my then-GF back in college tried to introduce me to this "new band Metallica". I didn't "get" anything she played - I wasn't used to so much distortion and grit - but THAT track won me over. It's still my favorite Metallica song.
Eruption from Tarkus by Emerson, Lake and Palmer has the main ostinato in 10. In Groups of 4 3 3
Carl Palmer said Tarkus was a 10/8 rhythm, although Keith Emerson preferred to count it in 5/4 because of where the accents fell.
I feel like you mislabeled both the subsivisions of Welcome Home and Playing in the Band
Welcome home feels like a 6/4+4/4, but with that 4/4 subdivided into 3/8,3/8,2/8
Or maybe i would even say 3x4/8, 2x3/8, 1x2/8, which is exactly the beauty of the track, shortening in 2 ways from 3long to 2middle to 1short
Playing jn the Band however sounds exactly like the standard 4/4,4/4,2/4 that you labeld Welcome Home as, while here you put the 2/4 in the middle
Also that Brubeck piece sounds like a 5/4 to me since those 2 parts of the 10/4 are identical rhythmically
I really like that you add an own composition at the end of the vid. Looking forward to even more obscure ones in the future!
Snowman is Coming by Banana River is the only Christmas song in 10/4 time
Thom York was telling us very cleverly that everything is indeed in its right place even if it misses a beat. genius
I'd be impressed if 10/4 was an odd time, considering 10 is an even number and not an odd one! 😅
Great video as usual! Incredibly informative!
True 😊 although not all odd numbers result in an odd time signature, namely “3” 😊
Assassin by Muse is in 4/4 with measures of 6 mixed in
A definition of odd meters that I'd probably lean towards is one where the beat count has prime factors other than just 2 or 3, where 10/4 would count because 5 is a factor, also means 15/8 and 21/8 (used as compound meters) would be odd, making sense because they're triplet versions of 5/4 and 7/4, even though they're both divisible by 3. I dunno if anyone else uses this definition though.
You still need to talk about 8 time, like Russian Hill, by Jellyfish! I don't know the name of the official time signature, though.
This is the first time I realised we get rickrolled all the time in the hooktheory ad
😂
10-4, good buddy!
[CB Radio crackle]