In the world of music, songs in the time signature of 5/4 are not unheard of, but compared to more conventional time signatures that rooted in patterns of 2, 3, or 4, they are somewhat rare.
An odd meter like 5 cannot be subdivided evenly, and can be awkward to play.
Mainstream popular music normally goes for the more straightforward meters, such as 4/4, where most rock and roll for example tends to dwell, with some exceptions.
A friend of mine did a stint as a bass-for-hire in a middle-of-the-road, Vertical Horizon-esque alt rock band he pretty much hated but stuck it out for a while because the money was decent.
When he would get bored of the music, he and the drummer would sometimes play the songs in 5/4 instead of 4/4. They would only be on beat 1 with the rest of the band on every 5th measure.
Their bandmates were aware that something felt off but didn’t know the shenanigans behind it.
“Why do we keep sounding like King Gizzard?”
Being that we are entering the fifth month of the year, I thought it would be fitting to highlight songs that are in the time signature of 5/4, either in their entirety or for a significant portion.
#1:
“Take Five”
Dave Brubeck
The title says it all. When discussing the time signature of 5/4, one is contractually obligated to begin with this jazz classic.
Brubeck experimented with a lot of different meters, more so than most jazz artists, resulting in some wonderful, rhythmic masterpieces, but none quite as popular and iconic as this one.
For an entry point into further usage of different meters and subdivided patterns, check out his albums Time Out and Time Further Out.
#2:
“Living in the Past”
Jethro Tull
The band that convinced us all that flute was a perfectly acceptable rock and roll instrument also gave us this gem. Entirely in 5/4. As if they had anything left to prove.
#3:
“Everything’s Alright”
From Jesus Christ Superstar
Yep, there is no better way to calm the Son of God than with some really pricey ointment and a laid-back jazzy song in 5/4. Props to Mary Magdalene.
#4:
Symphony #6 “Pathétique” in B minor, Op. 74
Tchaikovsky
The entire 2nd movement (Allegro con grazia) is in 5/4. I find this one harder to follow. It basically sounds like a waltz that somehow got shortchanged. It would be fun to play this in a ballroom dance class and see what mayhem might ensue.
#5:
White Room
Cream
Most of this is in 4, but the bombastic instrumental intro/interlude, complete with timpani, is in 5. In other news, stick around for Jack Bruce’s amazing bass runs at the end of the song.
#6:
The Planets, Op. 32: 1. Mars, the Bringer of War
Gustav Holst
The majority of this is in 5/4 with two small portions in 5/2 that present a slightly different feel, while still maintaining a meter of 5. This thing is badass. If I were a college football team that really needed to get pumped up, I would ditch the marching band and have the philharmonic come out on the field and play this. Rack up the W.
#7:
“Mission: Impossible Theme”
Lalo Shifrin
If you’ve watched any gritty cop/detective shows or films from the 60s, 70s and beyond: Chances are you’ve come across the music of Lalo Schifrin. One of his most famous compositions is the theme to this TV show, and it’s a stellar example of 5/4, from start to finish. Do not under any circumstances subject yourself to the Limp Bizkit reimagining, which strips the song of its 5/4 meter, and its dignity as well.
#8:
“Sing of the Lord’s Goodness”
Ernest Sands
This is the only Catholic liturgical song I’ve ever come across that’s in 5/4, and I’ve been at this a long time. Is the chord structure and overall feel of the song overtly lifted from Brubeck’s “Take Five?” Yes, but as far as I’m concerned, that’s a feature, not a bug. Once, at a concert in the church gym, I even did a mash-up of the two songs, and it worked perfectly.
If anyone is wondering about the first minute of “The Number of the Beast” by Iron Maiden, (before the bone chilling Bruce Dickinson scream), it’s in a repetitive pattern of 10, which technically could be subdivided into 5, but rhythmically it doesn’t feel like that’s what it wants to do.
It makes more sense to think of it in alternating measures of 6 and 4, which is how it appears on most of the guitar tab sites, so I didn’t include it, but it’s a valid point of discussion.
Of course there are more examples of 5/4 out there, and feel free to mention them in the comment section.
A happy month of May to you all, and may the celebration of the number 5 continue!
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I’m someone who can detect and appreciate an unconventional time signature when I hear it, but I won’t be able to discern what it actually is.
Time Out is such a pleasure to listen to–my favorite tune being the jittery “Blue Rondo a la Turk.” And knowing now that “Take Five” is in 5/4, I can hear the similarities in the Mission Impossible theme and Ernest Sands.
But can I think of other songs that are in 5/4? Hell no!
So I’ll just do a Google.
It seems that Radiohead has a few. “15 Step” from In Rainbows. “Morning Bell” from Kid A (but not the version from Amnesiac).
And someone says that the guitar in “Let Down” from OK Computer is in 5/4, while the rest is in 4/4? I guess I’ll just believe them.
Is the Bo-Diddley beat an example of 5/4, or is that something different?
(this brain exercise is a lot like me trying to understand what chords are…at least not as bad as me trying to dance to any time signature)
Thanks for the lesson, and have a happy 5/4 tomorrow!
The Bo Diddley beat is in 4 but the accents are syncopated on some of the off beats to make it feel strange. Like so:
I can’t say I’ve ever heard this expression before but I’m drooling over that notation.
Bo Diddley is generally credited with inventing it on this song.
https://www.youtube.com/watch?v=BKYSAfbOCPc
Interesting. The accents from the notation v-dog posted are on the same beats as the “hand jive” beat, but the song sounds distinctly different. I’m loving the direction this is taking.
Here’s a pretty cool sampling of other songs that use the BD beat.
https://americansongwriter.com/10-songs-that-use-the-bo-diddley-beat/
Also, ahem, this little band.
https://youtu.be/XU1mODxK-lg
Very tight! And The Lipstick Lounge in name alone sounds like a fun joint to play.
It sure is! The stage is small but it’s always a good time. It’s an LGBTQ+ place and they’re adding on a sports bar that will be called Chapstick.
That’s a good list, and I will add this, my favorite track from Grease–
https://www.youtube.com/watch?v=fY5pmzmiDO8
The Bo Diddley beat is one that I can recognize when I hear it, but I never knew why it was different.
I’m glad you got there first cos I’m exactly the same. I can tell there’s something different but could I tell you it’s 5/4 or name another song with that time signature without cheating?
A nice mix of styles featured. Always good to hear Take Five and Living In The Past. I need to give The Planets a full listen, sounds like a proper orchestral banger.
I’m not always that great at it with the naked ear. I took a intro to music theory class at community college the summer after I graduated high school to prepare for the fall, and the instructor played that Tchaikovsky piece I mentioned and I could not identify the time signature and had to be told. When I can hear something is off of a conventional time signature, I have to count it out, but I don’t always figure it out that easily or sometimes not at all, especially when it’s mixed meter. I will have to check out those Radiohead examples. Not surprised they have a few in their catalog.
I LOVE LOVE LOVE Blue Rondo à la Turk. I always knew the bulk of it wasn’t in 4/4 but never bothered to find out what exactly it was until I was preparing for this piece. I counted it out to see if it was in 5, and I could tell it wasn’t, but it was close. Turns out it’s 9/8, which is a pretty standard time signature, but the syncopation makes it sound like anything but that. I could listen to that beat for days and what Brubeck does with it is like alchemy to me.
Have you heard the Al Jarreau version where he sings it?
https://www.youtube.com/watch?v=UFf2w7O3bDo
No, but it sounds like something Stephen Sondheim might have written!
Nice write up, RB! I haven’t heard “Living In The Past” or “Everything’s Alright” in many decades and I’m sure that at the time I didn’t know 5/4 was a thing. Never bothered to count them.
And now I’m looking forward to your article to be published on July 4th.
Ah, that last sentence is like catnip to me. Not sure I could take away the attention from what normally preoccupies us here in the U.S. on that day, but I may just have to give it a go.
I think sometimes prog rock would get criticized because the music served the time signature (and other musical) experimentation rather than the experimentation serving the music. But I think that’s all a matter of perspective. Some people like crossword puzzles. I LOVE hearing a rhythmically complicated passage of music and then eventually figuring it out.
You have some great examples there.
I know I just talked about Mannheim Steamroller’s 1979 album Fresh Aire III last week, so maybe it’s just on the brain, but I love the first track, “Toccata” which is mostly in a very energetic 5/4 time.
https://www.youtube.com/watch?v=IcSoNgJ3n-w
That’s a really good one and a cool piece. It’s very fast but following the very first keyboard line, I can count it in 5.
Re: Sing of the Lord’s Goodness. Of course, “Take Five.” As a fellow Catholic, I’ve often heard this at our church and wondered why/how — for a church tune — it swung. Now I know. (I’d always thought there was some musical similarity to some Jewish folk melody, but I’d never been able to place it. Guess I had the wrong genre.)
While the opening chords and rhythm of the song ape Take Five, the melody of the chorus sounds a bit like “Everything’s Alright” from Jesus Christ Superstar. There aren’t many published church songs that inherently swing like that one. The Gloria from Ken Canedo’s “Mass of Glory” and “Who Will Stand Up” by Scott Soper come to mind, along with a couple of others but it’s not a long list. There are however, infinite amounts of church songs or hymns that weren’t written to swing, but most certainly can if one is up for doing so, which I often am.
Another gem of an article!
Here’s a 5/4-er that I really like:
https://youtu.be/pG7_gceIFL4
Neat example. I’m currently in a boycott of Sting’s solo work that’s going on 40+ years, but I have to admit this is a sharp track.