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Or in the words of Chris Burrows: If you are phrasing music practically and intentionally, there are no strange time signatures. If you were to attribute music to 3 dimensional shapes, it could be argued that a time signature is no more elaborate than a 2 dimensional polygonal shape. How the adjacent edges bend or kink is how the shape comes full circle, from it's starting point to it's end point.

Imagine 4/4 being a perfect square, and 5/4 being a pentagon. Each edge is of equal length and you can probably picture exactly how these conventional shapes look. This might equate musically to a "4 to the floor" quarter note feel (applicable to the 5/4 as well, just adding a simple extra beat).

Now, imagine that in either model, only two or perhaps no edges are of equal length. You begin to stretch the picture perfect models of the polygon and inevitably the music sounds more elastic and "Stretchy". We can achieve this with complex subdivisions.

If one 4/4 bar is comprised of only eighth notes; we begin to expect the pulse and tune into it and tap our feet. However, imagine a trapezoid. This 4/4 bar is comprised of one triplet, two 16th note phrases, and one septuplet. Now things begin to get very interesting in terms of shifting feel, and we haven't even left a 4/4 time signature!