Discipline (King Crimson song)
Encyclopedia
"Discipline" is a 1981 instrumental song by the progressive rock
Progressive rock
Progressive rock is a subgenre of rock music that developed in the late 1960s and early 1970s as part of a "mostly British attempt to elevate rock music to new levels of artistic credibility." John Covach, in Contemporary Music Review, says that many thought it would not just "succeed the pop of...

 band King Crimson
King Crimson
King Crimson are a rock band founded in London, England in 1969. Often categorised as a foundational progressive rock group, the band have incorporated diverse influences and instrumentation during their history...

. It is the title track on Discipline, their return album after a seven year hiatus. The song is 5:13 in length and serves as the album's conclusion. it has a faster tempo and more of a new wave
New Wave music
New Wave is a subgenre of :rock music that emerged in the mid to late 1970s alongside punk rock. The term at first generally was synonymous with punk rock before being considered a genre in its own right that incorporated aspects of electronic and experimental music, mod subculture, disco and 1960s...

 pre-techno
Techno
Techno is a form of electronic dance music that emerged in Detroit, Michigan in the United States during the mid to late 1980s. The first recorded use of the word techno, in reference to a genre of music, was in 1988...

 sound compared to the preceding song, "The Sheltering Sky
The Sheltering Sky (King Crimson song)
The Sheltering Sky is a 1981 song by the progressive rock band King Crimson. The track is 8:22 in length and is entirely instrumental. It appears as the sixth track on the album Discipline. The title of the song came from a 1949 novel of the same name by Paul Bowles. Bowles is also associated with...

". It consists of a repeating theme with subtle variations introduced over time, creating a hypnotic effect.

The song undergoes many time signature changes. There are two main guitars (one played by Robert Fripp the other by Adrian Belew) and often each of them are playing in a different time signature, giving the song a chaotic and intense feel. Many times the guitars play similar patterns, but one drops a note making them go either out of sync or change time signatures. During the song the two guitars of Belew and Fripp, respectively, move through the following sequence of pairs of time signatures: 5/8 and 5/8, 5/8 and 4/4, 5/8 and 9/8, 15/16 and 15/16, 15/16 and 14/16, 10/8 and 20/16, 15/16 and 15,16, 15/16 and 14/16, 12/16 and 12/16, 12/16 and 11/16, 15/16 and 15/16, 15/16 and 14/16. Throughout the drums play in 17/16.
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