David, you are doing excellent, interesting and informative videos, but seriously for almost any subject you are addressing, there would have been so many examples in Sting songs and I feel like you barely ever mention one. Actually now was the first time I ever saw you use one (Synchronicity). He does lots of songs in all sorts of unusual time signatures, from 3/4 to 9/8 and almost anything in between, many are in 7/4 or 7/8, a few in 5/4 etc. Rick Beato analyzed two Sting songs on his "What makes this song great" (Synchronicity II and Fortress around your heart), not for their time signatures but for their interesting harmonies. So keep up the good work and I'd love to help you find good examples on Sting and Police songs for one of your next videos!
@@Marc310380 I was thinking today that I should feature Sting more! I discussed his song "I Hung My Head" in my 3/4 vs 6/8 video. And I also talked about When We Dance in my Lydian video. He's an amazing songwriter!
@@DavidBennettPiano Oh wow, see I hadn't seen these. Like we all have our respective favourite musicians, he is my personal god of music ;) I know all of his songs by heart and play and sing them a lot. Of course you win, since he says the Beatles were his role models and even enabled him to pursue his own career by following their example, being ordinary boys from a working class town in the North of England. But my offer was and is sincere, feel free to hit me up when you are on the lookout for certain intriguing examples on one of your next video subjects, and I am sure I will be able to name a few from the Sting catalogue from the top of my head. Take care and keep doing what you do, it's great!
Yes! AND Thom Yorke particularly Last I Heard He Was Circling the Drain! Please explain why it sounds so different live and why the chorus seems so out of step. I think I get it but would love to see and hear it explained. ruclips.net/video/1J4qYS4nsj8/видео.html Third and final song is Last I Heard LIVE
Glad you guys got the reference, lol. Thom talks about being "happy to serve" in both "Daydreaming" and "Plasticine Figures". I wonder why it means so much to him.
I like to think of 6/4 as a longer version of 4/4 and that 3/4 strictly has a waltz feel. If the music does not feel waltzy, I would say that it always is in 6/4.
yeah, to add onto that, the songs like electric feel and his outro have accents that break up the waltz feel if they were 3/4, ONE two THREE ONE two three.
I think the song "Piledriver Waltz" by Alex Turner is the best example for the difference between 3/4 and 6/4- The verses are undeniably in 6/4, and for the chorus he makes a very noticable switch to 3/4. Even though they are similar time signatures they play very different roles in the song
Yeah Piledriver Waltz is an especially clear example of both beats occuring in the same song. The 6/4 verses are back-leaning and the 3/4 choruses forward-leaning. The 6/4 beat is feminine-pagan, lunar, and communicates ambiguity, questions, observations, and revels in worldly and sensual things. The 3/4 beat is solar and masculine, it's decisive and fleet footed, more aggressive, maybe more bellicose, but if not aggressive it can just as easily be airy and formal, like a waltz. It is either Christian or patriarchal Euro-pagan. 'Electric Feel' is definitely 6/4 in spirit and aesthetic content. It's an earthy, worldly, sexy, exotic song about a sort of goddess, not a song that rocks or leans forward. This is a pagan, amazonian, feminine, lunar song. If you played Electric Feel live and emphasized the 3rd beat, it would start to rock a little bit. It would enact a different sort of sexuality. The 3/4 woman is the object of my desire. The 6/4 woman is the subject of my worship. Alice in Chains is a very solar, masculine, northern European metal band, and loves to use beats of 3, whether it's 7/4 or 3/4.
You seem to understand this topic and is familiar with Arctic Monkeys, I wonder what you think about Nettles (the B-side for Teddy Picker)? I was looking up the tabs and it... is a mix of 3/4, 4/4, 5/4 and 6/4???
Another vote for 6/4 here, because of the drums. While the example he played is kind of ambiguous, later on in the song they switch to this galloping tom + snare rock beat, hitting the snare on every 2nd beat. That part is definitely not 3/4.
I don't get why people insist 6/4 is just 3/4 twice, it is but it's just neater to write it as 6/4. Especially for a song like this where the time signature doesn't really change all that much at all
You guys are expert listeners. You figured out the time signature? I felt like I had arrived as a Tool fan when I could just *hear* the beat on Aenema before the drums start 😆
I suppose time signature is tool to allow musicians to convay information to each other and 5/4 - 7/4 and 2x6/4 are just different translations of the same thing.
I've never heard of anyone counting the main riff of Schism in 6/4... 5/8 + 7/8 which you could simplify as 6/4, but that completely removes the feeling from it
Coldplay has 2 songs that I know of in 6/4. First is “We Never Change” off of Parachutes. The last one I know of is the new “Coloratura” off of Music of the Spheres. In the string and glockenspiel section, he song enters a 6/4 time signature before changing to a shuffled 5/4 time signature.
There are two other songs from Viva la Vida that have odd time signatures, such as “Glass of Water” which is in 7/4 and “Death and all of His Friends” which is in 7/8.
My favourite example of 6/4 in a metal song is the intro to "Almost Easy" by Avenged Sevenfold. It only lasts about 15 seconds, but it definitely gets you feeling something is different and hooks you in before it launches into 4/4 for the rest of the song.
6/4 was very much my bridge into odd time signatures. It feels even enough that it's accessible to most, but odd enough to be noticeable and spark an intrigue in what else you can do with uneven rhythms. Believe it or not the first place I encountered it was in the original Spyro the Dragon soundtrack.
Soundgarden's "Fell on Black Days" is the perfect 6/4 rock song for me. The tempo is appropriate to feel the quarter note beat, the drums accent 2 4 and 6, the phrasing supports a 6 beat bar length, it doesn't really feel like 4/4 plus 2/4 and is very consistent about it (even through some of the beatless sections)(but not all). They count in as if the song will be in 4, but that's part of the hook. 6/4 is not two bars of 3/4 because the 4th beat is unaccented. If the 4th beat is accented that disqualifies 6/4 in my book: use 6/8 or 2 bars of 3/4. I'd write 6/4 when it feels like a quite slow 3/2. This is how "Fell on Black Days" feels to me.
So I literally heard this song today in my Spotify favorites after favoriting it on a binge of nostalgia from my childhood. Today knowing what I know about time signatures the first thing I did was count 6/4 then googled "6/4 time signature songs soundgarden" and this was the first video that came up. I CTRL F my keyboard for "sound" and yeah.... Feelsgoodman, thank you.
Electric Feel's got a Weird Feel! Can't decide how I hear that one! I really like 6/4. One of my favorite songs in 6/4 is "Eraser" by Nine Inch Nails. The drum groove is epic. EDIT: or...it could be 3/2.
I was hoping Fell on Black Days would get a mention. Soundgarden really had an affinity for unusual time signatures! Also I am absolutely _squealing_ at the Courtney Barnett mention. She's great!
Watcher of the skies - Genesis is also on 6/4, and i thint it is a great example of a song that (technically could, but) can’t be writen in 3/4 nor 4/4 + 2/4
Genesis were so masterful with their use of odd meter. They could make it nearly imperceptible like how Turn it on Again is in 13, or they could make it the main attraction like on Down and Out with it's really weird angular 5/4 feel It's almost like David makes a conscious effort to not mention them lol
@@Aquatarkus96 He probably avoids prog artists, because by definition, prog bands like genesis and yes push the boundaries, if i included them every example in every video would be them
There's actually another 6/4 Song by Foo Fighters that works as a great example: Miss The Misery from their Wasting Light album. The riff and verses are in 6/4, the first 4 beats of the riff form one clear phrase, answered by the last 2 beats. This song also switches to 4/4 for the prechorus and chorus, which adds relief.
Danny Elfman was obsessed with using phrases of six during his time in Oingo Boingo, most notably in songs such as "Nasty Habits," "Little Girls," and "Dead Man's Party.
I've noticed that 3/4 tends to accent the first and third beats while 6/4 more often than not accents beats 1, 3, and 5. I hear both Electric Feel and your song at the end in 3/4 because of this.
When I was learning how to play, “ Shine on you Crazy Diamond.” By Pink Floyd. I found out it was in 6/4. My guitar teacher said it was a compound waltz. Makes sense after this video.
@@GaZonk100 No reason. 6/4 and 6/8 are exactly the same thing, simply with different note values. What is notated as quarter notes in 6/4 is notated as 8th notes in 6/8. I guess people choose 6/4 when the tempo is slow enough, so that you actually feel it in 6, and 6/8 when you feel it more as two beats with 3 subdivisions each. Shine on You Crazy Diamond is so slow that you actually feel it in 6, which is why 6/4 may feel more natural. But something like Hallelujah isn't really felt in 6 - you feel it in 2, and each beat has 3 subdivisions. Nothing would stop you from writing Hallelujah in 6/4, or Shine on You Crazy Diamond in 6/8, though. Note values are relative, not absolute, and the only thing that defines quarter note as a quarter note is its relationship to other note values. These days, it's common to equate quarter notes with the pulse of the song. But nothing really stops you from choosing half note or 8th note as the pulse. But because people are used to certain note values feeling slower and other note values feeling faster, it might seem weird to use longer note values in a really fast tempo (or shorter note values in a really slow tempo), which is why fast 6/4 or slow 6/8 may be more difficult to read, because the notation looks "slow" when the music is fast or vice versa.
@@MaggaraMarine I disagree. 3/4 and 6/4 are very close, the difference as shown in the video. 6/8 on the other hand, has a very different feel, with as you say the accent on the 1st and 4th. It's compound time since we have 2 beats, each split into three. 6/4 is simple time. Of course you could rewrite a 6/4 piece in 6/8, but as is said in the video, this would give completely the wrong idea to the performer.
@@iain_nakada Look up pieces that are written in 6/4, and you'll find a lot of them that sound like 6/8 (you just don't know that they are written in 6/4, because the difference between 6/4 and 6/8 really can't be heard in those cases - it's simply about how the pieces were notated, and which note value was chosen as the beat). Liebestraum no.3 would be a good example. Forlane from Bach's 1st Orchestral Suite would be an even better example. If you want a more modern example, I'd Give It All for You from Songs for a New World is written in 6/4 (I know this because I have seen the original sheet music). Definitely has what most people would describe as a 6/8 feel. BTW, sometimes the difference between 3/4 and 6/8 is also kind of arbitrary. One bar of slow 6/8 may feel like two bars of fast 3/4 (or vice versa). For example the Scherzo from Beethoven's 5th Symphony is written in really fast 3/4, even though to me it has more of a 6/8 feel (I would count it as one two one two, but the way Beethoven wrote it basically makes you feel it as "one, one, one, one", where the beats are notated as dotted half notes, and the quarter notes are super fast). Traditionally, 6/4 is a compound duple meter. When you combine two 3/4 bars, you get one bar of 6/4. And combining two 3/4 bars gives the music a 3+3 feel. Two beats (1st and 4th beats) in a bar get more emphasis than the others. Now, you can use 6/4 without a distinct 3+3 feel, but that's not how the time signature has been used historically. If the 6 beats are in groups of 2, 3/2 would often be a more appropriate time signature. And BTW, I don't 100% agree with the video. The point it made in the end was good, though. As he said, 6/4 may appear to be a rare time signature, because some pieces that feel like 3/4 are notated in 6/4. But also (and the video didn't mention this) because some pieces that feel like 6/8 are notated in 6/4. Basically, it's a time signature that lacks a clear identity, and a lot of 6/4 pieces may be described either as 6/8 or 3/4 (these are the most common ways of notating the two most common feels of 6/4 pieces). The main point here is, the "bottom number" of a time signature can't be heard. It's simply about which note values you would use to notate the piece. But there's really nothing that makes 6/4 distinct from 6/8 or 6/16. People just tend to default to 6/8, because that's the most common 6/x time signature.
These are all the songs he mentions in this video: Schism - TOOL Fell on Black Days - Soundgarden Full Stop - Radiohead Pick up Sticks - Dave Brubeck Quartet Everybody's Jumping - Dave Brubeck Quartet Galvanize - The Chemical Brothers Enough Space - Foo Fighters Dam That River - Alice in Chains Synchronicity 1 - The Police Crippling Self Doubt and a General Lack of Confidence - Courtney Barnett Take Me to Church - Hozier Electric Feel - MGMT Nocturne Op. 9, No. 1 - Frédéric Chopin
Piledriver Waltz by Alex Turner is a really interesting example because the verses are definitely in 6/4 as they are clearly divided into 3 groups of 2 beats whilst the chorus then switches to a 3/4 waltz feel with 2 groups of 3 beats instead
Another excellent example. :-) Definitely one of those "just chop off the end of the phrase for effect" songs, a bit like Joan Jett's "I Love Rock and Roll", or Blondie's "Heart of Glass".
These are great videos of you going through songs with all kinds of different time signatures! Keep it up to go through all of them that’s usually popular if you can and then maybe the more obscure proggy type ones if you don’t mind with composite meters and such.
I always told myself that if I ever had a band I would push for sheet music to come with every cd or vynil so people could learn it without having to rely on mostly inaccurate tabs or sheets online
I wonder how many bands, especially those without formal music education and at the start of their careers, really know what time signature their music is in. The guitar, drums and bass jam together, get a nice groove going, and that's the basis of the song. Months later a producer might tell them it's in 4/4 or 6/4 😁
Depends. Yeah anyone can play 4/4 (and maybe even 3/4, 6/8, 12/8) spontaneously but I can't imagine very many garage bands just spontaneously starting to jam in 7/8 or 5/4. That's going to be a conscious decision by somebody.
@@wingracer1614 But if you're writing by yourself on a computer it's very easy to go twiddly, twiddly, twiddly and end up with something in 15/16 or what have you, because you can write more by feel and don't have to have someone else follow along. And you still might not know what time signature it is!
I don't know how to read sheet music, but your time signature videos have helped me gain a lot information I didn't have prior to watching them! You've also given me a new writing topic for when my english teacher gives us free write days lol
@@deathoftheendless001 You could definitely do that, but you could also write 4/4 as 3/4 + 1/4 but that would make no sense. In the same way it makes no sense to view schism in 6/4. Everything points to alternating 5/8 and 7/8.
@@timdedecker7894 yeah I agree on that, for me I hear 5/8 7/8 more than 6/4 everytime I listen to that tune. And I think it would be easy to play if it is to be seen as that instead of 6/4
Keep it dark is a very interesting Genesis song from the early 80s in many ways. Not only that its written in 6/4 but also with a distinctly syncopated rhythm guitar part.
From 1966, the musically hallucinatory 'B' section from "Cabinessence" by Brian Wilson. Followed by a 'C' section in 6/8 where the bass is overlaid in 6/4.
Camille Saint-Saëns' The Swan is in 6/4. The 'cello leads with 6 crotchets that work naturally. The piano accompaniment has two rolling sequences - 4 semiquavers going up-up-down-down underneath 6 quavers going up-up-down-down-up. A great feeling of running water to support the 'cello's swan-like calm movements.
Rabbit in Your Headlights is a delightful specimen. Most of the song is in 9/8 but the it builds to a crescendo, and breaks into a strong quarter-note-feeling 6.
I think Electric Feel is 6/4 because to me it feels like "one two THREE FOUR one? two?" In other words, 4/4 with accents on the end and a weird, added two beats.
Starting with one of the songs with the most debated time signatures in recent memory, ballsy move. Personally, when I think of Tool and 6/4, I think of the chorus to Stinkfist.
That Courtney Barnett example reminds me of "Wave of Mutilation" by the Pixies, except "Wave" is in 4/4 in the verses and 6/4 in the chorus. "Dead" is another good example in 6/4.
Pixies love mixing 4/4 and 6/4 in their songs: - In 'No. 13 Baby' the outro alternates between 4/4 and 6/4. - They also alternate between 6/4 and 4/4 in the chorus of 'Dig for Fire'. - The coda in 'Alec Eiffel' has a total of 22 beats grouped together, which I count as 4/4 4/4 4/4 4/4 6/4.
I haven't played Most Wanted (2012) for over 6 years so hearing Galvanize slapped me with the most nostalgia Ive ever felt in my 16 years of being alive
David I love your stuff! It was my understanding Schism is in 5/8 + 7/8 While i know it's the same as 6/4 in terms of the cycle length the 2 3 2 2 3 grouping of accents is a big part of that song
It's funny because he said that 6/4 songs are harder to find than 5/4 songs, yet Schism is one of the only 5/4 songs I can think of and then he says it's in 6/4 anyway😂😂
I think 5/8 + 7/8 makes it easy to conceptualise the song when you're performing it. However, if you were reading this song off a page, you'd probably prefer it to be 6/4. There are a lot of examples of songs that could be thought of in this kind of way. For example, you could even say that Clocks by Coldplay is 3/8 + 3/8 + 2/8, and that might make it easier to think about, but it would be weird to not writing the song down in 4/4. 😊
@@DavidBennettPiano Lol for sure, just Sciscm has a really unique rhythmic seperation compared to most other songs. It is a pain to read things with a lot of time changes, but where is the appropriate time to use them? I'm guessing when it's complex enough that we can't make it easier to read? Regardless bro, I really do enjoy your videos! Keep up the good work.
@@ChemBoy613 thanks! Personally I really find Schism naturally falls into 6/4 much better than 5/8+7/8. But at the end of the day, it’s two sides of the same coin 😃
Multiple tracks on the Undertale soundtrack are in 6/4, and they are mainly ones that use the "Ruins" leitmotif. The three I can think of are: - Ruins - Spear Of Justice - NGAHHH!! The leitmotif is used in other tracks too, but is shifted to 3/4 or even changed to fit a 4/4 rhythm (like in "Battle Against A True Hero")
I jammed out a riff that happened to be in 6/4 and have next to no theory knowledge, so this is actually really helpful for acclimatizing myself to the time signature
I saw Dave Grohl in the thumbnail but couldn't think of a Foo Fighters song in 6/4. Enough Space is a great underrated track and I wasn't expecting it! Edit: The Foos also have a song called Making A Fire, which uses 6/4. I was reminded by the rhythm of Electric Feel in this video
"Although at least a few of you will say that my piece is actually in 3/4." Yep. :-) Definitely "One and and, Two and and", with the accents on the one and four. But each "phrase" feels like a pair, so 6/4 is fine too. :-)
Thank you once more for an enjoyable and educating video! Pineapple Head by Crowded House is in 6/8, that's the nearest I could get from the sheet music I have. Would be good to see them feature in a future video. How about a video on songs in 12/8? I know a couple of those.
Schism is a repeating 5/8 + 7/8, because drum and vocals accents on second bar (and first too) is nothing like 6/4. Just try to play it and you'll see that reading and counting in 5/8 + 7/8 is much easier than in 6/4. Also, in chorus it clearly goes to 6/8 + 7/8, prolonging the last note of first bar and playing around with drum patterns. Writing it in 13/8 would be super inconvenient for a performer to read. But there is actually two times when vocals go in 6/4 (or rather 3/4) while everything else stays in 5/8 + 7/8. One of the times It's on lyrics "i've done the math enough to know the dangers of our second guessing". It's super confusing, and took me I think two years to understand it and kinda feel it, or at least to know what is going on. I still need to concentrate on one of the things and can't hear and feel both at the same time.
Can you do a video on chromatic mediants next? Songs that use them, film scoring, how each two chord combination inspire a particular emotion? That would be awesome!
"To The End" is a great song! It alternates between 6/4 and 4/4 but I didn't think it was a pure enough example for this video. I may feature it in another upcoming video though!
It feels awkward to count schism in 6/4, its much easier to count as alternating between 5 and 7, although you can look at it as 6/4 or 12/8 there is really no reason to. A better tool example would be 10000 days pt 2
Right. If "Schism" was in 6/4, the off-beats / syncopations should feel like it. They don't. Those are the strong beats, they're just irregularly spaced (2 vs. 3 eighth note-long beats). I'd call it alternating 5/8 and 7/8. It feels odd, so notate it odd. It's not a disguised even meter.
What, no Beatles? Slow day? :) Personally, I mainly meet 6/4 when playing hymns. So, when I play Jesus, Grant that Balm and Healing (or in German: Jesu, deine tiefe Wunden), it's in 6/4.
Thanks for watching! Click the link below for a chance to win a recording session with me on Musiversal!
musiversal.typeform.com/david-bennett 🎹😁
@Bunkey get writing!!
David, you are doing excellent, interesting and informative videos, but seriously for almost any subject you are addressing, there would have been so many examples in Sting songs and I feel like you barely ever mention one. Actually now was the first time I ever saw you use one (Synchronicity). He does lots of songs in all sorts of unusual time signatures, from 3/4 to 9/8 and almost anything in between, many are in 7/4 or 7/8, a few in 5/4 etc. Rick Beato analyzed two Sting songs on his "What makes this song great" (Synchronicity II and Fortress around your heart), not for their time signatures but for their interesting harmonies. So keep up the good work and I'd love to help you find good examples on Sting and Police songs for one of your next videos!
@@Marc310380 I was thinking today that I should feature Sting more! I discussed his song "I Hung My Head" in my 3/4 vs 6/8 video. And I also talked about When We Dance in my Lydian video. He's an amazing songwriter!
@@DavidBennettPiano Oh wow, see I hadn't seen these. Like we all have our respective favourite musicians, he is my personal god of music ;) I know all of his songs by heart and play and sing them a lot. Of course you win, since he says the Beatles were his role models and even enabled him to pursue his own career by following their example, being ordinary boys from a working class town in the North of England. But my offer was and is sincere, feel free to hit me up when you are on the lookout for certain intriguing examples on one of your next video subjects, and I am sure I will be able to name a few from the Sting catalogue from the top of my head.
Take care and keep doing what you do, it's great!
@Bunkey Send me the lyrics after you wrote it
It took less than a minute to get to Radiohead. This must be a new record.
He should start a video by just saying “Radiohead”
@@enshen2190 "The sponsor of this video is Radiohead. Not really, I just wanted to advertise them."
"Radiohead of course has a few songs that are pi over the square root of -1 measures per bar and played using various flavors of jello."
I’m glad I’m not the only one who noticed that. Geez! Is Thom Yorke paying him?
I wish there was a new record
You should look at this band called "Radiohead". They have some songs that might fit your videos topics
You say? Despite Dave Bennett making references to Thom Yorke's music in this very video? ;-)
he's not 'there' yet, lol...
Yes! AND Thom Yorke particularly Last I Heard He Was Circling the Drain! Please explain why it sounds so different live and why the chorus seems so out of step. I think I get it but would love to see and hear it explained.
ruclips.net/video/1J4qYS4nsj8/видео.html
Third and final song is Last I Heard LIVE
They have a very niche and unknown song called "crepe" which he should definitely make a full video about
@@papagynther6905 it's their best song right?
*Almost every David video about music theory:* exists.
*Thom Yorke:* I'm just happy to serve you.
He is so far in the thumbnail of all 3 of my odd time signature videos!
He's happy to serve
@@DaniloSilva-pl3sq nice
@@DaniloSilva-pl3sq Happy to linger
Glad you guys got the reference, lol. Thom talks about being "happy to serve" in both "Daydreaming" and "Plasticine Figures". I wonder why it means so much to him.
What happens when David runs out of Radiohead and Beatles songs that fit his topics?
the end of the world
Then there's David Bowie
@@jeremiahlyleseditor437 and Björk
UN. POSSIBLE.
Deletes Channel
I like to think of 6/4 as a longer version of 4/4 and that 3/4 strictly has a waltz feel. If the music does not feel waltzy, I would say that it always is in 6/4.
yeah, to add onto that, the songs like electric feel and his outro have accents that break up the waltz feel if they were 3/4, ONE two THREE ONE two three.
or 6/8
I think the song "Piledriver Waltz" by Alex Turner is the best example for the difference between 3/4 and 6/4-
The verses are undeniably in 6/4, and for the chorus he makes a very noticable switch to 3/4. Even though they are similar time signatures they play very different roles in the song
Great song choice! Perfect example of this concept
Yeah Piledriver Waltz is an especially clear example of both beats occuring in the same song. The 6/4 verses are back-leaning and the 3/4 choruses forward-leaning. The 6/4 beat is feminine-pagan, lunar, and communicates ambiguity, questions, observations, and revels in worldly and sensual things. The 3/4 beat is solar and masculine, it's decisive and fleet footed, more aggressive, maybe more bellicose, but if not aggressive it can just as easily be airy and formal, like a waltz. It is either Christian or patriarchal Euro-pagan.
'Electric Feel' is definitely 6/4 in spirit and aesthetic content. It's an earthy, worldly, sexy, exotic song about a sort of goddess, not a song that rocks or leans forward. This is a pagan, amazonian, feminine, lunar song. If you played Electric Feel live and emphasized the 3rd beat, it would start to rock a little bit. It would enact a different sort of sexuality. The 3/4 woman is the object of my desire. The 6/4 woman is the subject of my worship.
Alice in Chains is a very solar, masculine, northern European metal band, and loves to use beats of 3, whether it's 7/4 or 3/4.
You seem to understand this topic and is familiar with Arctic Monkeys, I wonder what you think about Nettles (the B-side for Teddy Picker)? I was looking up the tabs and it... is a mix of 3/4, 4/4, 5/4 and 6/4???
Hmm, I feel Electric Feel by MGMT is in 6/4.
It is.
Another vote for 6/4 here, because of the drums. While the example he played is kind of ambiguous, later on in the song they switch to this galloping tom + snare rock beat, hitting the snare on every 2nd beat. That part is definitely not 3/4.
It definitely is.
I don't get why people insist 6/4 is just 3/4 twice, it is but it's just neater to write it as 6/4. Especially for a song like this where the time signature doesn't really change all that much at all
Was hoping it would get mentioned in this video
Great to see Courtney Barnett getting recognition. She is amazing. Such a talented poet and musician
I just found her recently and I am in love with her music
I've always counted the main riff in Schism as alternating 5/8 and 7/8. Counting it in 6/4 is really weird and difficult for me
Yeah, I thought it was alternating time signatures
I feel that Schism is kind of polymetric. I think both are valid arguments depending on the instrument you follow
Yeah I've heard it's generally accepted, if not also defined by the band I think, that its I alternating 5/8 and 7/8. I couldn't follow the 6/4.
You guys are expert listeners. You figured out the time signature? I felt like I had arrived as a Tool fan when I could just *hear* the beat on Aenema before the drums start 😆
I suppose time signature is tool to allow musicians to convay information to each other and 5/4 - 7/4 and 2x6/4 are just different translations of the same thing.
Electric Feel is in 6/4 because of the phrasing of the bass line. If it weren’t for that, you could totally say 3/4.
Agree but disagree about the last sentence. The drums also heavily define the 6/4
also the higher melody is very clearly 6/4 cause it always skips a 16th (i guess) after the 1
How? If you're going to interpret it in 3/4 the bassline is accenting beat 1 of every other bar
@@Wind-nj5xz sure, but the drums are heaaavily accenting the 1 of a 6/4 beat
Sounds like 4/4 + an extra 2 beats to me
I've never heard of anyone counting the main riff of Schism in 6/4... 5/8 + 7/8 which you could simplify as 6/4, but that completely removes the feeling from it
Came here to say this. Who knows if it’s intentional (it’s Tool, so probably), but it’s a “split” (or schism) in the music.
For sure, but you would probably write it as 6/4 or 6/8. If I saw a song alternating between 5/8 and 7/8, I'd probably have a breakdown.
Yeah definitely wasnt expecting that to be here. If not 5/8 + 7/8 then I would have guessed 12/8
I immediately came to the comments to bring this up. I would never notate Schism in 6/4.
Coldplay has 2 songs that I know of in 6/4. First is “We Never Change” off of Parachutes. The last one I know of is the new “Coloratura” off of Music of the Spheres. In the string and glockenspiel section, he song enters a 6/4 time signature before changing to a shuffled 5/4 time signature.
There are two other songs from Viva la Vida that have odd time signatures, such as “Glass of Water” which is in 7/4 and “Death and all of His Friends” which is in 7/8.
My favourite example of 6/4 in a metal song is the intro to "Almost Easy" by Avenged Sevenfold. It only lasts about 15 seconds, but it definitely gets you feeling something is different and hooks you in before it launches into 4/4 for the rest of the song.
always wondered why i liked that song so much, especially the intro
6/4 was very much my bridge into odd time signatures. It feels even enough that it's accessible to most, but odd enough to be noticeable and spark an intrigue in what else you can do with uneven rhythms. Believe it or not the first place I encountered it was in the original Spyro the Dragon soundtrack.
Soundgarden's "Fell on Black Days" is the perfect 6/4 rock song for me. The tempo is appropriate to feel the quarter note beat, the drums accent 2 4 and 6, the phrasing supports a 6 beat bar length, it doesn't really feel like 4/4 plus 2/4 and is very consistent about it (even through some of the beatless sections)(but not all). They count in as if the song will be in 4, but that's part of the hook.
6/4 is not two bars of 3/4 because the 4th beat is unaccented. If the 4th beat is accented that disqualifies 6/4 in my book: use 6/8 or 2 bars of 3/4. I'd write 6/4 when it feels like a quite slow 3/2. This is how "Fell on Black Days" feels to me.
So I literally heard this song today in my Spotify favorites after favoriting it on a binge of nostalgia from my childhood. Today knowing what I know about time signatures the first thing I did was count 6/4 then googled "6/4 time signature songs soundgarden" and this was the first video that came up. I CTRL F my keyboard for "sound" and yeah....
Feelsgoodman, thank you.
Electric Feel's got a Weird Feel! Can't decide how I hear that one! I really like 6/4. One of my favorite songs in 6/4 is "Eraser" by Nine Inch Nails. The drum groove is epic. EDIT: or...it could be 3/2.
Was also thinking of nine in nails!
‘The Collector’ alternates between 6/4 and 7/4 and they throw in some 4/4 for the chorus
@@julioestebanortiz-zamora5387 Oh yeah! That measure in 7/4 is like a little "gotcha!", like it throws you off even further.
Dave would be a good music teacher
What do you mean, Marah? Dave IS a good music teacher.
@@clifftownsend3027 word
I always felt Electric Feel as 4 + 2 and not as 3 + 3, so I believe 6/4 is the more accurate time signature.
So did I; I remember trying to figure this out when the song came out. 4/4 + 2/4 might be better than 6/4.
I read it as 6/4, with the first, third and fourth beats accented. if it was 4/4 and 2/4, there would be no accent in the second measure at all
Ditto with Synchronicity 1.
There's a video of MGMT recording it and you can hear the metronome counts in 6/4! :)
This video would;ve been very helpful to me years ago when I was still trying to learn music.
I was hoping Fell on Black Days would get a mention. Soundgarden really had an affinity for unusual time signatures!
Also I am absolutely _squealing_ at the Courtney Barnett mention. She's great!
As soon as I saw the video's title my first thought was "I'll be gutted if 'Fell On Black Days' isn't mentioned". Second song in. Phew!!
2:02 Half-flat A, impressive attention to details.
2:09 Hadi Keba Bayna/Galvanize
Watcher of the skies - Genesis is also on 6/4, and i thint it is a great example of a song that (technically could, but) can’t be writen in 3/4 nor 4/4 + 2/4
"Watcher" is a most excellent example. :-)
Plus every beat is a quadruplet
Genesis were so masterful with their use of odd meter. They could make it nearly imperceptible like how Turn it on Again is in 13, or they could make it the main attraction like on Down and Out with it's really weird angular 5/4 feel
It's almost like David makes a conscious effort to not mention them lol
@@Aquatarkus96
He probably avoids prog artists, because by definition, prog bands like genesis and yes push the boundaries, if i included them every example in every video would be them
@@Aquatarkus96 i think he mentioned turn it on again in one video but it was very briefly… certainly, they deserve a lot more love than he gives them
6/4 time is beautiful 😺 I owe you
“All Tore Up” by the Tragically Hip is a good one. Feels like three bars of 2/4 (or maybe even 2/2); kinda different from the examples in the video.
There's actually another 6/4 Song by Foo Fighters that works as a great example: Miss The Misery from their Wasting Light album. The riff and verses are in 6/4, the first 4 beats of the riff form one clear phrase, answered by the last 2 beats. This song also switches to 4/4 for the prechorus and chorus, which adds relief.
I think Making a Fire from their latest album is also 6/4
Some day David will run out of Thom Yorke pictures to put in the thumbnails.
Danny Elfman was obsessed with using phrases of six during his time in Oingo Boingo, most notably in songs such as "Nasty Habits," "Little Girls," and "Dead Man's Party.
I've noticed that 3/4 tends to accent the first and third beats while 6/4 more often than not accents beats 1, 3, and 5. I hear both Electric Feel and your song at the end in 3/4 because of this.
When I was learning how to play, “ Shine on you Crazy Diamond.” By Pink Floyd. I found out it was in 6/4. My guitar teacher said it was a compound waltz. Makes sense after this video.
why not 6/8? - my brain hurts
@@GaZonk100 No reason. 6/4 and 6/8 are exactly the same thing, simply with different note values. What is notated as quarter notes in 6/4 is notated as 8th notes in 6/8.
I guess people choose 6/4 when the tempo is slow enough, so that you actually feel it in 6, and 6/8 when you feel it more as two beats with 3 subdivisions each. Shine on You Crazy Diamond is so slow that you actually feel it in 6, which is why 6/4 may feel more natural. But something like Hallelujah isn't really felt in 6 - you feel it in 2, and each beat has 3 subdivisions. Nothing would stop you from writing Hallelujah in 6/4, or Shine on You Crazy Diamond in 6/8, though. Note values are relative, not absolute, and the only thing that defines quarter note as a quarter note is its relationship to other note values.
These days, it's common to equate quarter notes with the pulse of the song. But nothing really stops you from choosing half note or 8th note as the pulse. But because people are used to certain note values feeling slower and other note values feeling faster, it might seem weird to use longer note values in a really fast tempo (or shorter note values in a really slow tempo), which is why fast 6/4 or slow 6/8 may be more difficult to read, because the notation looks "slow" when the music is fast or vice versa.
@@MaggaraMarine thank you -- I will digest this fine response over a drink tonight
@@MaggaraMarine I disagree. 3/4 and 6/4 are very close, the difference as shown in the video. 6/8 on the other hand, has a very different feel, with as you say the accent on the 1st and 4th. It's compound time since we have 2 beats, each split into three. 6/4 is simple time. Of course you could rewrite a 6/4 piece in 6/8, but as is said in the video, this would give completely the wrong idea to the performer.
@@iain_nakada Look up pieces that are written in 6/4, and you'll find a lot of them that sound like 6/8 (you just don't know that they are written in 6/4, because the difference between 6/4 and 6/8 really can't be heard in those cases - it's simply about how the pieces were notated, and which note value was chosen as the beat). Liebestraum no.3 would be a good example. Forlane from Bach's 1st Orchestral Suite would be an even better example. If you want a more modern example, I'd Give It All for You from Songs for a New World is written in 6/4 (I know this because I have seen the original sheet music). Definitely has what most people would describe as a 6/8 feel.
BTW, sometimes the difference between 3/4 and 6/8 is also kind of arbitrary. One bar of slow 6/8 may feel like two bars of fast 3/4 (or vice versa). For example the Scherzo from Beethoven's 5th Symphony is written in really fast 3/4, even though to me it has more of a 6/8 feel (I would count it as one two one two, but the way Beethoven wrote it basically makes you feel it as "one, one, one, one", where the beats are notated as dotted half notes, and the quarter notes are super fast).
Traditionally, 6/4 is a compound duple meter. When you combine two 3/4 bars, you get one bar of 6/4. And combining two 3/4 bars gives the music a 3+3 feel. Two beats (1st and 4th beats) in a bar get more emphasis than the others.
Now, you can use 6/4 without a distinct 3+3 feel, but that's not how the time signature has been used historically. If the 6 beats are in groups of 2, 3/2 would often be a more appropriate time signature.
And BTW, I don't 100% agree with the video. The point it made in the end was good, though. As he said, 6/4 may appear to be a rare time signature, because some pieces that feel like 3/4 are notated in 6/4. But also (and the video didn't mention this) because some pieces that feel like 6/8 are notated in 6/4. Basically, it's a time signature that lacks a clear identity, and a lot of 6/4 pieces may be described either as 6/8 or 3/4 (these are the most common ways of notating the two most common feels of 6/4 pieces).
The main point here is, the "bottom number" of a time signature can't be heard. It's simply about which note values you would use to notate the piece. But there's really nothing that makes 6/4 distinct from 6/8 or 6/16. People just tend to default to 6/8, because that's the most common 6/x time signature.
These are all the songs he mentions in this video:
Schism - TOOL
Fell on Black Days - Soundgarden
Full Stop - Radiohead
Pick up Sticks - Dave Brubeck Quartet
Everybody's Jumping - Dave Brubeck Quartet
Galvanize - The Chemical Brothers
Enough Space - Foo Fighters
Dam That River - Alice in Chains
Synchronicity 1 - The Police
Crippling Self Doubt and a General Lack of Confidence - Courtney Barnett
Take Me to Church - Hozier
Electric Feel - MGMT
Nocturne Op. 9, No. 1 - Frédéric Chopin
also, he doesn't mention it by name, but the sheet music shown in 10:40 is for waltz #1 by elliott smith (this one is absolutely 3/4 though)
An Alice in Chains mention in a David video! We simply love to see it. Great work as always.
Yeah damn that river, rain rain when i die and hollow but im pretty sure there is another
"Fell on Black Days" by Soundgarden is in 6/4. And it was a hit song.
I really like how you explain the weird time signatures with examples of actual songs. Makes the theory for it a lot more Intuitive
Just off the top of my head "Room a Thousand Years Wide" by Soundgarden is in unmistakable 6/4. And it's awesome.
Piledriver Waltz by Alex Turner is a really interesting example because the verses are definitely in 6/4 as they are clearly divided into 3 groups of 2 beats whilst the chorus then switches to a 3/4 waltz feel with 2 groups of 3 beats instead
The repeating bridge in Whip It by Devo is in 6/4
Another excellent example. :-) Definitely one of those "just chop off the end of the phrase for effect" songs, a bit like Joan Jett's "I Love Rock and Roll", or Blondie's "Heart of Glass".
It adds so much swagger to the chorus, it's like you're marching into the chorus
Electric feel is 100% in 6/4. It's basically 4/4 followed by a 2/4. Counting this in 3/4 would drive someone insane.
Synchronicity 1 is one of
my favorites
This channel expanded my music library
Great!
These are great videos of you going through songs with all kinds of different time signatures! Keep it up to go through all of them that’s usually popular if you can and then maybe the more obscure proggy type ones if you don’t mind with composite meters and such.
Thank you David, for opening my eyes to 6/4 being like 4/4 +2/4. I used to (wrongly) read it as I would a 6/8
I always told myself that if I ever had a band I would push for sheet music to come with every cd or vynil so people could learn it without having to rely on mostly inaccurate tabs or sheets online
A David Bennett video that doesn't feature a Beatles song? I never thought I'd live to see the day
The Beatles didn’t write anything in 6/4
2:37 "cover by the Foo Forgers"
You're getting more creative with your copyrights now lol
Tribute bands are a great sources of very faithful-sounding covers!
I'm so glad Courtney Barnett is getting more recognition. One of my favorite new artists
Our sheet music for "I want a Hippopotamus for Christmas" is in 6/4 time. This helped me understand it better. Thank you!
Electric Feel... one of my favorite songs ever ❤ I hear it in 6/4 although before today I never thought about it, just loved it 😊
I wonder how many bands, especially those without formal music education and at the start of their careers, really know what time signature their music is in. The guitar, drums and bass jam together, get a nice groove going, and that's the basis of the song. Months later a producer might tell them it's in 4/4 or 6/4 😁
My thoughts exactly.
Depends. Yeah anyone can play 4/4 (and maybe even 3/4, 6/8, 12/8) spontaneously but I can't imagine very many garage bands just spontaneously starting to jam in 7/8 or 5/4. That's going to be a conscious decision by somebody.
@@wingracer1614 But if you're writing by yourself on a computer it's very easy to go twiddly, twiddly, twiddly and end up with something in 15/16 or what have you, because you can write more by feel and don't have to have someone else follow along. And you still might not know what time signature it is!
I don't know how to read sheet music, but your time signature videos have helped me gain a lot information I didn't have prior to watching them! You've also given me a new writing topic for when my english teacher gives us free write days lol
schism isn’t in 6/4, it’s actually mostly in alternating bars of 5/8 and 7/8 however the meter changes constantly
Maybe because 5/8 + 7/8 would make 12/8 and 12 eighth notes could fit in 6 quarter notes idk i'm just a guitar player lol.
@@deathoftheendless001 You could definitely do that, but you could also write 4/4 as 3/4 + 1/4 but that would make no sense. In the same way it makes no sense to view schism in 6/4. Everything points to alternating 5/8 and 7/8.
@@timdedecker7894 yeah I agree on that, for me I hear 5/8 7/8 more than 6/4 everytime I listen to that tune. And I think it would be easy to play if it is to be seen as that instead of 6/4
Keep it dark is a very interesting Genesis song from the early 80s in many ways. Not only that its written in 6/4 but also with a distinctly syncopated rhythm guitar part.
Also Turn it on again, which alternates between 6/4 and 7/4
The chorus of Wuthering Heights sounds like it's in 4/4 and then a bar of 2/4, but seeing this video, I never considered it could be in 6/4
Kaz Rodriguez loves 6/4 phrasing. He plays it a lot.
I love the way 6/4 moves against 4/4.
From 1966, the musically hallucinatory 'B' section from "Cabinessence" by Brian Wilson. Followed by a 'C' section in 6/8 where the bass is overlaid in 6/4.
Camille Saint-Saëns' The Swan is in 6/4. The 'cello leads with 6 crotchets that work naturally. The piano accompaniment has two rolling sequences - 4 semiquavers going up-up-down-down underneath 6 quavers going up-up-down-down-up. A great feeling of running water to support the 'cello's swan-like calm movements.
The "Songs that use X/Y time" series is my favourite
Rabbit in Your Headlights is a delightful specimen. Most of the song is in 9/8 but the it builds to a crescendo, and breaks into a strong quarter-note-feeling 6.
I think Electric Feel is 6/4 because to me it feels like "one two THREE FOUR one? two?" In other words, 4/4 with accents on the end and a weird, added two beats.
The rhythm and sound of the piece in the end has a very Black South African Gospel feeling to it. I couldn't help but groove to it❤🇿🇦
Starting with one of the songs with the most debated time signatures in recent memory, ballsy move. Personally, when I think of Tool and 6/4, I think of the chorus to Stinkfist.
Thanks for using my cover David! ☺️ love your videos and good to see another Radiohead devotee
Thanks for sharing! I would love to see a tutorial that explains how to read sheet music like how to determine the key and so forth...
aşk içinde by mor ve ötesi's verse is a really good example of 6/4, I love it
Thank you! I was hoping you'd do this video soon!
That Courtney Barnett example reminds me of "Wave of Mutilation" by the Pixies, except "Wave" is in 4/4 in the verses and 6/4 in the chorus. "Dead" is another good example in 6/4.
Thank you for pointing out Pixies were there almost from the beginning.
pixies has a LOOOOOOOT of songs in 6/4, from surfer rosa to trompe le monde. its crazy
Watcher of the Skies by Genesis is a good example of the 4+2 approach to subdivide 6/4
In classical notation, 6/4 means that the beats are grouped 3+3 (similar to 6/8). The grouping 2+2+2 would be notated as 3/2 (similar to 3/4).
Pixies love mixing 4/4 and 6/4 in their songs:
- In 'No. 13 Baby' the outro alternates between 4/4 and 6/4.
- They also alternate between 6/4 and 4/4 in the chorus of 'Dig for Fire'.
- The coda in 'Alec Eiffel' has a total of 22 beats grouped together, which I count as 4/4 4/4 4/4 4/4 6/4.
Also the chorus to "Waves of Mutilation"
the verses in vamos are in 6/4 too, pixies use this time signature all the time. soooo good
I haven't played Most Wanted (2012) for over 6 years so hearing Galvanize slapped me with the most nostalgia Ive ever felt in my 16 years of being alive
I like the 4 - 2 count in 6/4. It seams fairly common in rock to add the 2 count.
imo 6/4 feels like a chiller 3/4
David I love your stuff! It was my understanding Schism is in 5/8 + 7/8 While i know it's the same as 6/4 in terms of the cycle length the 2 3 2 2 3 grouping of accents is a big part of that song
It's funny because he said that 6/4 songs are harder to find than 5/4 songs, yet Schism is one of the only 5/4 songs I can think of and then he says it's in 6/4 anyway😂😂
I think 5/8 + 7/8 makes it easy to conceptualise the song when you're performing it. However, if you were reading this song off a page, you'd probably prefer it to be 6/4. There are a lot of examples of songs that could be thought of in this kind of way. For example, you could even say that Clocks by Coldplay is 3/8 + 3/8 + 2/8, and that might make it easier to think about, but it would be weird to not writing the song down in 4/4. 😊
@@DavidBennettPiano Lol for sure, just Sciscm has a really unique rhythmic seperation compared to most other songs.
It is a pain to read things with a lot of time changes, but where is the appropriate time to use them? I'm guessing when it's complex enough that we can't make it easier to read?
Regardless bro, I really do enjoy your videos! Keep up the good work.
@@ChemBoy613 thanks! Personally I really find Schism naturally falls into 6/4 much better than 5/8+7/8. But at the end of the day, it’s two sides of the same coin 😃
Multiple tracks on the Undertale soundtrack are in 6/4, and they are mainly ones that use the "Ruins" leitmotif. The three I can think of are:
- Ruins
- Spear Of Justice
- NGAHHH!!
The leitmotif is used in other tracks too, but is shifted to 3/4 or even changed to fit a 4/4 rhythm (like in "Battle Against A True Hero")
Watcher Of The Skies by Genesis is the example I always use . That or several Gentle Giant songs.
Suburban War by Arcade Fire is in 6/4, you can feel it by listening the guitar riff. It then speeds up and switches to 4/4 in the outro
I like the Tool inclusion. Would love to see more on them because of their weird time signatures.
Excellent video. I just had a song that was in both 4/4 and 6/4 and this explained everything I needed to know as a newbie. +1 for Radiohead.
And now for the ultimate challenge: Songs in 9/4 time!
The bridge of Deep Purple's Perfect Strangers
It’s on the list! Thanks for the suggestion of that Deep Purple track, I’ll check it out!
@@DavidBennettPiano Anything! 😉
@@DavidBennettPiano Also Watermelon i Easter Hay - I think...
I jammed out a riff that happened to be in 6/4 and have next to no theory knowledge, so this is actually really helpful for acclimatizing myself to the time signature
Never been so early for a video... Love your content!
Thanks Michael!
Same, feels pretty cool to be so early!
Thank you for this video. I have to compose a piece for college and I just realized that 6/4 is what I should use rather than 3/4!
I haven't even watched the video yet but i already know it's gonna be great
MGMT electric feel Is definitely in 6/4. It’s the melody in the background. It goes for 6 counts then restarts. Simple.
“Bad Idea” from the musical Waitress is also in 6/4!
I saw Dave Grohl in the thumbnail but couldn't think of a Foo Fighters song in 6/4. Enough Space is a great underrated track and I wasn't expecting it!
Edit: The Foos also have a song called Making A Fire, which uses 6/4. I was reminded by the rhythm of Electric Feel in this video
"Although at least a few of you will say that my piece is actually in 3/4." Yep. :-) Definitely "One and and, Two and and", with the accents on the one and four. But each "phrase" feels like a pair, so 6/4 is fine too. :-)
He talks about music the way literature professors explain the complexity of old books.
Thank you once more for an enjoyable and educating video!
Pineapple Head by Crowded House is in 6/8, that's the nearest I could get from the sheet music I have. Would be good to see them feature in a future video.
How about a video on songs in 12/8? I know a couple of those.
Schism is a repeating 5/8 + 7/8, because drum and vocals accents on second bar (and first too) is nothing like 6/4. Just try to play it and you'll see that reading and counting in 5/8 + 7/8 is much easier than in 6/4. Also, in chorus it clearly goes to 6/8 + 7/8, prolonging the last note of first bar and playing around with drum patterns. Writing it in 13/8 would be super inconvenient for a performer to read.
But there is actually two times when vocals go in 6/4 (or rather 3/4) while everything else stays in 5/8 + 7/8. One of the times It's on lyrics "i've done the math enough to know the dangers of our second guessing". It's super confusing, and took me I think two years to understand it and kinda feel it, or at least to know what is going on. I still need to concentrate on one of the things and can't hear and feel both at the same time.
That Radiohead bloke is back.
Terrapin Station (Grateful Dead) near the end when it is like a drum break is a very solid 6/4 with the 1 accented
Can you do a video on chromatic mediants next? Songs that use them, film scoring, how each two chord combination inspire a particular emotion? That would be awesome!
Tool, Alice in Chains and Sound Garden! I'm impressed.
I also think "to the end" by blur is 6/4, or at least an unusual time signature
"To The End" is a great song! It alternates between 6/4 and 4/4 but I didn't think it was a pure enough example for this video. I may feature it in another upcoming video though!
Nothing else matters is also almost completely in 6/4, as it really fits that iconic acoustic riff.
It feels awkward to count schism in 6/4, its much easier to count as alternating between 5 and 7, although you can look at it as 6/4 or 12/8 there is really no reason to. A better tool example would be 10000 days pt 2
Right. If "Schism" was in 6/4, the off-beats / syncopations should feel like it. They don't. Those are the strong beats, they're just irregularly spaced (2 vs. 3 eighth note-long beats). I'd call it alternating 5/8 and 7/8. It feels odd, so notate it odd. It's not a disguised even meter.
Here are 2 more:
Stay - Victoria Justice
stuck with u - Ariana Grande and Justin Bieber
What, no Beatles? Slow day? :)
Personally, I mainly meet 6/4 when playing hymns. So, when I play Jesus, Grant that Balm and Healing (or in German: Jesu, deine tiefe Wunden), it's in 6/4.
a david bennett ad before a david bennett video, so surreal.