vgm-in-irregular-time-of-the-day

[vgm-in-irregular-time-of-the-day]

DAY 1850) Tron 2.0 - Credits Medley

Composer: Nathan Grigg, Wendy Carlos

Given that this is a medley; there’s lots of timesig changes but they’re more like unrelated sections from each other, often totally fading in/out or with ambiguous pauses, so I’ll just talk about each section separately.

0:00 - 1:29 is all just 4/4, frantic drums, crazy synth sound design, but no odd time really for this section.

1:29 - 1:44 i’m counting as triplets in mixed meter: 4/4, 4/4, 5/4, 5/4, 6/4, 5/4, 4/4. if you were to count those as 8ths instead of triplets it’d be more like 12/8, 12/8, 15/8, 15/8, 18/8, 15/8, 12/8 (replace the 8s with 16s if you’re going to be weird like me and count them as 16ths if you find x/16 more natural to think about for some reason) !

1:46 - 2:17 is polymetric! The syncopated bell-like synth ostinato is in 7/8, but the slower synth hits and most everything else behind it really are in 6/4. For a short bit before 2:17 I guess there’s some 5/8 polymeter in one of the synth layers also. Some other more ambiguous stuff you might be able to interpret as even further layers of polymeter but the point is like, yeah this part’s lots of layers looping in different loop lengths from each other on top of each other!

2:17 - 3:06′s at a bit faster a tempo than the previous section. Also polymetric but a lot simpler case of it. 4/4 in that metallic bell-like synth rhythm, and 6/4 polymeter in the beeps under it from 2:17 - 2:42

3:06 - 4:03, here it’s 6/4 through most of the parts of this that have enough of a rhythm to latch onto something, which only really happens starting with the echoy drums that come in at 3:31.

4:03 - 4:45 is interesting; this is taken from “FCon/The Root of the Problem (Combat)”, which is one of the tracks I have on my biiiiig queue of possible tracks to eventually post on here but never happened to ever post. I’d count this snippet of it as all 7+8, 15/16, but just being aware that there’s a constant four-on-the-floor “4/4″ kick acting “polymetric�� to it from the bits at 4:15 - 4:21 / 4:27 - 4:34.

4:45 - end is all loose, but just 4/4 stuff whenever concretely countable

Hopefully I addressed everything important here! there’s a lot going on in all of these sections, so it wouldn’t surprise me if I missed an obvious polymeter layer or something and just didn’t realize it! Lots of these sections come from other tracks in the game too, so are in a bit different of a context musically from their amalgamation here. Obviously wild tempo changes between each section that i’m not bothering to write out lol

This is a great cross section of the crazy stuff present throughout this ost though, tron 2.0 is totally one of the most odd time/polymeter/etc filled game soundtracks out there. Part of that’s obvious influence from Wendy Carlos’s original score to the 1982 film being much like that (and this game borrowing a lot of the material she wrote), but Nathan Grigg’s style is always full of that kinda thing as well, and he only adds to that intricacy in his original additions to the mix!

For all those reasons I thought this would be a pretty good sort-of-sendoff for this blog i’ve been running for over 5 years...........

....so...

...!

...THE FINAL DAY sort of...! As I said many posts ago (https://vgm-in-irregular-time-of-the-day.tumblr.com/post/623135939348365312/day-1828-shining-force-cd-track-25-composer) [probably a better read than my post right now here today], this will be my final post that’s in the “1 song presented with a text post daily” format; I’ll take a break but I will eventually shift to talking about this again in (most likely) YT video vgm mixes, including other related content besides just the very specific odd timesig stuff in vgm too!

Thank you to everyone who has supported me all this time! ULTRA SPECIAL SHOUT OUT TO CHz who has helped me out with this blog FAR more than anyone could possibly imagine, he’s done far more work than anyone ever needed to do, far beyond my expectations to help me along with this. And he doesn’t get enough credit for that, this blog would’ve probably died a long time ago without chz’s help. Thank you so much CHz for all your assistance! Sharing me things you remember when I’m in desperate need of a new track to post at the last minute, uploading so much music for me, helping me organize so much, writing out timesig charts for me so many times, sharing overwhelmingly huge amounts of odd time vgm with me, probably even more than anyone else. So many other things all these years you’ve helped me with on here, I can’t thank you enough!

That said, thank you to EVERYONE who has shared odd time vgm with me (and this is like, a LOT of people, far too many to list, and i’m sure plenty would be uncomfortable being listed too, so i won’t subject this post to that).

I’m very bad at responding to PMs and other messages sent to me; I apologize greatly if i’ve left you hanging for months...or years...or forever. I’m just bad at that form of communication lol, but I’ve read the majority of what’s been sent and still try to keep as much as possible in my big list backlog of stuff to eventually post. I get excited and happy when I see people linking me new odd time vgm i’ve never heard and stuff like that; so if i’ve never responded or never posted stuff you’ve linked me here, please know that I actually do appreciate it even if i might not show it haha. I’ve honestly mostly only maintained this blog pretty sporadically and rely heavily on queuing everything in advance on occasion, rather than constant observation of it.

Once i shift to the new format of presentation i’ll still include the suggestions that’ve been linked to me, and stuff. I’ll maybe try to be more communicative in the future now that i’m not going to be bogged down by the load of keeping a constant daily stream of these posts. (though i probably won’t be paying too much attention to tumblr for a while during my break from doing this stuff)

thank you to everyone for every positive comment, every intent to help by sharing, and just...general inquisitiveness and enthusiasm about this THING i’m doing for no reason! This is all literally just me nerding out about my favorite combination of niche subjects together “proggy/mathy/etc music” and “video game music” at the same time as each other. I never expected this would get anything close to the following it’s gotten, but now occasionally it’ll get pointed out that this blog is me in some group i’m in or something and 5 people will be like “WAIT...that’s YOU?! I’ve been watching that blog for years!” or something; like i’m really startled by how many people follow this sometimes lol.

Really thankful for everyone showing interest in me just being me, having fun talking about things i like in music. I hope that can continue even if i’ll be changing what I talk about and how I talk about it!

It might be quite a while before I return to doing this kind of thing again, and it’ll definitely be a much less constant pace, but I think that trade-off be worth it. I’ll return to making posts here again when I finally have new stuff to post, big video mixes with animated visual transcriptions or WHATever i wind up doing (probably a new dedicated youtube channel for the new stuff too) and stuff! I’ll find out what that will be when I get there

Thank you all for everything!

THank you!

WOW

THANKJ YOU for all 5 years of this website being a fun place to post music i like inside of

BYE

OH WAIt here’s my twitter/soundcloud/etc links and stuff if you want to contact me in a place i’ll be far more attentive to than tumblr, since i won’t be paying attention to here for a while:

https://twitter.com/chimeratio_

https://soundcloud.com/chimeratio

ok now ACTUALLY BYE

THANK YOUI

(thank you part 2)

[vgm-in-irregular-time-of-the-day]

DAY 1849) Jamestown - Credits

Composer: Francisco Cerda

Pretty straightforward here, mostly 4/4, but 1:24 - 1:41 & 3:07 - end is all 7/4!

Day 1844: Final Battle

Day 1845: Final Fantasy

Day 1846: End Sector

Day 1847: Nostalgic (Ending)

Day 1848: Ending Staff Roll

Day 1849: Credits

Only one day left of the normal format of this blog before a long break and a switch to a non-daily format! Thank you so much for following me all this time!!!!!

[vgm-in-irregular-time-of-the-day]

DAY 1848) Seven: The Cavalry of Molmorth - Ending Staff Roll

Composer: Masako Oogami

i’ve posted a number of other things from this game before; notably a lot of the soundtrack is in 7/8 or 7/4, which is really obviously a reference to the game title. This track isn’t though (and has very little to do with the style of the rest of the soundtrack), this is mostly just a straightforward goofy 4/4 jazz tune, there’s a few things that make this worth posting on here though:

1) the beginning is [6/4 + 4/4]x2 a few times (0:00 - 0:07 / 0:13 - 0:19), i guess if you were counting at half tempo that’d be 5/4, but it’d be pretty weird to write a jazz chart like this out that slowly

2) the glitchy skipping at the very end. 4:53 - 4:56, that’s looping 9/16 for a few bars before it revolves itself and ends the track!

[vgm-in-irregular-time-of-the-day]

DAY 1847) Lightning Fighters / Trigon - Nostalgic (Ending)

Composer: Kenichi Matsubara, Michiru Yamane

mostly not odd time, but there’s a tiiiny dip into 9/8, the fadeout’s all 9/8, 1:15 to the end!

[vgm-in-irregular-time-of-the-day]

DAY 1846) End Sector - Track 3

Composer: Hideyuki Sugai, Hiromi Murakami, Toyokazu Nagaishi

(0:00 - 0:15) 4/4, 3/4, 3/4, 4/4, 3/4, 3/4, 3/4, 3/4, 3/4

(0:15 - 0:23) 3/4, 4/4, 4/4, 4/4

(0:23 - 0:38) 4/4, 3/4, 3/4, 4/4, 3/4, 3/4, 3/4, 4/4

(0:38 - 0:53) [4/4, 5/4]x3

(0:53 - 1:00) 6/8, 6/8, 5/8, 5/4

[loop]

Cool strange tense music! there’s other ways you could count some of these sections, “ambiguous” stuff sometimes. but this is what I came up with!

[vgm-in-irregular-time-of-the-day]

DAY 1845) Final Fantasy X - Decisive Battle

Composer: Masashi Hamauzu

One of my favorite pieces of music by Masashi Hamauzu! Who is one of my favorite vgm composers!

This is very ambiguous at a lot of parts. I used the official Final Fantasy X Piano Collections sheet music to count a lot of this out, but that actually cuts out a lot of sections, or outright changes the meter in them. So for everything not the same in there I had to parse it on my own, and there’s definitely room for other barline interpretations because of what this style is like!

Very mixed meter but uses very few actual “odd time signatures” (or by some interpretations, none), just constant shifting ambiguous flipping between various x/4 containers (though i guess if you treated it as half tempo it’d all be x/8, bars combined to make ‘actual odd timesigs’ sometimes). Results in a very fun, hard to follow sound that I adore!

(0:00 - 0:24) all 4/4

(0:24 - 0:28) 4/4, 4/4, 4/4, 2/4

(0:28 - 0:34) 4/4, 4/4, 4/4, 4/4, 2/4

(0:34 - 0:48) [4/4, 6/4, 5/4, 3/4, 3/4, 3/4]x2

(0:48 - 1:07) [4/4, 4/4, 4/4, 2/4, 4/4, 4/4, 4/4, 4/4, 2/4]x2

(1:07 - 1:13) 4/4, 4/4, 4/4, 4/4, 2/4

(1:13 - 1:19) 6/4, 4/4, 6/4, 6/4

(1:19 - 1:38) [4/4, 4/4, 4/4, 2/4, 4/4, 4/4, 4/4, 4/4, 2/4]x2

(1:38 - 1:46) 4/4, 4/4, 4/4, 4/4, 2/4, 6/4

(1:46 - 1:52) 4/4, 4/4, 4/4, 4/4, 4/4, 2/4

(1:52 - 1:58) 4/4, 4/4, 4/4, 4/4, 2/4

(1:58 - 2:04) 6/4, 4/4, 4/4, 6/4

(2:04 - 2:10) 4/4, 4/4, 2/4, 4/4, 4/4, 2/4

(2:10 - 2:14) 4/4, 4/4, 4/4, 2/4

(2:14 - 2:21) 6/4, 4/4, 6/4, 6/4

(2:21 - 2:40) [4/4, 4/4, 4/4, 2/4, 4/4, 4/4, 4/4, 4/4, 2/4]x2

(2:40 - 3:20) all 4/4

[loop from :13]

don’t be mislead by the “all 4/4″ bit at 2:40 though; lots of weird accent timings and odd phrasing there.

Probably the part I have the hardest time solidifying an interpretation for is :34-:48, the hits don’t really line up with what the rest of the music’s doing by my perception. In this case, I based it off the slower strings mostly; if I were to base it off the percussion hits it’d be....honestly just all 3/4. and other transcriptions i’ve found write it out that way but TOO LATE i wrote it out this way ! Even feeling it as all 3/4 it’s still pretty strangely grouped

Most of the rest of this, while ambiguous and open for interpretation, still has a single consistent general feel and it’s more just like semantic stuff like “do you want to call this 6/4 or 4/4+2/4″.

ANYWAYS crazy piece of music, no matter how you write it out. I used to feel this all at half the tempo, ~105bpm where what i’m interpreting as constant 8ths now were 16ths. By that perception, it changes timesig like every bar. The main feel at like :28/:48/1:19/etc becomes 4/4 + 3/4 + 4/4 + 5/4, stuff like that all around

[vgm-in-irregular-time-of-the-day]

DAY 1844) Shining Force II - Final Battle

Composer: Motoaki Takenouchi

this is mostly 4/4 really, BUT there’s one crazy element that makes me consider it more than “odd time enough” to post on the blog-- the fast constant 16ths psg beeps from :28 - :53. Those are polymetric actually, one layers looping in 11/16, while the other layer is looping in 15/16. It’s so fast that it’s extremely difficult to count or feel it that way unless you slow it down, but that is technically what’s happening there.

During that section, the hits are technically in 4/4 atop them, but it’s definitely hard to feel that, since there’s nothing to latch onto except for two unrelated layers of polymetric constant 16th beeps! not made any easier by the fact that the delay echo on this harsh hits is timed super weird, means lots of things layered on top of each other all doing completely different things! the “actual 4/4 container”, 15/16 beep layer, 11/16 beep layer, and the weirdly timed delay echo (doesn’t actually line up with 16ths in timing at all because it’s so weird)

Motoaki Takenouchi is so good at making this kind of stuff~!

[vgm-in-irregular-time-of-the-day]

DAY 1843) Phantasy Star Online 2 - Confronter

Composer: Hideaki Kobayashi

(0:02 - 0:18) [9/16, 9/16, 9/16, 5/8, 9/16, 9/16, 9/16, 3/4]x2

(0:18 - 0:38) 16 bars of 3/4

(0:38 - 0:51) 4/4, 4/4, 6/4, 4/4, 4/4, 4/4, 4/4, 3/4

(0:51 - 1:07) [11/16, 11/16, 4/4]x4

(1:07 - 1:27) 12 bars of 4/4

(1:27 - 1:36) 5/4, 5/4, 6/8, 6/8, 6/4

(1:36 - 2:03) 16 bars of 4/4

(2:03 - 4:03) [same as 0:02 - 2:03]

(4:03 - end) [9/16, 9/16, 9/16, 5/8, 9/16, 9/16, 9/16, 3/4]x2

this track is crazy! constant x/16 sections with erratic meter all over the place. One of my favorite pso2 tracks! and I’m a huge huge fan of pso2 music in general, which has over 400 tracks, so that’s saying something!

I don’t actually have much extra to say about this one because all the odd time is pretty self-explanatory from the numbers i listed out in this case, but I absolutely love it!

[vgm-in-irregular-time-of-the-day]

DAY 1842) Soul Searching / Ritual - Boss

Composer: Cryptovolans

Some unused boss music for a game jam game cryptovolans worked on! Very “prog/’tarkus by emerson lake and palmer’-core” tense/atonal sounding stuff!

(0:00 - 0:20) [23/16, 21/16]x4

(0:20 - 0:23) 2 bars of 13/16

(0:23 - 0:25) 4 bars of 5/16

(0:25 - 0:28) 2 bars of 13/16

(0:28 - 0:44) [23/16, 21/16]x3

(0:44 - 0:47) 13/16, 13/16, 10/16

(0:47 - 0:50) 2/16, 5/16, 5/16, 5/16, 5/16

[loop]

The portion at 0:44 - 0:47 is a bit tricky also; the epiano/drums are in 13/16 like listed, but the synth layer is offset by an 8th note beat.

The “5/16″ sections also could be interpreted as starting/ending in pretty much any beat within it and i just wrote it how it’s most “convenient”, while keeping it consistent between the two sections. The “2/16″ at :47 i only listed there to make it so the rest of the 5/16s line up with where the first set do, but it’s honestly felt more like 5+5+5+5+2 to me. If i interpret it that way instead, I’m feeling the chord hits as the start of the barlines, rather than an accent on every 3rd 16th beat like it feels to me at :25

I like this music!

[vgm-in-irregular-time-of-the-day]

DAY 1841) Taiko no Tatsujin - Mata Saitama 2000

Composer: Akihiko Ishikawa (LindaAI-CUE)

This is fast enough (~240bpm) that, at least interpreting it at this tempo, there’s not very much of “real odd time signatures” here since it’s better described by alternating between ‘common’ ones, but it’s undeniably pretty complex crazy mixed meter! Perfect hard rhythm game music! LindaAI-CUE‘s music is always consistently full of this kind of rhythmic zaniness and crazy sounds all around

(0:00 - 0:12) [6/8, 6/8, 6/8, 2/4, 6/8, 6/8, 6/8, 6/8]x2

(0:12 - 0:20) meterless section ending in 1 bar of 2/4

(0:20 - 0:52) [6/8, 6/8, 3/4]x7, 6/8, 6/8, 7/8, [6/8, 6/8, 3/4]x6

(0:52 - 0:57) 6/8, 6/8, 6/8, 2/4, 6/8, 6/8, 6/8, 6/8

(0:57 - 1:17) 6 bars of 6/4, 11 bars of 4/4

(1:17 - 1:27) 11 bars of 3/4, 1 bar of 4/4

(1:27 - 1:45) [6/8, 6/8, 3/4]x8

(1:45 - 1:50) 4 bars of 5/4

(1:50 - end) [6/8, 6/8, 6/8, 2/4, 6/8, 6/8, 6/8, 6/8]x2

[vgm-in-irregular-time-of-the-day]

DAY 1840) Aliens (Arcade) - Alien Queen [2nd Form]

Composer: Masanori Adachi

After the 3/4 intro, :25 starts a pretty erratic and strange mixed meter loop. I don’t always interpret it the same way every time but right now I’m feeling it as:

(0:00 - 0:25) 12 bars of 3/4

(0:25 - 0:30) 3/4, 4/4, 4/4

(0:30 - 0:36) 3/4, 4/4, 11/8

(0:36 - 0:41) 3/4, 4/4, 4/4

(0:41 - 0:47) 3/4, 4/4, 5/4

[loop from :25]

The composer here is Masanori Adachi who’s on a ton of other soundtracks with very rhythmically tricky things! Super Castlevania IV probably being the most well known example, really love his distinctive style

[vgm-in-irregular-time-of-the-day]

DAY 1839) Dragon Star Varnir - Take Over Star

Composer: Motoi Sakuraba

(0:00 - 0:16) 11/8, 7/4, 12/8, 7/4

(0:16 - 0:45) 11 bars of 4/4

(0:45 - 1:01) 11/8, 7/4, 11/8, 7/4

(1:01 - 1:43) 16 bars of 4/4

(1:43 - 2:04) 12 bars of 5/8, 1 bar of 4/4

(2:04 - end) 11/8, 7/4, 12/8, 7/4

you could break the 11 and 7 bars and stuff into smaller chunks but this is how I count it. regardless it’s very mixed meter and hard to predict!

[vgm-in-irregular-time-of-the-day]

DAY 1838) Cyberpunk Arctic Colony Pinball - Cyberpunk Arctic Colony Pinball

Composer: me (Chimeratio)

am I counting music i made for games that’ll never be released again? well I guess so; already established that “unreleased/unfinished game jam games i did music to” count for this blog when I posted Green Gust from Waves of Whimsy a bit ago. though out of every game jam i’ve ever done this is the one where the game existed the least (it barely even got started), but i’m fond of the resultant track I wrote for it anyways!

(0:00 - 0:14) 6 bars of 4/4, 2 bars of 9/8

(0:14 - 0:41) [4/4, 25/32, 4/4, 4/4]x3, 4/4, 25/32, 13/16, 13/16

(0:41 - 0:52) 7/4, 11/8, 6/4, 6/16, 4 bars of 5/16

(0:52 - 1:16) [4/4 + 4/4 + 5/16]x6

(1:16 - 1:27) 7/4, 11/8, 6/4, 6/16, 3 bars of 5/16, 1 bar of 2/16

[loop]

The start section has a few polymetric rhythms for a short bit at ~:07-:10, one layer doing looping 7/16 and another looping 5/16 for those few seconds.

the 25/32 bars are probably heard by most people as 3/4 (including me usually), but they are very precisely 25/32 and that gets rhythmically enforced by the drums. The grouping of that bar is like 8+8+[3+3+3] in 32nd notes. When I hear this song in my head I think of that chunk of 3 3/32s as triplets, but if you’re actually playing along or trying to count this out precisely it becomes clearer that the rhythmic value of those notes are groups of 3 32nd note beats, might feel just like 3/4 with a tempo fluctuation right there or something too. Things like this always makes me wonder if there’s any times I’ve heard something as a 3/4 bar that was precisely intended by the author to be 25/16 or something similar to this situation.

when I wrote the part at :52 i was like “oh the length of this chord is ‘one bar’” without really thinking about WHAT that length was (37 16th beats), so I mentally think of it as “37/16″. That results in some vaguely ambiguous barline division if you were to break it down further than 37 like I did, so there are other ways to feel subdivision in that bit, i’m just basing it off the drums.

although the “barlines” are the same for both the section starting at :41 and 1:16, in the latter there’s a bit more rhythmic weirdness in the arpeggios. Basically the arpeggios all occupy the space one 8th note after each chord stab and last right until the next one; but the number of notes in each arp is “stretched to fit” in exactly that space no matter how many notes there are to create some jumpy sounding tuplets. For example, exactly 7 evenly spaced hits between the 3rd and 4th chord stab of the 7/4 bar. I might as well list the rest of the notably weird ones that aren’t just 16ths:

- like i said, between the 3rd and 4th chord stab of the 7/4 bar: 7 hits stretched to fill the space of 4 16ths

- between the 4th and 5th chord stabs of the 7/4 bar: 6 hits stretched to fill the space of 4 16ths

- after the chord stab in the 6/16 bar: 5 hits stretched to fill the space of 4 16ths

- after the chord stab in all 3 5/16 bars: 4 hits stretched to fill the space of 3 16ths

I think I’ve addressed everything here! though wouldn’t surprise me if I missed something I intended to explain since there is a lot going on here.

Probably the last time i’m going to post one of my own tracks while still doing this format of blog post; I hope those following have been able to enjoy the music I’ve written that I’ve presented here!

[vgm-in-irregular-time-of-the-day]

DAY 1837) Front Mission 2 - Player Battle (Swift Attack)

Composer: Noriko Matsueda

Noriko Matsueda is absolutely one of the coolest composers Square’s ever had, lots of odd time in her work and just in general interesting/intricate stuff. I still need to listen through all her stuff! Sad she only made music for such a short time, would love to hear her work in games or just in general again!

(0:00 - 0:11) [5/4, 4/4]x3

(0:11 - 0:21) 5/4, 4/4, 4/4, 4/4, 4/4, 4/4, 2/4

(0:21 - 0:47) 16 bars of 5/4

(0:47 - 1:04) 12 bars of 4/4

[loop]

[vgm-in-irregular-time-of-the-day]

DAY 1836) TRianThology - re-hearse

Composer: xaki

(0:00 - 0:30) 12 bars 4/4, 1 bar of 2/4

(0:30 - 1:03) 12 bars of 4/4, 5 bars of 3/8

(1:03 - 1:25) 12 bars of 6/8

(1:25 - 1:42) 16 bars of 7/16, 1 bar of 3/8

[loop]

some cool funky dissonant prog/fusion here! I always think the 7/16 part’s pretty interesting because it’s grouped 2+2+3, but for somereason i always hear the “start” of it as the group of 3 because of the way it’s accented, gets my perception of the downbeat turned around a lot! That’s a feeling I like a lot in music!

xaki’s usually very proggy but i think this soundtrack’s the one where he expresses that side of himself the most freely/consistently throughout his contributions to it. Very glad! Really hope he continues to make proggy music for games and vn’s and everything!

also happy month/day 7/16 time day~!

[vgm-in-irregular-time-of-the-day]

DAY 1835) Cure Hunters - MUTANT (Boss)

Composer: Moose

(0:00 - 0:06) 2/8, 7/8, 7/8, 4/4

(0:06 - 0:36) 16 bars of 7/8, 1 bar of 3/4

(0:36 - 0:51) [7/8, 7/8, 7/8, 4/4]x2

(0:51 - 0:55) 7/8, 3/4

[loop from 0:06]

super atonal prog boss theme, openly described by the composer as inspired by Norio Hanzawa, who I’ve mentioned a lot on here before as having super cool prog elements in his stuff!

very authentically feels like his style. Also pretty authentically feels like a GBA soundtrack even though it is a fake gba soundtrack and that’s something i really appreciate, an area i like that’s a really underrepresented area when it comes to retro stuff

Moose is a pretty awesome composer, especially when it comes to emulating styles of interesting other composers, and working well within format limitations. Stuff like this is a cool example!

[vgm-in-irregular-time-of-the-day]

DAY 1834) Gitadora - Senjou no taktstock

Composer: Yoshimi Kudo

(0:05 - 0:22) [6 bars of 5/8, 2 bars of 6/8]x2, 6/8, 6/8, 6/8

(0:22 - 0:37) all 4/4

(0:37 - 0:45) 4 bars of 3/4, 4 bars of 6/8

(0:45 - 0:59) [5/8, 5/8, 7/8, 5/8]x3, 5/8, 5/8, 4/4, 4/4

(0:59 - 1:25) all 4/4

(1:25 - end) [6 bars of 5/8, 2 bars of 6/8]x2, 4 bars of 6/8, 2 bars of 5/4

don’t have much to say here, prog metal rhythm game tune with lots of fun meter changes! thanks to CHz for helping me find this/charting out the rhythm for me (though i could’ve just looked at the barlines in-game in the video too lol)

Yoshimi Kudo is good at making cool prog!!!!!!!!!! I’m glad he has some music in rhythm games!