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Quintuple meter

January 01, 1970

Quintuple meter or quintuple time is a musical meter characterized by five beats in a measure.

They may consist of any combination of variably stressed or equally stressed beats.

Like the more common duple, triple, and quadruple meters, it may be simple, with each beat divided in half, or compound, with each beat divided into thirds. The most common time signatures for simple quintuple meter are 5
4 and 5
8, and compound quintuple meter is most often written in 15
8.

Notation edit

15
8 as 5
4 with 3 subdivisions
15
8 as 3
4 with 5 subdivisions

Simple quintuple meter can be written in 5
4 or 5
8 time, but may also be notated by using regularly alternating bars of triple and duple meters, for example 2
4 + 3
4. Compound quintuple meter, with each of its five beats divided into three parts, can similarly be notated using a time signature of 15
8, by writing triplets on each beat of a simple quintuple signature, or by regularly alternating meters such as 6
8 + 9
8.

Another notational variant involves compound meters, in which two or three numerals take the place of the expected numerator. In simple quintuple meter, the 5 may be replaced as 2+3
8 or 2+1+2
8 for example.[1] A time signature of 15
8, 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".[2]

It is also possible for a 15
8 time signature to be used for an irregular, or additive, metrical pattern, such as groupings of 3+3+3+2+2+2 eighth notes or, for example in the Hymn to the Sun and Hymn to Nemesis by Mesomedes of Crete, 2+2+2+2+2+3+2, which may alternatively be given the composite signature 8+7
8.[3]

Similarly, the presence of some bars with a 5
4 or 5
8 meter signature does not necessarily mean that the music is in quintuple meter overall. The regular alternation of 5
4 and 4
4 in Bruce Hornsby's "The Tango King" (from the album Hot House), for example, results in an overall nonuple meter (5+4 = 9).[4]

History edit

 
Transcription of the opening of the First Delphic Hymn, by Athenaeus, son of Athenaeus

Before the 20th century, quintuple time was rare in European concert music, but is more commonly found in other cultures.

Ancient Greek music edit

Rhythm in ancient Greek music was closely tied to poetic meter, and included what are understood today as quintuple patterns. The two Delphic Hymns from the second century BC both provide examples. The First Delphic Hymn, by Athenaeus, son of Athenaeus, is in the quintuple Cretic meter throughout. The first nine of the ten sections of the Second Hymn, by Limenius, are also in Cretic meter.[5]

In addition to the Cretic meter, which consisted of a long-short-long pattern, ancient Greek music had seven other quintuple meters: Bacchic (L-L-S), Palimbacchic (or antibacchic: S-L-L), four species of Paeanic (L-S-S-S, S-L-S-S, S-S-L-S—which is a composite of pyrrhic and trochee—and S-S-S-L), and hyporchematic (S-S-S-S-S).[6]

Asia, Transcaucasia, and the Middle East edit

Arabic theorists already in the early Abbasid period (AD 750–900) described modal rhythmic cycles (īqā‘āt), that included quintuple meters, though taxonomies and terminology vary amongst writers. The first figure to describe these rhythms was Abū Yūsuf Ya‘qūb al-Kindī (ca 801–ca 866), who divided them into two broad categories, ṯẖaqīl ("heavy", meaning slow) and khafīf ("light", meaning quick). Two of his ṯẖaqīl modes—ṯẖaqīl thānī ("second heavy", S-S-L-S) and ramal (L-S-L)—and one khafīf mode are quintuple.[7] The most important writers of the later Abbasid period (AD 900–1258) were Abū Naṣr al-Fārābī (d. 950) and Ibn Sīnā (d. 1037). Al-Fārābī elaborated the rhythmic system established a century earlier by another important early Abbasid musician, Isḥāq al-Mawṣilī, who had based it on local traditions, without any knowledge of classical Greek music theory.[8] Isḥāq's and al-Fārābī's system consisted of eight rhythmic modes, the third and fourth of which were quintuple: called ṯẖaqīl thānī ("second heavy"), and khafīf al-ṯẖaqīl thānī ("second light heavy"), both of which are short-short-short-long, in slow and fast tempo, respectively.[9] This terminology and these definitions continued to be found as late as the 12th century in Muslim Spain, for example in a document by Abd-Allāh ibn Muḥammad ib al-Ṣīd al-Baṭaliawsī.[10]

In the Moroccan Malḥūn repertory (an urban song style closely associated with Andalusian music), 5
8 rhythms are sometimes introduced into the basic meter of 2
4.[11] Turkish classical music employs a system of rhythmic modes (called usul), which include units ranging from two to ten time units. The five-beat meter is called türk aksağı.[12]

The traditional music of Adjara in Western Georgia includes an ancient war-dance called Khorumi, which is in quintuple meter.[13]

The cyclically repeating fixed time cycles of Carnatic and Hindustani classical music, called tālas, include both fast and slow quintuple patterns, as well as binary, ternary, and septenary cycles.[14] In the Carnatic system, there is a complex "formal" system of tālas which is of great antiquity, and a more recent, rather simpler "informal" system, comprising selected tālas from the "formal" system, plus two fast tālas called Cāpu. The slow quintuple tāla, called Jhampā is from the formal system, and consists of a pattern of 7+1+2 beats; the fast quintuple tāla is called khaṇḍa Cāpu or ara Jhampā, and consists of 2+1+2 beats. However, the pattern of beats marking the rotation of the cycle does not necessarily indicate the internal rhythmic organization. For example, although the Jhampā tāla, in its most common miśra variety, is governed by 2+1+2, the most characteristic rhythm of melodies in this tāla is (2+3) + (2+3).[15]

The tālas in Hindustani music are somewhat more complicated. To begin with, they are not systematically codified, but rather comprise a miscellany of patterns from a number of different repertories. Secondly, the counting units (mātrā) of each tāla are grouped into segments called vibhāg, which constitute slower "beats" of from 1+1⁄2 to 5 of those counting units. Third, in addition to the sounded vibhāg, marked by hand-claps (tālī), there are also vibhāg marked only by a wave of the hand—the so-called khālī beats. The two quintuple tālas in these repertories are Jhaptāl—2+3+(2)+3—and Sūltāl—2+(2)+2+2+(2). Both are measured by ten mātrā units, but Jhaptāl is divided into four unequal vibhāg (the third being a khālī beat) in two halves of five mātrā each, and Sūltāl is divided into five equal vibhāg, the second and fifth of which are khālī.[16]

The kasa repertory of traditional Korean court music often employs cycles in quintuple time, even though Korean traditional music terminology has no specific term for it. This repertory can be traced back in some cases to the fifteenth century. Quintuple meter is also occasionally found in folk music, with perhaps the most well-known example being the Eotmori (엇모리) rhythm (장단) often employed in Sanjo.[17] Quintuple is the oldest surviving traditional Korean meter.[18]

Australia edit

Quintuple meter occurs as a variation in some women's dance songs of indigenous Australians, where a 5
8 measure is occasionally inserted into songs with a basic duple or four-beat pattern.[19]

The Americas edit

Traditional dance songs of the Yupik of Alaska are accompanied by frame drums, beaten with a long thin wand, most commonly in a 5
8 crotchet–dotted crotchet (quarter–dotted quarter) pattern.[20]

European folk music edit

Many European folk and traditional repertories also feature quintuple meter. This is particularly true of Slavic cultural groups. The Bulgarian "paidushko" dance, for example, is in a fast 5, counted 2+3.[21] In north-eastern Poland (especially in Kurpie, Masuria, and northern Podlaskie), five-beat bars are frequently found in wedding songs, with rather slow tempos and not accompanied by dancing. Traditional Russian wedding songs also are in quintuple time.[22] The Poles and Russians share this proclivity for quintuple meter with the Finns, Sami people, Estonians, and Latvians.[23] In Finland, the Kalevalaic "runometric" songs are the most distinctive feature of folk music, and the most common melody of these epic songs is in quintuple meter. This melody was described in the oldest study of runo singing in 1766, but first published in a musical transcription only about 20 years later.[24] One South Slavic example is recorded in a manual published in 1714 by the Venetian dancing master Gregorio Lambranzi. It is a forlana titled "Polesana", probably meaning "From Pola", a city in Istria—today a part of Croatia but a Venetian possession until 1947. Although Lambranzi notated this dance in 6
8 time, its recurring phrase structure shows it to be in compound-quintuple time, so that its correct form is actually written in 15
8.[25]

Greek folk music is also characterized by rhythms in asymmetrical meters. The repertory of the Peloponnese, for example, includes the Doric tsakonikos from Doric-speaking (see Tsakonian language) Kynouria in 5
4 time.[26] The Epirus region of Northern Greece also has dance melodies in a slow 5 (2–3).[27]

Spanish folk music is also noted for the use of quintuple meter, particularly well-known examples being the Castilian rueda and the Basque zortziko, but it is also found in the music of Extremadura, Aragon, Valencia, and Catalonia.[28] Some types of the folk dances collectively referred to as gavottes, and stemming from Lower Brittany in France are in 5
8 meter, though 4
4, 2
4, and 9
8 are also found.[29] In the Alsatian region of Kochersberg, a peasant dance called the Kochersberger Tanz is in 5
8 time, and is similar to a dance of the Upper Palatinate in Bavaria called Der Zwiefache or Gerad und Ungerad, because it alternates even and uneven bars (2
8 and 3
8).[30]

European art music edit

Medieval and Renaissance edit

In European art music it became possible only in the 14th century to notate quintuple rhythms unambiguously, through the use of minor or reversed coloration.[31] In some instances from the late-14th-century Ars subtilior period, quintuple passages occur which are long enough to regard as an established meter. For example, in the secunda pars of an anonymous two-voice Fortune (MS Paris, Bibliothèque Nationale ital. 568, fol. 3), a "clear and definite rhythm" in the upper part creates a 5
8 meter set against the 6
8 of the lower part.[32] The earliest complete European compositions in quintuple time, however, appear to be seven villancicos in the Cancionero Musical de Palacio, which were composed between 1516 and 1520.[33] Notation of the quintuple meter in these seven pieces is achieved in various ways:[34]

  • Juan del Encina uses the mensuration  5
    1     in "Amor con fortuna", but in "Tan buen ganadico", he uses a signature of 3²
    5²     (1496).[clarification needed]
  • Juan de Anchieta uses  5
    1     (tempus perfectum, proportio quintupla), in both "Con amores, mi madre" (1465), and "Dos ánades, madre".
  • The anonymous "Pensad ora'n al" uses the mensuration  5
    2    .
  • "Las mis penas madre" by Pedro de Escobar and "De ser mal casada" by Diego Fernández (d. 1551) both use just the proportion sign 5
    2    .

Other examples from the 16th century include the In Nomine "Trust" by Christopher Tye,[35] the "Qui tollis" section of Jacob Obrecht's Missa "Je ne demande", the "Sanctus" from the Missa Paschalis by Heinrich Isaac,[31] and the final "Agnus Dei" of Antoine Brumel's Missa "Bon temps".[36] Keyboard examples from this period include the first half of an English setting of the offertory Felix namque from about 1530, and a passage in no. 41 of the Libro de tientos (1626) by Francisco Correa de Arauxo.[31]

Baroque and Classical edit

In the Baroque and Classical eras quintuple meter is, if anything, even less frequently encountered than in the Renaissance. One possible example is the ritornello that precedes and follows Orfeo's aria "Vi ricorda" in act 2 of Claudio Monteverdi's L'Orfeo. The notation is problematic, however, and while several editors (Robert Eitner, Vincent d'Indy, Hugo Leichtentritt, and Carl Orff) have transcribed it in quintuple meter, others interpret it differently.[37] The verses of Giovanni Valentini's madrigal Con guardo altero, published in Musiche a doi voci (1621) is composed in 5
4.[38] Johann Heinrich Schmelzer included a 5
4 section of 27 measures in his Harmonia à 5, composed by at least 1668.[39] Two brief passages of 5
8 occur in the "mad scene" (act 2, scene 11) from Handel's opera Orlando (1732), first at the words "Già solco l'onde" ("Already I am cleaving the waves") when the demented hero believes he has embarked on Charon's boat on the Styx, and then again two bars later.[31] Charles Burney found this whole scene admirable, as a portrait of Orlando's madness, but observed that "Handel has endeavoured to describe the hero's perturbation of intellect by fragments of symphony in 5
8, a division of time which can only be borne in such a situation".[40] Burney's German contemporary, Johann Kirnberger, also felt that "No one can repeat groups of five and even less of seven equal pulses in succession without wearisome strain".[41]

Another exceptional 18th-century example is an entire aria composed in 5
4 time, "Se la sorte mi condanna" found in Andrea Adolfati's opera Arianna (1750),[42] but the English theater composer William Reeve, with the last movement of his Gypsy's Glee (1796), to the words "Come, stain your cheeks with nut or berry" (in 5
4 time) is credited with having composed an example in true quintuple time, "for instead of the usual division of the bar into two parts, such as might be expressed by alternate bars of 3
4 and 2
4, or 2
4 and 3
4, there are five distinct beats in every bar, each consisting of an accent and a non-accent. This freedom from the ordinary alternation of two and three is well expressed by the grouping of the accompaniment, which varies throughout the movement…".[43]

19th century edit

There appear to have been several motivations for composers to use quintuple time: firstly to demonstrate technical skill, as in the Tye and Correa de Arauxo examples, and secondly to produce an atmospheric effect, or to suggest unease or unusual excitement, as in Handel's Orlando. In the 19th century, a third motivation arises with the rise of nationalistic music, which often invokes folk-music elements.[31] In any case, quintuple time becomes much more frequent (though still not common) in the 19th century. Early examples include Fugue 20 (Allegretto) from Anton Reicha's Trente-six fugues for piano (1805),[44] the tenor aria "Viens, gentille dame" from act 2 of François-Adrien Boieldieu's opera La dame blanche (1825),[45] and the third movement (Larghetto, con molta espressione), from Frédéric Chopin's Piano Sonata No. 1 in C minor, Op. 4 (1828).[46] Although Reicha's fugue probably falls into the category of technical skill, the composer does mention taking as a model for the meter the Alsatian Kochersberger Tanz.

Nationalistic influence is clearer in the operas of the Russian composer Mikhail Glinka: the "Nuptial chorus and scene" from act 3 of the opera A Life for the Tsar (1834–1836) was the first time a composer of art music set the pentasyllabic hemistichs of Russian wedding songs in quintuple meter instead of adapting it to a more conventional one.[47] In his next opera, Ruslan and Ludmila (1837–1842) Glinka repeated the effect in the opening of act 1, where the chorus sings an epithalamium to Lel', the Slavonic god of love, once again in quintuple time.[48] Later Russian examples are found in Tchaikovsky's folk-song settings: Fifty Russian Folk Songs for piano four-hands (1868–1869), Children's Ukrainian and Russian Folksongs (book 1: 1872, book 2: 1877), and Sixty-Six Russian Folk Songs for voice and piano (1872), where quintuple meter is notated by regularly alternating signatures, usually 3
4 and 2
4.[49] Also Nikolai Rimski-Korsakov's Russian Easter Festival Overture initial theme is in 5
2.

Shorter passages also occur in the music of Hector Berlioz: La tempête (1830), later incorporated into Lélio as the finale, has "quintuple metre for a whole section, notated in compound duple; 'bars' of 15
4 are defined by a recurring rhythmic pattern and by accents (six 'bars' covering bars 289–306 in the 6
4 notation)",[50] and the "Combat de ceste" (No. 5), from Les Troyens (1856–1858), has "an attractive 5
8 section, only eight bars long".[50] The outer sections of the scherzo from Alexander Borodin's unfinished Third Symphony are in 5
8 time, interrupted six times in bars 36–38, 69–71, 180–182, 218–220, 352–354, and 392–394 with a three-bar group in 2
4. The central trio section, b. 235–313 is in 3
4 time.[51]

From around the middle of the century, there is Carl Loewe's ballad for voice and piano, "Prinz Eugen, der edle Ritter", Op. 92 (to the poem by Ferdinand Freiligrath, 1844), which is in 5
4 time throughout,[52] Ferdinand Hiller's Piano Trio No. 4, Op. 64 (1855) and Rhythmische Studien for piano,[31] a String Trio by K. J. Bischoff, which was awarded a prize by the Deutsche Tonhalle in 1853,[53] and Benjamin Godard's Violin Sonata No. 4, Op. 12 (1872) which includes a scherzo in 5
4 time throughout.[54] The piano virtuoso Charles-Valentin Alkan showed an interest in unusual rhythmic devices, and composed at least four keyboard pieces in quintuple time: the first three of the Deuxième recueil d'impromptus, Op. 32, no. 2 (1849), Andantino, Allegretto, and Vivace (the fourth and last piece in this collection is in septuple meter),[55] and a 5
4 "Zorzico dance" episode in the Petit Caprice, réconciliation, Op. 42 (1857).[56] In opera, Wagner, inserted several 5
4 bars in "Tristan, der Held, in jubelnder Kraft", in act 3 of Tristan und Isolde (1856–1859).[57] Another instance from around this same time is found in Anton Rubinstein's "sacred opera" Der Thurm zu Babel (The Tower of Babel), Op. 80 (1868–1869).[31] In Johannes Brahms's late collection of six vocal quartets, Op. 112, the second piece, "Nächtens", is entirely in 5
4.[58] At the very end of the century, Alban Berg used 5
4 meter throughout his song-setting of Theodor Storm's poem, "Schließe mir die Augen beide" (1900).[59]

Three of the best-known examples of quintuple meter in the symphonic repertoire are from late in the neoromantic (or post-romantic) period, which reaches from the mid-19th century through World War I: the second movement of Tchaikovsky's Symphony No. 6 in B minor, "Pathétique", Op. 74 (1893)[60] (described by one author as the very first example of quintuple meter in Western classical music),[61] Rachmaninoff's The Isle of the Dead, Op. 29 (1908),[62] and the opening movement, "Mars, the Bringer of War" of The Planets (1914–1916) by Gustav Holst. (The final movement, "Neptune, the Mystic", is also in quintuple meter, but this is less well known.)[63] The first theme of Tchaikovsky's Symphony No. 6, mvmt. II is shown below.

 

The Finnish composer Jean Sibelius used a pattern of quintuple meter in the third movement of Kullervo (1891–1892), where "the orchestra maintains a pattern of five beats in a bar, while the chorus elongates its lines to phrases of fifteen, ten, eight, and twelve beats, respectively".[64] These are Karelian rhythms, reflecting nationalism in Sibelius's music. He used these quintuple meters as well in several male-chorus works: "Venematka" (no. 3 from Six Partsongs, Op. 18, 1893), the third movement, "Hyvää iltaa, lintuseni", from Rakastava, Op. 14 (1894), and "Sortunut ääni" (no. 1 from Six Partsongs, Op. 18, 1898).[65]

In 1895, the British composer Samuel Coleridge-Taylor wrote the second movement, "Serenade", of his Fantasiestücke, Op. 5, for string quartet in 5
4 time.[66] A little more than ten years later, the Scottish composer Robert Ernest Bryson wrote a string-orchestra fantasy titled Vaila in 5
4 time.[67]

In the piano repertoire, the "Promenade", from Modest Mussorgsky's Pictures at an Exhibition (1874), has five versions, in each of which 5
4 is mixed with other meters, regularly or irregularly:

  1. 5
    4     alternates with 6
    4     for eight bars, then two of 6
    4     and one pair of 5
    4     + 6
    4    , ending with twelve bars of 6
    4
  2. 5
    4     alternates regularly with 6
    4     throughout (effectively 11
    4    )
  3. regular alternation of 5
    4     and 6
    4     until the final two bars, which are 5
    4     and C
  4. irregular mixture of 5
    4    , 6
    4    , and 7
    4    , with a single 3
    4     bar at the end
  5. four pairs of regularly alternating 5
    4     and 6
    4    , then an irregular mixture of 5
    4    , 6
    4    , and 7
    4     to the end.[68]

The opening measures are shown below:

 

To this same period (and to the Russian tradition) also belongs "Prizrak" (Phantom), in 5
8 time, which is No. 4 of Sergei Prokofiev's Four Pieces for Piano, Op. 3 (1911).[69]

These examples are all simple quintuple time. Compound quintuple meter is less frequent, but an instance is found in the middle section of the third movement, "Andante grazioso", of Brahms's Piano Trio No. 3 in C minor, Op. 101 (1886), which is in 15
8 with 9
8 turnarounds.[70] "Fêtes", the second movement of Claude Debussy's Nocturnes for orchestra (1892–1899), also has a recurring passage of two 15
8 bars, embedded in a context of mainly compound triple (9
8) bars.[71] The seventh of Florent Schmitt's Eight Short Pieces for piano four-hands (1907–1908), "Complainte", is in 15
8 with occasional bars of 9
8 inserted.[72] The first section of Nikolai Medtner's Piano Sonata Op. 25 No. 2 in E minor ("Night Wind"), which is from 1911, is "perhaps the most extended piece of music in 15
8 time in existence".[73]

20th century edit

The common occurrence of quintuple meter in many folk-music traditions caused an increase in its appearance in the works of composers with nationalistic tendencies in the early 20th century.[31] Examples are the Prelude in the Unison from George Enescu's Orchestral Suite No. 1, Op. 9 (1903),[74] "In Mixolydian Mode", "Bulgarian Rhythm (2)", and the third of "Six Dances in Bulgarian Rhythm", nos. 48, 115, and 150 from Béla Bartók's Mikrokosmos (1926, 1932–1939),[75] the "Chanson épique", no. 2 from Maurice Ravel's song cycle Don Quichotte à Dulcinée (1932–1933),[76] and the first theme group of Carlos Chávez's Sinfonía india (1935–1936), which is predominantly in 5
8 time, but mixed with other meters.[77] Another impulse for the use of quintuple meter was to evoke pagan and specifically Ancient Greek culture. The 5
4 meter of the bacchanalian "Danse générale" concluding Ravel's ballet Daphnis et Chloé (1909–1912) is a particularly well-known example.[78] In his First Symphony, the Sinfonía de Antígona (1933), Carlos Chávez reworked incidental music he had composed in 1932 for a production of Sophocles' Antigone in the adaptation by Jean Cocteau. In this symphony Chávez made extensive use of the Greek paeonic (or cretic) meter, notated in 5
8 time in the score.[79] The fourth and last movement of Ravel's String Quartet is mostly in 5
8 and 5
4 time, alternating several times with 3
4 time.[80]

A fourth example from Ravel is a particularly intense, if brief use of quintuples for symbolic purposes. This is Frontispice for two pianos (1918), written at the request of Ricciotto Canudo to accompany a philosophical meditation on World War I, titled S.P. 503, le poème du Vardar. Canudo's title bears the numerical designation of the postal sector of his combat division, and Ravel used the numbers as the basis of his composition. Five staves of music, "'progressing' vertically from flats through naturals to sharps, are played by five hands (three players) in meters of 15
8 (i.e., (3×5)
(3+5)) and 5
4".[81]

The Basque setting of Pierre Loti's play Ramuntcho made the inclusion of Basque traditional melodies in the incidental music composed for it in 1907 by Gabriel Pierné a natural choice. Pierné included at the end of act 2 an arrangement of the Basque anthem Gernikako Arbola by José María Iparraguirre, which is in zortziko rhythm,[82] but he also quotes traditional zortziko melodies, as well as imitating their quintuple rhythms, in the opening "Ouverture sur des thèmes populaires basques"[83] as well as in the "Rapsodie basque" that serves as an interlude between the first and second tableaux of act 2.[84] Pierné, who was attracted to quintuple meter as part of a broader taste for exoticism,[85] also employed quintuple meter in his Piano Quintet, Op. 41 (1917), and in the Fantaisie basque, Op. 49 (1927), for violin and orchestra. The outer sections of the second movement of the Quintet are in 5
8 time, and marked "Sur une rythme de Zortzico",[86] while the contrasting central section superimposes 20
8 on 4
2 time, in "quadruple quintuple" meter.[87] In the Fantaisie, a long section near the beginning is in 5
8 time, and is marked "Rythme de Zortzico".[88]

Igor Stravinsky's name is often associated with rhythmic innovation in the 20th century, and quintuple meter is sometimes found in his music—for example, the fugato variation in the second movement of his Octet (1922–1923) is written almost uniformly in 5
8 time.[89] Much more characteristically, however, quintuple bars in Stravinsky's scores are found in a context of constantly changing meters, as for example in his ballet The Rite of Spring (1911–1913), where the object appears to be the combination of two- and three-note subdivisions in irregular groupings.[90]

 
Stravinsky, "Sacrificial Dance" (excerpt), from The Rite of Spring

This treatment of rhythm subsequently became so habitual for Stravinsky that, when he composed his Symphony in C in 1938–1940, he found it worth observing that the first movement had no changes of meter at all (though the metrical irregularities in the third movement of the same work were amongst the most extreme in his entire output).[citation needed]

So many other composers followed Stravinsky's example in the use of irregular meters that the occasional occurrence of quintuple-time bars becomes unremarkable from the 1920s onward.[31] Entire movements with a constant five-to-a-bar rhythm are less-often encountered. An example is the second-movement "Lament" of the Double Concerto for Two Violins and Orchestra, Op. 49 (1929), by Gustav Holst.[91] One particularly notable pre–World War II quintuple-meter composition is the popular first movement, "Aria (Cantilena)" (1938), of the Bachianas Brasileiras no. 5 by Heitor Villa-Lobos (the second movement was added only in 1945). The opening and closing parts of this aria for soprano and orchestra of cellos is predominantly in 5
4, and the middle section is entirely in that meter.[92]

Written during the war, the third movement, Andante calmo, of Benjamin Britten's String Quartet No. 1 (1941) is in 5
4.[93] The Ludus Tonalis by Hindemith (1942) has several instances of quintuple meter: its Preludium and retrograde-inverted Postludium each have a Solenne, largo section in 15
8;[94] Fugue II in G is in 5
8;[95] and though Fugue VIII in D[96] is notated in 4
4, its music is predominantly in 5
4, so shifts one beat forward each measure with respect to its notated meter.[original research?] The Passacaglia for piano (1943) by Walter Piston is in quintuple meter.[97]

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),[98] and Britten set "Green Leaves Are We, Red Rose Our Golden Queen", the opening chorus from his opera Gloriana, Op. 53 (1952–1953, rev. 1966), in 5
4 time.[99] Dmitri Shostakovich set Fugues 12, 17, and 19 from his Twenty-Four Preludes and Fugues for piano, Op. 87 (1950–1951) entirely in 5
4 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.[100] Fugue No 17 in A♭ major follows in the Slavic tradition of "naturally" flowing music in five time.[101]

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 5
4),[102] "Variation IV: Più mosso" (in 5
8 time), in Part I of The Age of Anxiety: Symphony No. 2 (1949) by Leonard Bernstein.[103] Britten composed his Canticle III ("Still Falls the Rain"), Op. 55 (1954), in variation form, with the "Theme", "Variation IV", and "Variation VI" all in 5
4.[104] In a similar fashion, extended single-movement compositions may set off large sections by using contrasting meters. Quintuple meter is used in this way by Rob du Bois in his Concerto for Two Violins and Orchestra (1979), where bars 160–175 and 227–277 are in 5
8.[105]

In the minimal music that emerged in the late 1960s, quintuple meter is not often encountered. A rare exception is found in an early work by Steve Reich, Reed Phase (1966), which is built on the constant repetition of a five-note basic unit in steady eighth notes.[106]

 

Reich was not satisfied with the result, largely because of the failure of the meter to produce the kind of rhythmic ambiguity found in the 12-beat patterns he came to favour:

which can divide up in very different ways; and that ambiguity as to whether you're in duple or triple time is, in fact, the rhythmic life-blood of much of my music. In this way, one's listening mind can shift back and forth within the musical fabric, because the fabric encourages that. But if you don't build in that flexibility of perspective, then you wind up with something extremely flat-footed and boring.[107]

Reich's 1979 Octet (originally scored for two pianos, string quartet, and two wind players who perform on both flutes and clarinets), revised and rescored as Eight Lines) is entirely in quintuple time.[108]

Jazz and popular music edit

A survey of American popular music found that the most common accent pattern used in quintuple meter is strong-weak-weak-medium-weak.[109]

Musical theatre edit

Until after the Second World War, quintuple time was virtually unheard of in the American genres of jazz and popular music. When in 1944, Stravinsky was commissioned by Billy Rose to compose a fifteen-minute dance component to be incorporated into his Broadway revue, The Seven Lively Arts, Stravinsky composed Scènes de ballet, to be choreographed by Anton Dolin. Rose was enthusiastic about the new score when initially he saw the piano reduction made by Ingolf Dahl, but later was dismayed by the sound of the orchestra, and offended the composer by telegraphing the suggestion that Stravinsky should allow the scoring to be "retouched" by Robert Russell Bennett, who "orchestrates even the works of Cole Porter".[110] Whole sections of the score had to be cut for the Philadelphia premiere, because the New York pit musicians, accustomed to the conventions of Broadway musicals of that period, were unable to manage the 5
8 bars that feature in Stravinsky's score.[111]

A dozen years later, things were changing in musical theater in New York. Leonard Bernstein's Candide opened on Broadway in December 1956, and featured a variety of meters that Billy Rose's musicians would have found as impossible as Stravinsky's. In act 1, the quartet "Universal Good" is a chorale in 5
4 time, and the main verses of "Ballad of Eldorado" in act 2 are in 5
8, with turnarounds in 7
8 or 3
4 + 7
8.[112] Mary Rodgers's 1959 Once Upon a Mattress featured the 5
4 song "Sensitivity".[113] Later examples in musical theater include the song "Everything's Alright", from Jesus Christ Superstar (1971), by Andrew Lloyd Webber, which is mainly in 5
4,[114] and "Ladies in Their Sensitivities" from Stephen Sondheim's Sweeney Todd (1979), which is in 5
8.[115] Sondheim also alternates 5
4 with 4
4 (at the passage beginning "Living like a shut-in") and 5
4 and 6
4 (at "All I ever dreamed I'd be") in the song "In Buddy's Eyes' from Follies (1971).[116]

Jazz edit

In 1914, American ragtime composers James Reese Europe and Ford Dabney composed and recorded a dance tune in 5
4 called "Castles' Half and Half", based on a dance created by Vernon and Irene Castle (described as a "hesitation waltz"). Additional tunes in 5
4 were also composed by others in 1914 to accompany the dance.[117][118][119]

In 1959, the Dave Brubeck Quartet released Time Out, a jazz album with music in unusual meters. It included Paul Desmond's "Take Five", in 5
4 time.[120] Brubeck had studied with the French composer Darius Milhaud, who in turn had been strongly influenced by Stravinsky, and is credited with the systematic introduction of asymmetrical and shifting rhythms that sparked a far-reaching surge of interest in jazz and popular music in the 1960s.[121]

The 1960 Max Roach album We Insist! contains three tracks making use of 5
4.[122]

Starting in 1964, the trumpeter and band leader Don Ellis sought to fuse traditional big-band styles with rhythms borrowed from Indian and Near Eastern music; this was largely initiated by his UCLA ethnomusicology studies with sitar player Harihar Rao and his contact with Turkish-American music producer Arif Mardin.[123][124] For example, one of his largest works, Variations for Trumpet, is divided into six sections with meters including 5
4, 9
4, 7
4, and 32
8.[123] Two other Ellis compositions are entirely in 5
4 time: "Indian Lady" and "5/4 Getaway".[125]

In 1966, the popular American television drama series Mission: Impossible began a seven-season run with the 5
4 "Theme from Mission: Impossible" by Lalo Schifrin.[126] Schifrin said he wrote several compositions using Morse code as the rhythmic basis. Morse code for the initials of Mission Impossible (M.I.) is "_ _ .."; if a dot is one beat and a dash is one and a half beats, then this gives a bar of five beats, exactly matching the underlying rhythm.[127]

In 1968, Leonard Feather interviewed pianist Johnny Guarnieri in DownBeat magazine;[128] Guarnieri had spent the last few years working up arrangements of jazz standards changed to a 5
4 rhythm. Guarnieri stated "I can forsee 5/4, within the next few years, sweeping the world completely". Shortly afterwards, Guarnieri released an album on BET records called Breakthrough in 5/4, which consisted of original compositions in 5
4, jazz standards changed to 5
4, as well as a version of Yesterday in 5
4.[129]

Rock edit

In the late 1960s, quintuple meters began to appear with some frequency in rock-music contexts as well, where exploration of meters other than 4
4 became one of the hallmarks of progressive rock. One of the earliest examples is "Grim Reaper of Love" by The Turtles (May 1966).[130] Another early example is the instrumental that ends the George Harrison song "Within You Without You" (from the 1967 Beatles' LP "Sgt. Pepper's Lonely Hearts Club Band");[131] isolated 5
4 bars also occur in the Beatles' songs "Happiness Is a Warm Gun" and "Across the Universe".[132] [133] The Byrds' LP The Notorious Byrd Brothers (recorded in the second half of 1967, and released in January 1968) contained two songs using quintuple meter, "Get to You" and "Tribal Gathering".[134]

Under the influence of Brubeck, Keith Emerson of Emerson, Lake & Palmer began exploring unusual meters at about this same time. His first quintuple-meter piece was "Azrael, the Angel of Death", written in 1968, and the meter cropped up again three years later in the opening instrumental section, "Eruption", of the title track and some later passages from the album Tarkus.[135]

Frank Zappa frequently played in 5; two specific documented examples are "Flower Punk" from 1968 (a repeating pattern of 4 bars of 5 followed by 4 bars of 7)[136] and "Five Five Five" (bars of 5
8 combined with bars of 5
4).[137] Zappa even had a hand signal with which he could cue the band to quickly switch into a quintuple meter at any time during a live performance.[138]

Examples in popular music edit

Title Artist Year Notes
"Aliens" Coldplay 2017
"Azrael (Angel of Death)" The Nice 1967 written by Keith Emerson, released as a bonus track on the 1999 release of The Thoughts of Emerlist Davjack
"Bahlawan" Mira Awad 2015 5
8[139][140]
"Bane's theme" (from The Dark Knight Rises) Hans Zimmer.[141] 2012
"Black Widow Spider" Dr. John 1969 from the album Babylon. Described as inspired by Dave Brubeck's "Take Five".[142]
"Caesar's Palace Blues" U.K. 1979 5
4; from the album Danger Money.[143]
"Closure" Taylor Swift 2020 from the album Evermore.[144]
"Countdown" Dave Brubeck[145] 1962
"Dance of the Little Fairies" Sky 1980 [146]
"Do What You Like" Blind Faith 1969 5
4[145]
"Donkey Carol" John Rutter 1976 5
8; a Christmas carol.[147]
"English Roundabout" XTC.[145] 1982 from English Settlement
"Face Dances, Pt. 2" Pete Townshend 1982 5
4[148]
"15 Step" Radiohead 2007 from In Rainbows[149]
"5/4" Gorillaz 2001 5
4[150]
"5-4=Unity" Pavement 2001
"Morning Bell" Radiohead 2000 from Kid A
"Five" Lamb 1999 from Fear of Fours[151]
"Five Five Five" Frank Zappa 1981 bars of 5
8 combined with bars of 5
4
"From Eden" Hozier 2014 5
4[152]
"Get to You" The Byrds 1968 recorded late 1967, for The Notorious Byrd Brothers
"Grim Reaper of Love" The Turtles 1966
"Halloween Theme (main title)" John Carpenter[153] 1978 from Halloween
"Happiness Is a Warm Gun" The Beatles 1968 written by John Lennon and Paul McCartney
"Here Come The Bastards" Primus 1991 15
8;[154] from Sailing the Seas of Cheese
"Icon" OHMME 2018 5
4[155]
"In Her Eyes" Josh Groban 2006 5
4;[156] from the Awake
"The Incredits" Michael Giacchino 2004 main theme for The Incredibles 5
4[157]
"Isengard Theme" (from The Lord of the Rings film trilogy) Howard Shore 2002 [158]
"Kamisama no Shitauchi" Akeboshi 2005 5
4[159]
"Last Night" Vanessa Hudgens 2008 [160]
"Living in the Past" Jethro Tull 1969 5
4[161]
"River Man" Nick Drake 1969 5
4[162]
"Seven Days" Sting 1993 3+2
4[163]
"Soft Mistake" Lamb[151] 1999 from Fear of Fours
"Turn the World Around" Harry Belafonte 1977 5
4[164]
"Tribal Gathering" The Byrds 1968 recorded late 1967, for The Notorious Byrd Brothers
"Wind" Akeboshi 2002 5
4[159]
"Within You Without You" The Beatles 1967 written by George Harrison; recorded on Sgt. Pepper's Lonely Hearts Club Band
"WTF?" OK Go 2010 5
4[165]

Partially in quintuple time edit

Notes edit

  1. ^ Read 1964, 161 and 164–165.
  2. ^ Read 1964, 152.
  3. ^ West 1992, 304–307.
  4. ^ Hornsby 1995.
  5. ^ Pöhlmann and West 2001, 70–71 and 85.
  6. ^ Salinas 1577, 251–253.
  7. ^ Wright and Poché 2001, 2 (iv).
  8. ^ Neubauer 2001.
  9. ^ Sawa 2004, 164–166.
  10. ^ Sawa 2004, 151–154; Neubauer 2001.
  11. ^ Schuyler 2001.
  12. ^ Reinhard and Stokes 2001.
  13. ^ Dolidze, et al. 2001, III, 1 (ii).
  14. ^ Powers 2001, (i).
  15. ^ Powers 2001, (iii).
  16. ^ Powers 2001, (iv).
  17. ^ "Eotmori". Encyclopedia of Korean Folk Culture (in Korean). Retrieved 3 April 2021.
  18. ^ Condit 1978, 3 and 7; Lee 1981, 119 and 123.
  19. ^ May and Wild 1967, 210, 216.
  20. ^ Johnston 1989, 424, 431.
  21. ^ Rice 1994, 73–74.
  22. ^ Taruskin 1992a; Taruskin 1992b.
  23. ^ Stęszewski 2001.
  24. ^ Asplund 1985, 28.
  25. ^ Heartz 1999, 144–146.
  26. ^ Chianis and Brandl 2001.
  27. ^ Peristeres 1956.
  28. ^ Cunningham and Aiats 2001, 2(ii)(a).
  29. ^ Little 2001.
  30. ^ Engel 1876, 12.
  31. ^ a b c d e f g h i Hiley 2001.
  32. ^ Apel 1961, 401.
  33. ^ Hiley 2001; Schmitt 1995.
  34. ^ Hiley 2001; Pope and Knighton 2001
  35. ^ Tye 1967, 39–42, transcribed in 5
    4     throughout by the editor, Robert W. Weidner. Paul Doe (1988, 105–107), transcribes the same piece in 5
    4     except for one passage of 40 beats, which he renders as ten bars of 4
    4     instead of eight bars of 5
    4    , on the grounds that "repeated notes in the CF permit a harmonic structure based on a normal duple metre" (Doe 1988, 150).
  36. ^ Hudson 2001.
  37. ^ Apel 1951, 216–219.
  38. ^ Paxman 2014, 89.
  39. ^ Manuscript copied by Christian Geist in the Düben collection of Uppsala University Library. See digital scan at website of Uppsala Universitet.
  40. ^ Burney 1789, 4:364.
  41. ^ Kirnberger & [1776] 1982, 383.
  42. ^ Hansell and Steffan 2001; Hiley 2001.
  43. ^ Taylor 1890, 3:61.
  44. ^ Reicha 1973, 2:35–40.
  45. ^ Helmore 1879, 15; Hiley 2001.
  46. ^ Chopin 1976, 19–21.
  47. ^ Taruskin 1992a; Glinka 1907, 262–264.
  48. ^ Taruskin 1992b.
  49. ^ Kroetsch 1996, 18.
  50. ^ a b Rushton 1983, 128
  51. ^ Borodin n.d., 32–76.
  52. ^ Loewe & [ca. 1900].
  53. ^ Taylor 1890.
  54. ^ Godard 1880, pp. 13–19.
  55. ^ Eddie 2007, 104; MacDonald 2001.
  56. ^ Eddie 2007, 110.
  57. ^ Wiehmayer 1917, 79.
  58. ^ Brahms 1891, 1015.
  59. ^ Berg 1955, 1.
  60. ^ Tschaikowsky n.d., 58–87; Hiley 2001.
  61. ^ Gutmann 2003.
  62. ^ Rachmaninoff 2003.
  63. ^ Holst 1979, 1–31, 162–187.
  64. ^ Ross 2007.
  65. ^ Hepokoski 2001.
  66. ^ Richards 1987, 568.
  67. ^ Young and Montagu 1975, 79.
  68. ^ Mussorgsky 1914, 2–3, 7, 12, 18, 24–25.
  69. ^ Prokofiev 1926, 8–9; Nice 2003, 50; first 24 bars.
  70. ^ Brahms 1972, 134–137 of the score (= piano part).
  71. ^ Debussy 1941, 74–83.
  72. ^ Schmitt 1909.
  73. ^ Martyn 1998, 7.
  74. ^ Voicana, et al. 1971, 1:231.
  75. ^ Bartók 1940, 2:13, 4:36–37, and 6:42–44.
  76. ^ Ravel 1934.
  77. ^ Chávez 1950, 2–7; García Morillo 1960, 90–92, 186
  78. ^ Mawer 2000b, 144, 149.
  79. ^ García Morillo 1960, 76; Chávez 1948, 8–10, 13, 20–22
  80. ^ Ravel 1905, pp. 34–47.
  81. ^ Mawer 2000a, 52–53; Ravel 1975
  82. ^ Pierné 1908c, 62–63.
  83. ^ Pierné 1908b; Pierné 1908c, 1–15
  84. ^ Pierné 1908a, 7–25, specifically 15–18; Pierné 1908c, 48–61
  85. ^ Masson 2001.
  86. ^ Pierné 1919, 24–34, 38–47.
  87. ^ Pierné 1919, 34–38.
  88. ^ Pierné 1928, 12–20.
  89. ^ White 1979, 311.
  90. ^ White 1979, 212–213.
  91. ^ Holst 1973, 13–14.
  92. ^ Villa-Lobos 1947.
  93. ^ Parker 2013, §11.
  94. ^ Hindemith 1942, 4, 57.
  95. ^ Hindemith 1942, 9–11.
  96. ^ Hindemith 1942, 36–38.
  97. ^ Piston 1942.
  98. ^ Archibald 1992.
  99. ^ Howard 1969, 108.
  100. ^ Kroetsch 1996, 69–70.
  101. ^ Woodward
  102. ^ Holst 1973, 17–18, 22.
  103. ^ Bernstein 1993, 12–16.
  104. ^ Britten 1956, 1, 9, and 15.
  105. ^ Bois 1979, 28–30 and 39–42.
  106. ^ Potter 2000, 181.
  107. ^ Reich 2002, 130.
  108. ^ Reich 1979; Reich 1998
  109. ^ Murphy 2016.
  110. ^ White 1979, 420–21.
  111. ^ Craft 2007, 6.
  112. ^ Bernstein 1994, 40, 180–185.
  113. ^ Rodgers, Mary 1967, [page needed].
  114. ^ Lloyd Webber and Rice 1970, 12–17.
  115. ^ Horowitz and Sondheim 2010, 141.
  116. ^ Horowitz and Sondheim 2010, 206.
  117. ^ Suwannakit 2014, 31.
  118. ^ Sandke 2012.
  119. ^ Saull 2014, 117.
  120. ^ Kernfeld 2002, §1: Meter.
  121. ^ Macan 1997, 47.
  122. ^ Bowden 2018, 16.
  123. ^ a b Dickow 2002.
  124. ^ Fenlon 2002, 37.
  125. ^ Fenlon 2002, 35, 87–88.
  126. ^ Karger 1996.
  127. ^ Schifrin, Lalo (2011). Music Composition for Film and Television. Berklee Press.
  128. ^ Feather 1968.
  129. ^ Anon. & n.d.(f).
  130. ^ Anon. 2009b; Everett 2008, 308
  131. ^ Fujita, Hagino, Kubo, and Sato 1993, 1037–1048; Macan 1997, 47–48.
  132. ^ Fujita, Hagino, Kubo, and Sato 1993, 353–358.
  133. ^ Fujita, Hagino, Kubo, and Sato 1993, 12–17.
  134. ^ Menck 2007, 105, 119.
  135. ^ Macan 1997, 48; Emerson, Lake, and Palmer 1980.
  136. ^ Ulrich 2018, 604.
  137. ^ Vai 1982.
  138. ^ Butcher 2011, 131; Chevalier 1986, 15
  139. ^ My TEDx talk, Mira Awad, 8 May 2014. "When I put 'Bahlawan' to music, I chose a very specific beat, the five eighths."
  140. ^ Reply, Mira Awad's Facebook page, 22 March 2020. "the song is definitely in 5/8"
  141. ^ Film Score Junkie 2013.
  142. ^ Rebennack 1993.
  143. ^ Stringer n.d.
  144. ^ Shaffer 2020.
  145. ^ a b c Katzif 2008.
  146. ^ Sliwa 2005.
  147. ^ Rutter 1976.
  148. ^ Townshend n.d.
  149. ^ Fishko 2008.
  150. ^ a b Anon. & n.d.(b).
  151. ^ a b Future Music 2016.
  152. ^ Anon. 2016.
  153. ^ Spencer 2008, 245.
  154. ^ Primus 2000, 1:43–46.
  155. ^ Thiessen, Christopher (2018-12-12). "The 10 Best Indie Rock Albums of 2018". Pop Matters. Retrieved 2020-12-07.
  156. ^ Ochs, Cohen, Selby, and Groban 2008.
  157. ^ Michael 2007.
  158. ^ Shore 2002.
  159. ^ a b Kkunurashima 2006.
  160. ^ Anon. 2008.
  161. ^ Macan 1997, [page needed].
  162. ^ Anon. & n.d.(d); Katzif 2008
  163. ^ IrishDrummerGuy 2011.
  164. ^ Belafonte & Freedman 1975.
  165. ^ Kulash & Go 2010.
  166. ^ . Archived from the original on 2018-04-01.
  167. ^ Anon. & n.d.(c).
  168. ^ Heisel 2014.
  169. ^ Holmes 2016.
  170. ^ Banks, Collins, and Rutherford 1978.
  171. ^ "fallen shepherd ft. RabbiTon Strings (ARM, IOSYS) - ENDYMION".
  172. ^ Anon. 2009a.
  173. ^ "Vs. Ridley - Super Metroid (arranged by Nate Alberda)". Musescore. 24 September 2022.
  174. ^ Cohen 2009.
  175. ^ Led Zeppelin 1973, 118–23.
  176. ^ "The first riff in 5
    4     is driving, but it's almost like a straight 4
    4     line to me" (Shiraki and Bradman 2001, 6).
  177. ^ "The Hammer". Musicnotes.
  178. ^ Townshend 1966.
  179. ^ Anon. 2007–2015.
  180. ^ Riccio 2004.
  181. ^ Browne 2001.
  182. ^ Dibben 2011.
  183. ^ Waters 1999.
  184. ^ Drozdowski 2011.
  185. ^ Thompson 2018.
  186. ^ Picton, Cameron. "953". Retrieved 9 November 2021.
  187. ^ Harris 1982.
  188. ^ Lilholt n.d.
  189. ^ "stereolab | **Stereolab alternative titles:**". www.facebook.com. Retrieved 2023-05-19.
  190. ^ Beyoncé, Blake, and Garrett 2016.
  191. ^ Mills 2014.
  192. ^ Anon. & n.d.(e).
  193. ^ "I think "Red" [from the Crimson LP of the same name] was a beautiful piece of Heavy metal—in 5 [the unusual time signature 5
    8    ]. I mean, I hadn't heard heavy metal in 5 before, but for me that was it."(Fripp and Mandl 1991, [page needed]).
  194. ^ Musescore. "The River - King Gizzard and the Lizard Wizard". Musescore.com. Retrieved 2021-07-13.
  195. ^ Pickard, Joshua (2 September 2022). "Turning 25: Musicians discuss some of their favorite records from 1997". Beats Per Minute. Retrieved 28 April 2023.
  196. ^ Bennett 2008, 105.
  197. ^ Yes 1981, [page needed].
  198. ^ Anon. & n.d.(a).
  199. ^ Tiemann 2014.
  200. ^ NatuMz n.d.
  201. ^ Reuland 2011, 61, 66.

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Further reading edit

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  • Miner, Ansorena, and José Ignacio. 1993. "El zortziko: La frase de ocho compases y el compás de cinco por ocho". Txistulari, no. 155 (July–September).
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  • Sánchez Ekiza, Carlos. 1991b. "En torno al zortziko". Cuadernos de etnología y etnografía de Navarra 23, no. 57 (January–June): 89–103.

January 01, 1970
quintuple, meter, quintuple, time, musical, meter, characterized, five, beats, measure, they, consist, combination, variably, stressed, equally, stressed, beats, like, more, common, duple, triple, quadruple, meters, simple, with, each, beat, divided, half, com. Quintuple meter or quintuple time is a musical meter characterized by five beats in a measure They may consist of any combination of variably stressed or equally stressed beats Like the more common duple triple and quadruple meters it may be simple with each beat divided in half or compound with each beat divided into thirds The most common time signatures for simple quintuple meter are 54 and 58 and compound quintuple meter is most often written in 158 Contents 1 Notation 2 History 2 1 Ancient Greek music 2 2 Asia Transcaucasia and the Middle East 2 3 Australia 2 4 The Americas 2 5 European folk music 2 6 European art music 2 6 1 Medieval and Renaissance 2 6 2 Baroque and Classical 2 6 3 19th century 2 6 4 20th century 2 7 Jazz and popular music 2 7 1 Musical theatre 2 7 2 Jazz 2 7 3 Rock 3 Examples in popular music 3 1 Partially in quintuple time 4 Notes 5 Sources 6 Further readingNotation edit source source source source source source 158 as 54 with 3 subdivisions source source source source source source 158 as 34 with 5 subdivisions Simple quintuple meter can be written in 54 or 58 time but may also be notated by using regularly alternating bars of triple and duple meters for example 24 34 Compound quintuple meter with each of its five beats divided into three parts can similarly be notated using a time signature of 158 by writing triplets on each beat of a simple quintuple signature or by regularly alternating meters such as 68 98 Another notational variant involves compound meters in which two or three numerals take the place of the expected numerator In simple quintuple meter the 5 may be replaced as 2 38 or 2 1 28 for example 1 A time signature of 158 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 2 It is also possible for a 158 time signature to be used for an irregular or additive metrical pattern such as groupings of 3 3 3 2 2 2 eighth notes or for example in the Hymn to the Sun and Hymn to Nemesis by Mesomedes of Crete 2 2 2 2 2 3 2 which may alternatively be given the composite signature 8 78 3 Similarly the presence of some bars with a 54 or 58 meter signature does not necessarily mean that the music is in quintuple meter overall The regular alternation of 54 and 44 in Bruce Hornsby s The Tango King from the album Hot House for example results in an overall nonuple meter 5 4 9 4 History edit nbsp Transcription of the opening of the First Delphic Hymn by Athenaeus son of Athenaeus Before the 20th century quintuple time was rare in European concert music but is more commonly found in other cultures Ancient Greek music edit Rhythm in ancient Greek music was closely tied to poetic meter and included what are understood today as quintuple patterns The two Delphic Hymns from the second century BC both provide examples The First Delphic Hymn by Athenaeus son of Athenaeus is in the quintuple Cretic meter throughout The first nine of the ten sections of the Second Hymn by Limenius are also in Cretic meter 5 In addition to the Cretic meter which consisted of a long short long pattern ancient Greek music had seven other quintuple meters Bacchic L L S Palimbacchic or antibacchic S L L four species of Paeanic L S S S S L S S S S L S which is a composite of pyrrhic and trochee and S S S L and hyporchematic S S S S S 6 Asia Transcaucasia and the Middle East edit Arabic theorists already in the early Abbasid period AD 750 900 described modal rhythmic cycles iqa at that included quintuple meters though taxonomies and terminology vary amongst writers The first figure to describe these rhythms was Abu Yusuf Ya qub al Kindi ca 801 ca 866 who divided them into two broad categories ṯẖaqil heavy meaning slow and khafif light meaning quick Two of his ṯẖaqil modes ṯẖaqil thani second heavy S S L S and ramal L S L and one khafif mode are quintuple 7 The most important writers of the later Abbasid period AD 900 1258 were Abu Naṣr al Farabi d 950 and Ibn Sina d 1037 Al Farabi elaborated the rhythmic system established a century earlier by another important early Abbasid musician Isḥaq al Mawṣili who had based it on local traditions without any knowledge of classical Greek music theory 8 Isḥaq s and al Farabi s system consisted of eight rhythmic modes the third and fourth of which were quintuple called ṯẖaqil thani second heavy and khafif al ṯẖaqil thani second light heavy both of which are short short short long in slow and fast tempo respectively 9 This terminology and these definitions continued to be found as late as the 12th century in Muslim Spain for example in a document by Abd Allah ibn Muḥammad ib al Ṣid al Baṭaliawsi 10 In the Moroccan Malḥun repertory an urban song style closely associated with Andalusian music 58 rhythms are sometimes introduced into the basic meter of 24 11 Turkish classical music employs a system of rhythmic modes called usul which include units ranging from two to ten time units The five beat meter is called turk aksagi 12 The traditional music of Adjara in Western Georgia includes an ancient war dance called Khorumi which is in quintuple meter 13 The cyclically repeating fixed time cycles of Carnatic and Hindustani classical music called talas include both fast and slow quintuple patterns as well as binary ternary and septenary cycles 14 In the Carnatic system there is a complex formal system of talas which is of great antiquity and a more recent rather simpler informal system comprising selected talas from the formal system plus two fast talas called Capu The slow quintuple tala called Jhampa is from the formal system and consists of a pattern of 7 1 2 beats the fast quintuple tala is called khaṇḍa Capu or ara Jhampa and consists of 2 1 2 beats However the pattern of beats marking the rotation of the cycle does not necessarily indicate the internal rhythmic organization For example although the Jhampa tala in its most common misra variety is governed by 2 1 2 the most characteristic rhythm of melodies in this tala is 2 3 2 3 15 The talas in Hindustani music are somewhat more complicated To begin with they are not systematically codified but rather comprise a miscellany of patterns from a number of different repertories Secondly the counting units matra of each tala are grouped into segments called vibhag which constitute slower beats of from 1 1 2 to 5 of those counting units Third in addition to the sounded vibhag marked by hand claps tali there are also vibhag marked only by a wave of the hand the so called khali beats The two quintuple talas in these repertories are Jhaptal 2 3 2 3 and Sultal 2 2 2 2 2 Both are measured by ten matra units but Jhaptal is divided into four unequal vibhag the third being a khali beat in two halves of five matra each and Sultal is divided into five equal vibhag the second and fifth of which are khali 16 The kasa repertory of traditional Korean court music often employs cycles in quintuple time even though Korean traditional music terminology has no specific term for it This repertory can be traced back in some cases to the fifteenth century Quintuple meter is also occasionally found in folk music with perhaps the most well known example being the Eotmori 엇모리 rhythm 장단 often employed in Sanjo 17 Quintuple is the oldest surviving traditional Korean meter 18 Australia edit Quintuple meter occurs as a variation in some women s dance songs of indigenous Australians where a 58 measure is occasionally inserted into songs with a basic duple or four beat pattern 19 The Americas edit Traditional dance songs of the Yupik of Alaska are accompanied by frame drums beaten with a long thin wand most commonly in a 58 crotchet dotted crotchet quarter dotted quarter pattern 20 European folk music edit Many European folk and traditional repertories also feature quintuple meter This is particularly true of Slavic cultural groups The Bulgarian paidushko dance for example is in a fast 5 counted 2 3 21 In north eastern Poland especially in Kurpie Masuria and northern Podlaskie five beat bars are frequently found in wedding songs with rather slow tempos and not accompanied by dancing Traditional Russian wedding songs also are in quintuple time 22 The Poles and Russians share this proclivity for quintuple meter with the Finns Sami people Estonians and Latvians 23 In Finland the Kalevalaic runometric songs are the most distinctive feature of folk music and the most common melody of these epic songs is in quintuple meter This melody was described in the oldest study of runo singing in 1766 but first published in a musical transcription only about 20 years later 24 One South Slavic example is recorded in a manual published in 1714 by the Venetian dancing master Gregorio Lambranzi It is a forlana titled Polesana probably meaning From Pola a city in Istria today a part of Croatia but a Venetian possession until 1947 Although Lambranzi notated this dance in 68 time its recurring phrase structure shows it to be in compound quintuple time so that its correct form is actually written in 158 25 Greek folk music is also characterized by rhythms in asymmetrical meters The repertory of the Peloponnese for example includes the Doric tsakonikos from Doric speaking see Tsakonian language Kynouria in 54 time 26 The Epirus region of Northern Greece also has dance melodies in a slow 5 2 3 27 Spanish folk music is also noted for the use of quintuple meter particularly well known examples being the Castilian rueda and the Basque zortziko but it is also found in the music of Extremadura Aragon Valencia and Catalonia 28 Some types of the folk dances collectively referred to as gavottes and stemming from Lower Brittany in France are in 58 meter though 44 24 and 98 are also found 29 In the Alsatian region of Kochersberg a peasant dance called the Kochersberger Tanz is in 58 time and is similar to a dance of the Upper Palatinate in Bavaria called Der Zwiefache or Gerad und Ungerad because it alternates even and uneven bars 28 and 38 30 European art music edit Medieval and Renaissance edit In European art music it became possible only in the 14th century to notate quintuple rhythms unambiguously through the use of minor or reversed coloration 31 In some instances from the late 14th century Ars subtilior period quintuple passages occur which are long enough to regard as an established meter For example in the secunda pars of an anonymous two voice Fortune MS Paris Bibliotheque Nationale ital 568 fol 3 a clear and definite rhythm in the upper part creates a 58 meter set against the 68 of the lower part 32 The earliest complete European compositions in quintuple time however appear to be seven villancicos in the Cancionero Musical de Palacio which were composed between 1516 and 1520 33 Notation of the quintuple meter in these seven pieces is achieved in various ways 34 Juan del Encina uses the mensuration nbsp 51 in Amor con fortuna but in Tan buen ganadico he uses a signature of 3 5 1496 clarification needed Juan de Anchieta uses nbsp 51 tempus perfectum proportio quintupla in both Con amores mi madre 1465 and Dos anades madre The anonymous Pensad ora n al uses the mensuration nbsp 52 Las mis penas madre by Pedro de Escobar and De ser mal casada by Diego Fernandez d 1551 both use just the proportion sign 52 Other examples from the 16th century include the In Nomine Trust by Christopher Tye 35 the Qui tollis section of Jacob Obrecht s Missa Je ne demande the Sanctus from the Missa Paschalis by Heinrich Isaac 31 and the final Agnus Dei of Antoine Brumel s Missa Bon temps 36 Keyboard examples from this period include the first half of an English setting of the offertory Felix namque from about 1530 and a passage in no 41 of the Libro de tientos 1626 by Francisco Correa de Arauxo 31 Baroque and Classical edit In the Baroque and Classical eras quintuple meter is if anything even less frequently encountered than in the Renaissance One possible example is the ritornello that precedes and follows Orfeo s aria Vi ricorda in act 2 of Claudio Monteverdi s L Orfeo The notation is problematic however and while several editors Robert Eitner Vincent d Indy Hugo Leichtentritt and Carl Orff have transcribed it in quintuple meter others interpret it differently 37 The verses of Giovanni Valentini s madrigal Con guardo altero published in Musiche a doi voci 1621 is composed in 54 38 Johann Heinrich Schmelzer included a 54 section of 27 measures in his Harmonia a 5 composed by at least 1668 39 Two brief passages of 58 occur in the mad scene act 2 scene 11 from Handel s opera Orlando 1732 first at the words Gia solco l onde Already I am cleaving the waves when the demented hero believes he has embarked on Charon s boat on the Styx and then again two bars later 31 Charles Burney found this whole scene admirable as a portrait of Orlando s madness but observed that Handel has endeavoured to describe the hero s perturbation of intellect by fragments of symphony in 58 a division of time which can only be borne in such a situation 40 Burney s German contemporary Johann Kirnberger also felt that No one can repeat groups of five and even less of seven equal pulses in succession without wearisome strain 41 Another exceptional 18th century example is an entire aria composed in 54 time Se la sorte mi condanna found in Andrea Adolfati s opera Arianna 1750 42 but the English theater composer William Reeve with the last movement of his Gypsy s Glee 1796 to the words Come stain your cheeks with nut or berry in 54 time is credited with having composed an example in true quintuple time for instead of the usual division of the bar into two parts such as might be expressed by alternate bars of 34 and 24 or 24 and 34 there are five distinct beats in every bar each consisting of an accent and a non accent This freedom from the ordinary alternation of two and three is well expressed by the grouping of the accompaniment which varies throughout the movement 43 19th century edit There appear to have been several motivations for composers to use quintuple time firstly to demonstrate technical skill as in the Tye and Correa de Arauxo examples and secondly to produce an atmospheric effect or to suggest unease or unusual excitement as in Handel s Orlando In the 19th century a third motivation arises with the rise of nationalistic music which often invokes folk music elements 31 In any case quintuple time becomes much more frequent though still not common in the 19th century Early examples include Fugue 20 Allegretto from Anton Reicha s Trente six fugues for piano 1805 44 the tenor aria Viens gentille dame from act 2 of Francois Adrien Boieldieu s opera La dame blanche 1825 45 and the third movement Larghetto con molta espressione from Frederic Chopin s Piano Sonata No 1 in C minor Op 4 1828 46 Although Reicha s fugue probably falls into the category of technical skill the composer does mention taking as a model for the meter the Alsatian Kochersberger Tanz Nationalistic influence is clearer in the operas of the Russian composer Mikhail Glinka the Nuptial chorus and scene from act 3 of the opera A Life for the Tsar 1834 1836 was the first time a composer of art music set the pentasyllabic hemistichs of Russian wedding songs in quintuple meter instead of adapting it to a more conventional one 47 In his next opera Ruslan and Ludmila 1837 1842 Glinka repeated the effect in the opening of act 1 where the chorus sings an epithalamium to Lel the Slavonic god of love once again in quintuple time 48 Later Russian examples are found in Tchaikovsky s folk song settings Fifty Russian Folk Songs for piano four hands 1868 1869 Children s Ukrainian and Russian Folksongs book 1 1872 book 2 1877 and Sixty Six Russian Folk Songs for voice and piano 1872 where quintuple meter is notated by regularly alternating signatures usually 34 and 24 49 Also Nikolai Rimski Korsakov s Russian Easter Festival Overture initial theme is in 52 Shorter passages also occur in the music of Hector Berlioz La tempete 1830 later incorporated into Lelio as the finale has quintuple metre for a whole section notated in compound duple bars of 154 are defined by a recurring rhythmic pattern and by accents six bars covering bars 289 306 in the 64 notation 50 and the Combat de ceste No 5 from Les Troyens 1856 1858 has an attractive 58 section only eight bars long 50 The outer sections of the scherzo from Alexander Borodin s unfinished Third Symphony are in 58 time interrupted six times in bars 36 38 69 71 180 182 218 220 352 354 and 392 394 with a three bar group in 24 The central trio section b 235 313 is in 34 time 51 From around the middle of the century there is Carl Loewe s ballad for voice and piano Prinz Eugen der edle Ritter Op 92 to the poem by Ferdinand Freiligrath 1844 which is in 54 time throughout 52 Ferdinand Hiller s Piano Trio No 4 Op 64 1855 and Rhythmische Studien for piano 31 a String Trio by K J Bischoff which was awarded a prize by the Deutsche Tonhalle in 1853 53 and Benjamin Godard s Violin Sonata No 4 Op 12 1872 which includes a scherzo in 54 time throughout 54 The piano virtuoso Charles Valentin Alkan showed an interest in unusual rhythmic devices and composed at least four keyboard pieces in quintuple time the first three of the Deuxieme recueil d impromptus Op 32 no 2 1849 Andantino Allegretto and Vivace the fourth and last piece in this collection is in septuple meter 55 and a 54 Zorzico dance episode in the Petit Caprice reconciliation Op 42 1857 56 In opera Wagner inserted several 54 bars in Tristan der Held in jubelnder Kraft in act 3 of Tristan und Isolde 1856 1859 57 Another instance from around this same time is found in Anton Rubinstein s sacred opera Der Thurm zu Babel The Tower of Babel Op 80 1868 1869 31 In Johannes Brahms s late collection of six vocal quartets Op 112 the second piece Nachtens is entirely in 54 58 At the very end of the century Alban Berg used 54 meter throughout his song setting of Theodor Storm s poem Schliesse mir die Augen beide 1900 59 Three of the best known examples of quintuple meter in the symphonic repertoire are from late in the neoromantic or post romantic period which reaches from the mid 19th century through World War I the second movement of Tchaikovsky s Symphony No 6 in B minor Pathetique Op 74 1893 60 described by one author as the very first example of quintuple meter in Western classical music 61 Rachmaninoff s The Isle of the Dead Op 29 1908 62 and the opening movement Mars the Bringer of War of The Planets 1914 1916 by Gustav Holst The final movement Neptune the Mystic is also in quintuple meter but this is less well known 63 The first theme of Tchaikovsky s Symphony No 6 mvmt II is shown below nbsp source Audio playback is not supported in your browser You can download the audio file The Finnish composer Jean Sibelius used a pattern of quintuple meter in the third movement of Kullervo 1891 1892 where the orchestra maintains a pattern of five beats in a bar while the chorus elongates its lines to phrases of fifteen ten eight and twelve beats respectively 64 These are Karelian rhythms reflecting nationalism in Sibelius s music He used these quintuple meters as well in several male chorus works Venematka no 3 from Six Partsongs Op 18 1893 the third movement Hyvaa iltaa lintuseni from Rakastava Op 14 1894 and Sortunut aani no 1 from Six Partsongs Op 18 1898 65 In 1895 the British composer Samuel Coleridge Taylor wrote the second movement Serenade of his Fantasiestucke Op 5 for string quartet in 54 time 66 A little more than ten years later the Scottish composer Robert Ernest Bryson wrote a string orchestra fantasy titled Vaila in 54 time 67 In the piano repertoire the Promenade from Modest Mussorgsky s Pictures at an Exhibition 1874 has five versions in each of which 54 is mixed with other meters regularly or irregularly 54 alternates with 64 for eight bars then two of 64 and one pair of 54 64 ending with twelve bars of 64 54 alternates regularly with 64 throughout effectively 114 regular alternation of 54 and 64 until the final two bars which are 54 and C irregular mixture of 54 64 and 74 with a single 34 bar at the end four pairs of regularly alternating 54 and 64 then an irregular mixture of 54 64 and 74 to the end 68 The opening measures are shown below nbsp source Audio playback is not supported in your browser You can download the audio file To this same period and to the Russian tradition also belongs Prizrak Phantom in 58 time which is No 4 of Sergei Prokofiev s Four Pieces for Piano Op 3 1911 69 These examples are all simple quintuple time Compound quintuple meter is less frequent but an instance is found in the middle section of the third movement Andante grazioso of Brahms s Piano Trio No 3 in C minor Op 101 1886 which is in 158 with 98 turnarounds 70 Fetes the second movement of Claude Debussy s Nocturnes for orchestra 1892 1899 also has a recurring passage of two 158 bars embedded in a context of mainly compound triple 98 bars 71 The seventh of Florent Schmitt s Eight Short Pieces for piano four hands 1907 1908 Complainte is in 158 with occasional bars of 98 inserted 72 The first section of Nikolai Medtner s Piano Sonata Op 25 No 2 in E minor Night Wind which is from 1911 is perhaps the most extended piece of music in 158 time in existence 73 20th century edit The common occurrence of quintuple meter in many folk music traditions caused an increase in its appearance in the works of composers with nationalistic tendencies in the early 20th century 31 Examples are the Prelude in the Unison from George Enescu s Orchestral Suite No 1 Op 9 1903 74 In Mixolydian Mode Bulgarian Rhythm 2 and the third of Six Dances in Bulgarian Rhythm nos 48 115 and 150 from Bela Bartok s Mikrokosmos 1926 1932 1939 75 the Chanson epique no 2 from Maurice Ravel s song cycle Don Quichotte a Dulcinee 1932 1933 76 and the first theme group of Carlos Chavez s Sinfonia india 1935 1936 which is predominantly in 58 time but mixed with other meters 77 Another impulse for the use of quintuple meter was to evoke pagan and specifically Ancient Greek culture The 54 meter of the bacchanalian Danse generale concluding Ravel s ballet Daphnis et Chloe 1909 1912 is a particularly well known example 78 In his First Symphony the Sinfonia de Antigona 1933 Carlos Chavez reworked incidental music he had composed in 1932 for a production of Sophocles Antigone in the adaptation by Jean Cocteau In this symphony Chavez made extensive use of the Greek paeonic or cretic meter notated in 58 time in the score 79 The fourth and last movement of Ravel s String Quartet is mostly in 58 and 54 time alternating several times with 34 time 80 A fourth example from Ravel is a particularly intense if brief use of quintuples for symbolic purposes This is Frontispice for two pianos 1918 written at the request of Ricciotto Canudo to accompany a philosophical meditation on World War I titled S P 503 le poeme du Vardar Canudo s title bears the numerical designation of the postal sector of his combat division and Ravel used the numbers as the basis of his composition Five staves of music progressing vertically from flats through naturals to sharps are played by five hands three players in meters of 158 i e 3 5 3 5 and 54 81 The Basque setting of Pierre Loti s play Ramuntcho made the inclusion of Basque traditional melodies in the incidental music composed for it in 1907 by Gabriel Pierne a natural choice Pierne included at the end of act 2 an arrangement of the Basque anthem Gernikako Arbola by Jose Maria Iparraguirre which is in zortziko rhythm 82 but he also quotes traditional zortziko melodies as well as imitating their quintuple rhythms in the opening Ouverture sur des themes populaires basques 83 as well as in the Rapsodie basque that serves as an interlude between the first and second tableaux of act 2 84 Pierne who was attracted to quintuple meter as part of a broader taste for exoticism 85 also employed quintuple meter in his Piano Quintet Op 41 1917 and in the Fantaisie basque Op 49 1927 for violin and orchestra The outer sections of the second movement of the Quintet are in 58 time and marked Sur une rythme de Zortzico 86 while the contrasting central section superimposes 208 on 42 time in quadruple quintuple meter 87 In the Fantaisie a long section near the beginning is in 58 time and is marked Rythme de Zortzico 88 Igor Stravinsky s name is often associated with rhythmic innovation in the 20th century and quintuple meter is sometimes found in his music for example the fugato variation in the second movement of his Octet 1922 1923 is written almost uniformly in 58 time 89 Much more characteristically however quintuple bars in Stravinsky s scores are found in a context of constantly changing meters as for example in his ballet The Rite of Spring 1911 1913 where the object appears to be the combination of two and three note subdivisions in irregular groupings 90 nbsp Stravinsky Sacrificial Dance excerpt from The Rite of Spring This treatment of rhythm subsequently became so habitual for Stravinsky that when he composed his Symphony in C in 1938 1940 he found it worth observing that the first movement had no changes of meter at all though the metrical irregularities in the third movement of the same work were amongst the most extreme in his entire output citation needed So many other composers followed Stravinsky s example in the use of irregular meters that the occasional occurrence of quintuple time bars becomes unremarkable from the 1920s onward 31 Entire movements with a constant five to a bar rhythm are less often encountered An example is the second movement Lament of the Double Concerto for Two Violins and Orchestra Op 49 1929 by Gustav Holst 91 One particularly notable pre World War II quintuple meter composition is the popular first movement Aria Cantilena 1938 of the Bachianas Brasileiras no 5 by Heitor Villa Lobos the second movement was added only in 1945 The opening and closing parts of this aria for soprano and orchestra of cellos is predominantly in 54 and the middle section is entirely in that meter 92 Written during the war the third movement Andante calmo of Benjamin Britten s String Quartet No 1 1941 is in 54 93 The Ludus Tonalis by Hindemith 1942 has several instances of quintuple meter its Preludium and retrograde inverted Postludium each have a Solenne largo section in 158 94 Fugue II in G is in 58 95 and though Fugue VIII in D 96 is notated in 44 its music is predominantly in 54 so shifts one beat forward each measure with respect to its notated meter original research The Passacaglia for piano 1943 by Walter Piston is in quintuple meter 97 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 98 and Britten set Green Leaves Are We Red Rose Our Golden Queen the opening chorus from his opera Gloriana Op 53 1952 1953 rev 1966 in 54 time 99 Dmitri Shostakovich set Fugues 12 17 and 19 from his Twenty Four Preludes and Fugues for piano Op 87 1950 1951 entirely in 54 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 100 Fugue No 17 in A major follows in the Slavic tradition of naturally flowing music in five time 101 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 54 102 Variation IV Piu mosso in 58 time in Part I of The Age of Anxiety Symphony No 2 1949 by Leonard Bernstein 103 Britten composed his Canticle III Still Falls the Rain Op 55 1954 in variation form with the Theme Variation IV and Variation VI all in 54 104 In a similar fashion extended single movement compositions may set off large sections by using contrasting meters Quintuple meter is used in this way by Rob du Bois in his Concerto for Two Violins and Orchestra 1979 where bars 160 175 and 227 277 are in 58 105 In the minimal music that emerged in the late 1960s quintuple meter is not often encountered A rare exception is found in an early work by Steve Reich Reed Phase 1966 which is built on the constant repetition of a five note basic unit in steady eighth notes 106 nbsp source Audio playback is not supported in your browser You can download the audio file Reich was not satisfied with the result largely because of the failure of the meter to produce the kind of rhythmic ambiguity found in the 12 beat patterns he came to favour which can divide up in very different ways and that ambiguity as to whether you re in duple or triple time is in fact the rhythmic life blood of much of my music In this way one s listening mind can shift back and forth within the musical fabric because the fabric encourages that But if you don t build in that flexibility of perspective then you wind up with something extremely flat footed and boring 107 Reich s 1979 Octet originally scored for two pianos string quartet and two wind players who perform on both flutes and clarinets revised and rescored as Eight Lines is entirely in quintuple time 108 Jazz and popular music edit A survey of American popular music found that the most common accent pattern used in quintuple meter is strong weak weak medium weak 109 Musical theatre edit Until after the Second World War quintuple time was virtually unheard of in the American genres of jazz and popular music When in 1944 Stravinsky was commissioned by Billy Rose to compose a fifteen minute dance component to be incorporated into his Broadway revue The Seven Lively Arts Stravinsky composed Scenes de ballet to be choreographed by Anton Dolin Rose was enthusiastic about the new score when initially he saw the piano reduction made by Ingolf Dahl but later was dismayed by the sound of the orchestra and offended the composer by telegraphing the suggestion that Stravinsky should allow the scoring to be retouched by Robert Russell Bennett who orchestrates even the works of Cole Porter 110 Whole sections of the score had to be cut for the Philadelphia premiere because the New York pit musicians accustomed to the conventions of Broadway musicals of that period were unable to manage the 58 bars that feature in Stravinsky s score 111 A dozen years later things were changing in musical theater in New York Leonard Bernstein s Candide opened on Broadway in December 1956 and featured a variety of meters that Billy Rose s musicians would have found as impossible as Stravinsky s In act 1 the quartet Universal Good is a chorale in 54 time and the main verses of Ballad of Eldorado in act 2 are in 58 with turnarounds in 78 or 34 78 112 Mary Rodgers s 1959 Once Upon a Mattress featured the 54 song Sensitivity 113 Later examples in musical theater include the song Everything s Alright from Jesus Christ Superstar 1971 by Andrew Lloyd Webber which is mainly in 54 114 and Ladies in Their Sensitivities from Stephen Sondheim s Sweeney Todd 1979 which is in 58 115 Sondheim also alternates 54 with 44 at the passage beginning Living like a shut in and 54 and 64 at All I ever dreamed I d be in the song In Buddy s Eyes from Follies 1971 116 Jazz edit In 1914 American ragtime composers James Reese Europe and Ford Dabney composed and recorded a dance tune in 54 called Castles Half and Half based on a dance created by Vernon and Irene Castle described as a hesitation waltz Additional tunes in 54 were also composed by others in 1914 to accompany the dance 117 118 119 In 1959 the Dave Brubeck Quartet released Time Out a jazz album with music in unusual meters It included Paul Desmond s Take Five in 54 time 120 Brubeck had studied with the French composer Darius Milhaud who in turn had been strongly influenced by Stravinsky and is credited with the systematic introduction of asymmetrical and shifting rhythms that sparked a far reaching surge of interest in jazz and popular music in the 1960s 121 The 1960 Max Roach album We Insist contains three tracks making use of 54 122 Starting in 1964 the trumpeter and band leader Don Ellis sought to fuse traditional big band styles with rhythms borrowed from Indian and Near Eastern music this was largely initiated by his UCLA ethnomusicology studies with sitar player Harihar Rao and his contact with Turkish American music producer Arif Mardin 123 124 For example one of his largest works Variations for Trumpet is divided into six sections with meters including 54 94 74 and 328 123 Two other Ellis compositions are entirely in 54 time Indian Lady and 5 4 Getaway 125 In 1966 the popular American television drama series Mission Impossible began a seven season run with the 54 Theme from Mission Impossible by Lalo Schifrin 126 Schifrin said he wrote several compositions using Morse code as the rhythmic basis Morse code for the initials of Mission Impossible M I is if a dot is one beat and a dash is one and a half beats then this gives a bar of five beats exactly matching the underlying rhythm 127 In 1968 Leonard Feather interviewed pianist Johnny Guarnieri in DownBeat magazine 128 Guarnieri had spent the last few years working up arrangements of jazz standards changed to a 54 rhythm Guarnieri stated I can forsee 5 4 within the next few years sweeping the world completely Shortly afterwards Guarnieri released an album on BET records called Breakthrough in 5 4 which consisted of original compositions in 54 jazz standards changed to 54 as well as a version of Yesterday in 54 129 Rock edit In the late 1960s quintuple meters began to appear with some frequency in rock music contexts as well where exploration of meters other than 44 became one of the hallmarks of progressive rock One of the earliest examples is Grim Reaper of Love by The Turtles May 1966 130 Another early example is the instrumental that ends the George Harrison song Within You Without You from the 1967 Beatles LP Sgt Pepper s Lonely Hearts Club Band 131 isolated 54 bars also occur in the Beatles songs Happiness Is a Warm Gun and Across the Universe 132 133 The Byrds LP The Notorious Byrd Brothers recorded in the second half of 1967 and released in January 1968 contained two songs using quintuple meter Get to You and Tribal Gathering 134 Under the influence of Brubeck Keith Emerson of Emerson Lake amp Palmer began exploring unusual meters at about this same time His first quintuple meter piece was Azrael the Angel of Death written in 1968 and the meter cropped up again three years later in the opening instrumental section Eruption of the title track and some later passages from the album Tarkus 135 Frank Zappa frequently played in 5 two specific documented examples are Flower Punk from 1968 a repeating pattern of 4 bars of 5 followed by 4 bars of 7 136 and Five Five Five bars of 58 combined with bars of 54 137 Zappa even had a hand signal with which he could cue the band to quickly switch into a quintuple meter at any time during a live performance 138 Examples in popular music editTitle Artist Year Notes Aliens Coldplay 2017 Azrael Angel of Death The Nice 1967 written by Keith Emerson released as a bonus track on the 1999 release of The Thoughts of Emerlist Davjack Bahlawan Mira Awad 2015 58 139 140 Bane s theme from The Dark Knight Rises Hans Zimmer 141 2012 Black Widow Spider Dr John 1969 from the album Babylon Described as inspired by Dave Brubeck s Take Five 142 Caesar s Palace Blues U K 1979 54 from the album Danger Money 143 Closure Taylor Swift 2020 from the album Evermore 144 Countdown Dave Brubeck 145 1962 Dance of the Little Fairies Sky 1980 146 Do What You Like Blind Faith 1969 54 145 Donkey Carol John Rutter 1976 58 a Christmas carol 147 English Roundabout XTC 145 1982 from English Settlement Face Dances Pt 2 Pete Townshend 1982 54 148 15 Step Radiohead 2007 from In Rainbows 149 5 4 Gorillaz 2001 54 150 5 4 Unity Pavement 2001 Morning Bell Radiohead 2000 from Kid A Five Lamb 1999 from Fear of Fours 151 Five Five Five Frank Zappa 1981 bars of 58 combined with bars of 54 From Eden Hozier 2014 54 152 Get to You The Byrds 1968 recorded late 1967 for The Notorious Byrd Brothers Grim Reaper of Love The Turtles 1966 Halloween Theme main title John Carpenter 153 1978 from Halloween Happiness Is a Warm Gun The Beatles 1968 written by John Lennon and Paul McCartney Here Come The Bastards Primus 1991 158 154 from Sailing the Seas of Cheese Icon OHMME 2018 54 155 In Her Eyes Josh Groban 2006 54 156 from the Awake The Incredits Michael Giacchino 2004 main theme for The Incredibles 54 157 Isengard Theme from The Lord of the Rings film trilogy Howard Shore 2002 158 Kamisama no Shitauchi Akeboshi 2005 54 159 Last Night Vanessa Hudgens 2008 160 Living in the Past Jethro Tull 1969 54 161 River Man Nick Drake 1969 54 162 Seven Days Sting 1993 3 24 163 Soft Mistake Lamb 151 1999 from Fear of Fours Turn the World Around Harry Belafonte 1977 54 164 Tribal Gathering The Byrds 1968 recorded late 1967 for The Notorious Byrd Brothers Wind Akeboshi 2002 54 159 Within You Without You The Beatles 1967 written by George Harrison recorded on Sgt Pepper s Lonely Hearts Club Band WTF OK Go 2010 54 165 Partially in quintuple time edit Alphys from Undertale by Toby Fox last movement is in 54 166 Animals by Muse 167 Cleopatra by Weezer Alternates 54 with 44 168 Come On Feel the Illinoise Part I The World s Columbian Exposition Part II Carl Sandburg Visits Me in a Dream from Illinois 2005 by Sufjan Stevens 54 and 44 169 Down And Out by Genesis 54 170 ENDYMION from Dance Dance Revolution A by fallen shepherd ft RabbiTon Strings 54 171 Erotomania part I of III of the suite called A Mind Beside Itself from Awake by Dream Theater Begins with 54 54 54 98 then 54 54 54 34 34 24 then 118 108 etc 172 Vs Ridley from Super Metroid by Minako Hamano Song starts in 54 but goes to 44 and then 34 Second part reverses this by going to 34 then 44 173 The Fixer by Pearl Jam The song begins in 54 but most of it is in 64 and 44 174 Four Sticks by Led Zeppelin Verses alternate 54 and 34 passages choruses are in 34 175 The Grudge by Tool 176 The Hammer from Matilda the Musical by Tim Minchin begins in 54 177 Happy Jack by the Who Verses partly in 54 178 Innuendo by Queen 179 Larks Tongues In Aspic by King Crimson partially in 54 and 58 180 Lorca by Tim Buckley from the 1970 album Lorca 181 Moon by Bjork 178 and 58 182 Mother from The Wall and Two Suns in the Sunset from The Final Cut both by Pink Floyd 54 183 My Wave by Soundgarden verse in 54 184 Neon Pattern Drum by Jon Hopkins has 54 and 44 time signatures operat ing simultaneously 185 953 by Black Midi 186 The Number of the Beast by Iron Maiden 187 Og det bli r sommer igen by Lars Lilholt Band bar 3 is in 54 188 Overground by Siouxsie and the Banshees Percolator by Stereolab is in 5 4 throughout This is referenced in the alternate set list title for the song of Take 5 1 2 189 Pray You Catch Me by Beyonce James Blake and Kevin Garrett alternating 24 34 190 Prequel to the Sequel by Between the Buried and Me has some scattered bars in 58 and other time signatures 191 Question by System of a Down 54 192 Red by King Crimson from the album Red 58 193 The River by King Gizzard amp the Lizard Wizard is in 54 until the final verse which switches to 44 through the outro 194 Refractions in the Plastic Pulse by Stereolab has a section in 54 195 Rosetta Stoned by Tool 196 Sound Chaser by Yes main theme in 54 197 Kid Gloves by Rush 198 Streamline by System of a Down the majority of the chorus is in 54 while the rest of the song is written in 64 199 TWX in 12 Bars by Donald Swartz the theme for the TV program Wall Street Week with Louis Rukeyser We Are the Involuntary by Underoath has some bars that can be transcribed in 54 200 White Room by Cream An opening in 54 which is used twice later in the song as a bridge and an interlude 150 YYZ by Rush opens in 54 using a musical interpretation of the Toronto Pearson International Airport IATA identifier code using Morse code 201 Notes edit Read 1964 161 and 164 165 Read 1964 152 West 1992 304 307 Hornsby 1995 Pohlmann and West 2001 70 71 and 85 Salinas 1577 251 253 Wright and Poche 2001 2 iv Neubauer 2001 Sawa 2004 164 166 Sawa 2004 151 154 Neubauer 2001 Schuyler 2001 Reinhard and Stokes 2001 Dolidze et al 2001 III 1 ii Powers 2001 i Powers 2001 iii Powers 2001 iv Eotmori Encyclopedia of Korean Folk Culture in Korean Retrieved 3 April 2021 Condit 1978 3 and 7 Lee 1981 119 and 123 May and Wild 1967 210 216 Johnston 1989 424 431 Rice 1994 73 74 Taruskin 1992a Taruskin 1992b Steszewski 2001 Asplund 1985 28 Heartz 1999 144 146 Chianis and Brandl 2001 Peristeres 1956 Cunningham and Aiats 2001 2 ii a Little 2001 Engel 1876 12 a b c d e f g h i Hiley 2001 Apel 1961 401 Hiley 2001 Schmitt 1995 Hiley 2001 Pope and Knighton 2001 Tye 1967 39 42 transcribed in 54 throughout by the editor Robert W Weidner Paul Doe 1988 105 107 transcribes the same piece in 54 except for one passage of 40 beats which he renders as ten bars of 44 instead of eight bars of 54 on the grounds that repeated notes in the CF permit a harmonic structure based on a normal duple metre Doe 1988 150 Hudson 2001 Apel 1951 216 219 Paxman 2014 89 Manuscript copied by Christian Geist in the Duben collection of Uppsala University Library See digital scan at website of Uppsala Universitet Burney 1789 4 364 Kirnberger amp 1776 1982 383 Hansell and Steffan 2001 Hiley 2001 Taylor 1890 3 61 Reicha 1973 2 35 40 Helmore 1879 15 Hiley 2001 Chopin 1976 19 21 Taruskin 1992a Glinka 1907 262 264 Taruskin 1992b Kroetsch 1996 18 a b Rushton 1983 128 Borodin n d 32 76 Loewe amp ca 1900 Taylor 1890 Godard 1880 pp 13 19 Eddie 2007 104 MacDonald 2001 Eddie 2007 110 Wiehmayer 1917 79 Brahms 1891 1015 Berg 1955 1 Tschaikowsky n d 58 87 Hiley 2001 Gutmann 2003 Rachmaninoff 2003 Holst 1979 1 31 162 187 Ross 2007 Hepokoski 2001 Richards 1987 568 Young and Montagu 1975 79 Mussorgsky 1914 2 3 7 12 18 24 25 Prokofiev 1926 8 9 Nice 2003 50 first 24 bars Brahms 1972 134 137 of the score piano part Debussy 1941 74 83 Schmitt 1909 Martyn 1998 7 Voicana et al 1971 1 231 Bartok 1940 2 13 4 36 37 and 6 42 44 Ravel 1934 Chavez 1950 2 7 Garcia Morillo 1960 90 92 186 Mawer 2000b 144 149 Garcia Morillo 1960 76 Chavez 1948 8 10 13 20 22 Ravel 1905 pp 34 47 Mawer 2000a 52 53 Ravel 1975 Pierne 1908c 62 63 Pierne 1908b Pierne 1908c 1 15 Pierne 1908a 7 25 specifically 15 18 Pierne 1908c 48 61 Masson 2001 Pierne 1919 24 34 38 47 Pierne 1919 34 38 Pierne 1928 12 20 White 1979 311 White 1979 212 213 Holst 1973 13 14 Villa Lobos 1947 Parker 2013 11 Hindemith 1942 4 57 Hindemith 1942 9 11 Hindemith 1942 36 38 Piston 1942 Archibald 1992 Howard 1969 108 Kroetsch 1996 69 70 Woodward Holst 1973 17 18 22 Bernstein 1993 12 16 Britten 1956 1 9 and 15 Bois 1979 28 30 and 39 42 Potter 2000 181 Reich 2002 130 Reich 1979 Reich 1998 Murphy 2016 White 1979 420 21 Craft 2007 6 Bernstein 1994 40 180 185 Rodgers Mary 1967 page needed Lloyd Webber and Rice 1970 12 17 Horowitz and Sondheim 2010 141 Horowitz and Sondheim 2010 206 Suwannakit 2014 31 Sandke 2012 Saull 2014 117 Kernfeld 2002 1 Meter Macan 1997 47 Bowden 2018 16 a b Dickow 2002 Fenlon 2002 37 Fenlon 2002 35 87 88 Karger 1996 Schifrin Lalo 2011 Music Composition for Film and Television Berklee Press Feather 1968 Anon amp n d f Anon 2009b Everett 2008 308 Fujita Hagino Kubo and Sato 1993 1037 1048 Macan 1997 47 48 Fujita Hagino Kubo and Sato 1993 353 358 Fujita Hagino Kubo and Sato 1993 12 17 Menck 2007 105 119 Macan 1997 48 Emerson Lake and Palmer 1980 Ulrich 2018 604 Vai 1982 Butcher 2011 131 Chevalier 1986 15 My TEDx talk Mira Awad 8 May 2014 When I put Bahlawan to music I chose a very specific beat the five eighths Reply Mira Awad s Facebook page 22 March 2020 the song is definitely in 5 8 Film Score Junkie 2013 Rebennack 1993 Stringer n d Shaffer 2020 a b c Katzif 2008 Sliwa 2005 Rutter 1976 Townshend n d Fishko 2008 a b Anon amp n d b a b Future Music 2016 Anon 2016 Spencer 2008 245 Primus 2000 1 43 46 Thiessen Christopher 2018 12 12 The 10 Best Indie Rock Albums of 2018 Pop Matters Retrieved 2020 12 07 Ochs Cohen Selby and Groban 2008 Michael 2007 Shore 2002 a b Kkunurashima 2006 Anon 2008 Macan 1997 page needed Anon amp n d d Katzif 2008 IrishDrummerGuy 2011 Belafonte amp Freedman 1975 Kulash amp Go 2010 Undertale 048 Alphys Archived from the original on 2018 04 01 Anon amp n d c Heisel 2014 Holmes 2016 Banks Collins and Rutherford 1978 fallen shepherd ft RabbiTon Strings ARM IOSYS ENDYMION Anon 2009a Vs Ridley Super Metroid arranged by Nate Alberda Musescore 24 September 2022 Cohen 2009 Led Zeppelin 1973 118 23 The first riff in 54 is driving but it s almost like a straight 44 line to me Shiraki and Bradman 2001 6 The Hammer Musicnotes Townshend 1966 Anon 2007 2015 Riccio 2004 Browne 2001 Dibben 2011 Waters 1999 Drozdowski 2011 Thompson 2018 Picton Cameron 953 Retrieved 9 November 2021 Harris 1982 Lilholt n d stereolab Stereolab alternative titles www facebook com Retrieved 2023 05 19 Beyonce Blake and Garrett 2016 Mills 2014 Anon amp n d e I think Red from the Crimson LP of the same name was a beautiful piece of Heavy metal in 5 the unusual time signature 58 I mean I hadn t heard heavy metal in 5 before but for me that was it Fripp and Mandl 1991 page needed Musescore The River King Gizzard and the Lizard Wizard Musescore com Retrieved 2021 07 13 Pickard Joshua 2 September 2022 Turning 25 Musicians discuss some of their favorite records from 1997 Beats Per Minute Retrieved 28 April 2023 Bennett 2008 105 Yes 1981 page needed Anon amp n d a Tiemann 2014 NatuMz n d Reuland 2011 61 66 Sources editAnon n d a The Trees by Rush Songfacts 2011 website Accessed 1 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Publishers Taruskin Richard 1992b Ruslan and Lyudmila Ruslan i Lyudmila The New Grove Dictionary of Opera edited by Stanley Sadie London Macmillan Publishers Taylor Franklin 1890 Quintuple Time in A Dictionary of Music and Musicians A D 1450 1889 in four volumes edited by Sir George Grove D C L London and New York The Macmillan Company Thompson Stephen 2018 Jon Hopkins Enters The Singularity Track By Track npr com May 4 2018 accessed 29 February 2020 Tiemann Jeff 2014 Streamline Tab by System of a Down Ultimate Guitar com accessed 2 April 2017 verification needed Townshend Peter 1966 Happy Jack London Fabulous Music Ltd Townshend Pete n d Face Dances Part 2 bass part Jellynote com accessed 2 November 2019 Tschaikowsky Peter Ilich n d Symphony No 6 Pathetique in B Minor Op 74 New York M Baron Co Tye Christopher 1967 The Instrumental Music edited by Robert W Weidner Recent Researches in the Music of the Renaissance 3 New Haven A R Editions Ulrich Charles 2018 The Big Note A Guide to the Recordings of Frank Zappa Vancouver New Star Books Vai Steve transcriber 1982 The Frank Zappa Guitar Book S l Hal Leonard Villa Lobos Heitor 1947 Bachianas Brasilerias No 5 for soprano and orchestra of violoncelli 1938 New York Associated Music Publishers Voicana Mircea Clemansa Firca Alfred Hoffman and Elena Zottoviceanu in collaboration with Myriam Marbe Stefan Niculescu and Adrian Ratiu 1971 George Enescu Monografie 2 vols Bucharest Editura Academiei Republicii Socialiste Romania Waters Roger 1999 Vintage Pink Floyd Interview Part 1 Classic Rock Magazine Archived April 13 2009 at the Wayback Machine West M artin L itchfield 1992 Ancient Greek Music Oxford Clarendon Press New York Oxford University Press ISBN 0 19 814897 6 cloth ISBN 0 19 814975 1 pbk White Eric Walter 1979 Stravinsky The Composer and His Works second edition Berkeley and Los Angeles The University of California Press ISBN 0 520 03985 8 Wiehmayer Theodor de 1917 Musikalische Rhythmik und Metrik Magdeburg Heinrichshofen s Verlag Woodward Roger 1975 Notes to CD 14302 2 Celestial Harmonies 1 Wright Owen and Christian Poche 2001 Arab Music I Art Music The New Grove Dictionary of Music and Musicians second edition edited by Stanley Sadie and John Tyrrell London Macmillan Publishers Yes musical group 1981 Yes Complete deluxe edition New York Warner Bros Publications ISBN 0 7692 0865 7 Young J B and Jeremy Montagu 1975 7 8 Metres Early Music 3 no 1 January 77 79 Further reading editArlin Mary I 2000 Metric Mutation and Modulation The Nineteenth Century Speculations of F J Fetis Journal of Music Theory 44 no 2 Autumn 261 322 Barber Samuel 1943 String Quartet Op 11 G Schirmer s Edition of Study Scores of Orchestral Works and Chamber Music 28 New York G Schirmer Bartok Bela 1942 Sonata for Two Pianos and Percussion London Hawkes amp Son Ltd Britten Benjamin 1946 Quartet No 2 in C Op 36 London Boosey amp Hawkes Buchanan Donna A 2001 Bulgaria II Traditional Music The New Grove Dictionary of Music and Musicians second edition edited by Stanley Sadie and John Tyrrell London Macmillan Publishers Cronshaw Andrew 1990 Trikitixa Folk Roots 11 no 10 82 April 28 29 31 Flashkirby 2015 Wild Woods Mario Kart 8 Transcription uploaded 10 May Musescore com accessed 5 April 2019 Frampton John Ross 1926 Some Evidence for the Naturalness of the Less Usual Rhythms The Musical Quarterly 12 no 3 July 400 405 Howes Frank 1945 Anthropology and Music Man 45 September October 107 108 Laborde Denis 2001 Basque Music The New Grove Dictionary of Music and Musicians second edition edited by Stanley Sadie and John Tyrrell London Macmillan Publishers Mathis Lilley Ben 2006 Secrets of the Radiohead Set List New York 39 no 23 26 June 88 89 accessed 23 March 2008 Nettl Bruno 1953 Stylistic Variety in North American Indian Music Journal of the American Musicological Society 6 no 2 Summer 160 168 Nettl Bruno 1965 The Songs of Ishi Musical Style of the Yahi Indians The Musical Quarterly 51 no 3 July 460 477 Miner Ansorena and Jose Ignacio 1993 El zortziko La frase de ocho compases y el compas de cinco por ocho Txistulari no 155 July September Sanchez Ekiza Carlos 1991a En torno al zortziko Txistulari no 146 July 44 53 Sanchez Ekiza Carlos 1991b En torno al zortziko Cuadernos de etnologia y etnografia de Navarra 23 no 57 January June 89 103 Retrieved from https en wikipedia org w index php title Quintuple meter amp oldid 1222082726, wikipedia, wiki, book, books, library,

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