https://www.youtube.com/watch?v=Zqb1sic8Gw4, Another unusual suspect for the odd meters in Pop / New Wave music is a hit song Heart of Glass by American music group Blondie, originally released in 1978 on their third album Parallel Lines. The tune proved popular, and was followed on their next album After the Break with Smeceno Horo. Some pieces have no time signature, as there is no discernible meter. They have different rhythm units called talas, and songs are composed thoughtfully with these beat groupings. In fact, many accomplished folk musicians in Bulgaria could not tell you what the time signature of the music is; instead, they will refer to it in terms of its dance. As you go up to larger numbers, you aren't really getting more "complex" per se, you're just increasing the length of time before the upbeat and downbeat emphasis flips on the notes in that bar of music. "Virophysical Patch Clamp": 9/16 orchestra + organ + percussion (2-D musical fractal). There are many more, these are just a few from Bulgaria. Anton Reicha's Fugue No. Complex accentuation occurs in Western music, but as syncopation rather than as part of the metric accentuation. 32. 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. I think a lot of this has to do with the "drift" of classical Arabian and Persian musics (which at times had odd signatures) that were adopted and mixed with classical Ottoman styles that then made their way into the balkans during the Ottoman's attempts at conquest. Ironically, in music from other parts of the world, many of the odd and quite complex time signatures, rhythmic meters and patterns are actually derived from the rhythm of the dance the music was developed around. See Additive meters below. Flamenco is in a complicated compound 12/8, and Balkan music uses a variety of odd meters. In Western classical music, metric time bend is used in the performance of the Viennese waltz. The 3+3 and 2+2+2 rhythms mentioned hear are analogous to the 3+3+3+3 and 4+4+4 rhythms embedded in. These rhythms are notated as additive rhythms based on simple units, usually 2, 3 and 4 beats, though the notation fails to describe the metric "time bending" taking place, or compound meters. "Molecular Electrons". Their 2006 album Samba Is Our Gift (O Samba e nosso dom) includes the song Malandro Quando Vaza with two instrumental interludes that subtly transform a classic Samba rhythm into a unique 7/8 meter feel. "Olimpijski Chochek" on the "Exotic Extremes" CD, "Abdala" on the "Balkan & Beyond/Live At Costello's" CD. Note that for time signatures higher than 4/4, each bar of 5/4 etc. Besides showing the organization of beats with musical meter, the mensuration signs discussed above have a second function, which is showing tempo relationships between one section to another, which modern notation can only specify with tuplets or metric modulations. Even in my own country that is really familiar with these kinds of rhythms (the most common ones are 7/8 and 9/4), the more influence a song has from the West, the more it tends to follow "balanced" time signatures. Nevertheless, musically they were a bold and highly influential addition to the musical vocabulary of the traditional revival in Ireland, and many other musicians were intrigued. Henry Cowell's piano piece Fabric (1920) employs separate divisions of the bar (1 to 9) for the three contrapuntal parts, using a scheme of shaped noteheads to visually clarify the differences, but the pioneering of these signatures is largely due to Brian Ferneyhough, who says that he finds that "such 'irrational' measures serve as a useful buffer between local changes of event density and actual changes of base tempo". Born and raised in Bulgaria, much of her original music is inspired by the folk music of the Balkans.