At the same time, the meter is supposed to be a guide to the performer about what the rhythm is, more or less. For the few seconds of music in those eight measures, the choices make sense to me. I have a transcription (by someone else) of “The Dance of Eternity”. They at least have the decency in “Stream of Consciousness” to play in 5/4 for a while, and “Under a Glass Moon” isn’t even that weird. I do not quite consider it free time, as there is a clear structure and plan that they’re following (at least clear to them), but I’ve thought about how I would write the music, and I’m clueless about what kind of time signature I would use for most parts of the song. Most of the rest of the song is not in standard four-four time, but rather “chaos-four” time. (In fact, listen to that whole Scenes from a Memory album, and while you’re at it, listen to every Dream Theater song that’s posted, particularly “Under a Glass Moon” and “Stream of Consciousness”.) In a few places, the rhythm is fairly normal, no matter how bizarre it is to hear a ragtime piano solo in the middle of that song. Go to YouTube and watch a music video for “The Dance of Eternity” by Dream Theater. It is also somewhat common to play with a rhythm that is not at all like 4/4. “Common time” (4/4) is four notes to a beat, the standard “1 2 3 4” that everyone knows. (The performance isn’t the time to get cute.) The other fundamental part of music that has a standard structure that is often ignored is rhythm. I support doing this in the practice room. One of our reading assignments concerns the free exploration of the full range of tones available, without regard for adhering to standard conventions (scales).
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