List of musical works in unusual time signatures

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This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.[1]

The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti.

A perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length but is notated in ordinary 4
4 time, with each variation lasting 2+3⁄4 bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one.[2]

Upper number of 1[]

1
1[]

  • Enigma Variations by Edward Elgar. Variation VII is in Presto 1
    1    .[3]
  • Symphony No. 2 by Alexander Borodin. Movement II is in Prestissimo 1
    1    , except for the trio section, which is in Allegretto 6
    4    .[4]

1
2[]

  • Appalachian Spring, by Aaron Copland. Third bar of rehearsal 46 and third bar of rehearsal 48 are in 1
    2    .[5]
  • Decet for wind instruments, Op. 14, by George Enescu. Movement III, Bar 240 (fifth bar before rehearsal number 42) is in 1
    2    .[6]
  • Fünf Klavierstücke, Op. 23 by Arnold Schoenberg. Movement II, bar 9 is in 1
    2    .[7]
  • Káťa Kabanová, by Leoš Janáček. Act III contains some 1
    2     bars between rehearsal numbers 5 and 8.[8]
  • La Langeur, from Le follie francaise ou les dominos from Pieces de Clavecin by Francois Couperin.[9]
  • Nocturne No. 1 by Francis Poulenc, from 8 Nocturnes, FP 56. Bar 27 is in 1
    2    .[10]
  • Piano Sonata No. 5, Op. 53, by Alexander Scriabin. Bars 251 to 262 (Presto giocoso) are in 1
    2    .[11]
  • Quartet, Op. 22, by Anton Webern. In the second movement, bars 1–3, 5–6, 8–10, 12–14, 16–129, and 131–191 are in 1
    2    .[12]
  • Rapsodie nègre by Francis Poulenc, third movement, "Honoloulou", contains some bars of 1
    2    .[13]
  • String Quartet No. 1, by Béla Bartók. Bars 3, 10, and 22 of the third movement are in 1
    2    .[14]
  • Symphony No. 1, by Edward Elgar. Second movement, entirely in 1
    2    .[15]
  • Symphony No. 17 in G♯ minor by Nikolay Myaskovsky. Movement I has a 1
    2     signature from rehearsal numbers 2–7, 25–35, 42–47, 59–66, and 70–74.[16]

1
4[]

  • Alcancías by Silvestre Revueltas. Movement II, 5 bars after rehearsal 24, second bar of rehearsal 27, first bar of rehearsal 28, third bar of rehearsal 29, one bar before 31, and one bar before 32 are all 1
    4    .[17]
  • "The Eynsham Poacher", a traditional song; in the arrangement by Dave Pegg, most of the tune is in 12
    8    , but the finale includes one bar of 1
    4    .[18]
  • Mädchentotenlieder, by Bo Nilsson. Bars 20, 22–27, 33–36, 38–40, 43, 49, 51, 54, 57, 65, 76–77, 80–81, 86, 90–93, 95, 99, 103–7, 115–16, 118, 120, 122, 124, 126, 130, 134–42, 145, 153, and 158 are in 1
    4     time.[19]
  • Metastaseis, by Iannis Xenakis. The first 103 bars are in 1
    4    .[20]
  • Metropolis Part 1: The Miracle and the Sleeper, by Dream Theater. Third bar of rehearsal R is in 1
    4    .[21]
  • On an Overgrown Path, by Leoš Janáček. There are isolated 1
    4     bars in the sixth, tenth, and eleventh movements.[22]
  • Petrushka by Igor Stravinsky, the bar before rehearsal 17 is in 1
    4    .[23]
  • Piano Sonata No. 3 by Carlos Chávez. Movement I, bars 13, 15, 19, 52, 54, and 58 are in 1
    4     time.[24]

1
8[]

1
16[]

  • Mädchentotenlieder, by Bo Nilsson. Bar 11 is in 1
    16     time.[19]

1
64[]

  • "A Headache And A Sixty-Fourth", from Ron Jarzombek's album Solitarily Speaking of Theoretical Confinement, has a constant time signature pattern of 4
    4     and 1
    64    .[29]


Upper number of 2[]

2
1[]

  • Five Pieces for Piano, Op. 23, by Arnold Schoenberg.[30]
  • Káťa Kabanová, by Leoš Janáček. Act II is in 2
    1     from rehearsal number 20 to just before rehearsal number 24; act III is in 2
    1     for four bars before rehearsal number 27 and six bars before rehearsal number 28, followed by a mixture of 2
    1     and cut time between rehearsal numbers 28 and 29, and one bar before rehearsal number 36.[8][31]
  • Partita No. 6 in E minor, BWV 830, by Johann Sebastian Bach. The last movement, a gigue, is in 2
    1     in the Bischoff edition; however, the symbol Tempus perf prol min dim.svg (the mensuration sign for "tempus perfectum, prolatio minor, diminutum") appears in the first edition of 1731, and cut time = 2
    2     in the autograph manuscript).[32] This time signature is unusual for gigues, which are usually in 6
    8     or 12
    8    .[33][34]
  • Pli selon pli by Pierre Boulez. Movement III, "Improvisation II sur Mallarmé".[30]

2
16[]

  • Comme le vent, first of the Douze études dans toutes les tons mineurs, Op. 39, by Charles-Valentin Alkan.[35]
  • The Rite of Spring by Igor Stravinsky. 2
    16     is used in the concluding "Sacrificial Dance".[36]
{ \new PianoStaff << \new Staff \relative c'' { \set Staff.midiInstrument = #"violin" \clef treble \tempo 8 = 126 \time 3/16 r16 <d c a fis d>\f-! r16\fermata | \time 2/16 r <d c a fis d>-! \time 3/16 r <d c a fis d>8-! | r16 <d c a fis d>8-! | \time 2/8 <d c a fis>16-! <e c bes g>->-![ <cis b aes f>-! <c a fis ees>-!] } \new Staff \relative c { \set Staff.midiInstrument = #"violin" \clef bass \time 3/16 d,16-! <bes'' ees,>-! r\fermata | \time 2/16 <d,, d,>-! <bes'' ees,>-! | \time 3/16 d16-! <ees cis>8-! | r16 <ees cis>8-! | \time 2/8 d16\sf-! <ees cis>-!->[ <d c>-! <d c>-!] } >> }

Upper number of 3[]

See also: Triple meter

3
1[]

3
16[]

3
32[]

  • Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann. Movement II, "Lilliputsche Chaconne".[46]
  • Pribaoutki by Igor Stravinsky. The fourth piece, "Starets i zayats", uses 3
    32     in bar 15.[47]
  • String Quartet, Op. 28, by Anton Webern: the third movement is in 3
    32     from bars 28 to 37.[43]

Upper number of 4[]

4
16[]

Upper number of 5[]

Main article: Quintuple meter

Upper number of 6[]

See also: Sextuple meter

6
2[]

Upper number of 7[]

Main article: Septuple meter

Upper number of 8[]

Note: 8
4 or 8
8 may refer to an evenly divided compound duple or quadruple meter. While this is arguably extremely common in music, the notations 8
4 and 8
8 themselves are not, so all divisions of this time signature are listed here

8
4[]

  • A Choral Fantasia, Op. 51, by Gustav Holst. Bars 36–69, 142–148, 173–178, and 191–198 are in 8
    4    .[51]
  • "All You Need Is Love" by the Beatles. The main verse pattern contains a total of 29 beats, split into two 7
    4     measures, a single bar of 8
    4    , followed by a one bar return of 7
    4     before repeating the pattern.[52]
  • "Damage Control" by John Petrucci has several bars in 8
    4    .[53]
  • "I Ejaculate Fire" by Dethklok. Bars 81, 83, 85, and 88 are in 8
    4    .[54]
  • Musica ricercata for piano, by György Ligeti, movement 2 (Mesto, rigido e cerimoniale) includes a single bar of 8
    4    .[55]
  • The Rite of Spring by Igor Stravinsky, in the tableau "Mysterious Games of the Maidens", the bar before rehearsal 99 is in 8
    4    .[56]
  • De Staat by Louis Andriessen. Bars 686–87 are in 8
    4    .[57]
  • String Quartet No. 2, Op. 36 (1945), by Benjamin Britten. Movement I, bars 3 and 12 after rehearsal K are in 8
    4    .[58]
  • Symphony No. 3 by Peter Maxwell Davies. Movement I has two bars of 8
    4     (divided 3+2+3) at rehearsal N.[59]

8
8[]

  • Concerto for Orchestra by Béla Bartók. Movement IV has three bars of 8
    8     in the strings at rehearsal 75.[60]
  • "De elegia prima" from Threni by Igor Stravinsky. Bars 83–84, 91, and 165 are in 8
    8    .[61]
  • Diversions for Piano Left Hand and Orchestra, Op. 21, by Benjamin Britten. In Variation IV, bars 171, 175–77, 181, and 187–91 are in 8
    8    .[62]
  • Fancy Free by Leonard Bernstein. In the fourth number, "Pas de deux", bars 324–25, 355–57, 359–61 are in 8
    8    .[63]
  • Mikrokosmos by Béla Bartók.
    • No. 151, "Six Dances in Bulgarian Rhythm" 4, is in 3+2+3
      8      .[64]
    • No. 153, "Six Dances in Bulgarian Rhythm" 6, is in 3+3+2
      8      .[65]
  • Fugue No. 28 by Anton Reicha is in 6+2
    8    .[66]
  • Music for Strings, Percussion, and Celesta by Béla Bartók.
    • Movement I, bars 1, 3, 5, 7, 9, 11, 13, 15, 19, 22, 26–27, 29, 38–40, 46, 53, 69, 71, 73, 75, 83, and 85 are in 8
      8      [67]
    • Movement IV, bars 204, 207, 210, 213 are in 8
      8      .[68]
  • Petrushka by Igor Stravinsky. One bar before and five bars after rehearsal 4 superimposes a bar of 8
    8     in piccolo 1 & 2, ob. 1 & 2, and trumpet 1, and piccolo 1 & 2, ob. 1–3, cornet 1 & trumpet 1, respectively against 3
    4     in the rest of the orchestra.[69]
  • Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in 8
    8    .[70]
  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 8
    8    .[71]
  • De Staat by Louis Andriessen. Bars 5, 8, 10, 12–16, 54–57, 83–84, 87–88, 582, 590, 602, 610, 612, 625, 630, 644, 647–48, 650, 663, 695, 707, 851, and 853 are in 8
    8    .[57]
  • Symphony No. 1 by Gustav Mahler. In Movement IV, the bar before rehearsal number 40 is in 8
    8    .[72]
  • Symphony No. 3 by Peter Maxwell Davies. Third movement has one bar of 8
    8     before rehearsal X.[73]

8
16[]

  • The Cry of Anubis, for tuba and orchestra by Harrison Birtwistle. Bars 33, 36, and 45–46 are in 8
    16    .[74]
  • The Flood by Igor Stravinsky. Bars 406, 414, 422, 427, 432, 440, and 448 are in 8
    16     time, all divided 3+2+3.[75]
  • Histoire du soldat by Igor Stravinsky has one bar in 8
    16     time, at the fourth bar following rehearsal 35, in the movement "Ragtime".[76]
  • Requiem Canticles by Igor Stravinsky. The interlude has bar 156 in 8
    16     time.[77]

Upper number of 9[]

Time signatures that group nine beats into 3+3+3 are very common in music. This section only lists other groupings, such as 2+3+2+2.

9
4[]

  • "The Count of Tuscany" by Dream Theater. The verse riff is in 9
    4    , with a rhythm of 3+2+2+3+3+2+3
    8    .[78]
  • "Kissing the Beehive" by Wolf Parade has its verses in 9
    4    [clarification needed].[79]
  • "I Wanna Be a Movie Star" by Bill Wurtz. The main groove is in 9
    4    , but also includes measures in 11
    4    ,12
    4    ,13
    4    ,7
    4    , and 12
    16    .[80]

9
8[]

  • "Apocalypse in 9
    8    " by Genesis. Penultimate movement of the "Supper's Ready" suite, rhythm section plays a 9
    8     riff as 3+2+4, organ solo plays polymetrically over this (sometimes 4
    4    , sometimes 7
    4    .)[81]
  • "Big Lie Small World", by Sting is in 9
    8     with varying division.[82]
  • "Blue Rondo à la Turk" (1959) by the Dave Brubeck Quartet, from the album Time Out – Played as 2+2+2+3 and 3+3+3, with some alternating sections of 4
    4    .[83]
  • "The Crunge" by Led Zeppelin. The main groove is in 9
    8    , grouped 5
    8     + 4
    8    .[84]
  • Estancia by Alberto Ginastera. The refrain of "Los peones de hacienda", at rehearsal numbers 62, 65, 67, 68, 69+3, and 70 is marked "9
    8     (3
    4     – 3
    8    )"; the remainder is variously in 6
    8    , 3
    4    , 5
    8    , and 7
    8    .[85]
  • "I Hung My Head", by Sting is in 2+3+2+2
    8    .[82]
  • Mikrokosmos by Béla Bartók
    • No. 148, "Six Dances in Bulgarian Rhythm" 1, is in 4+2+3
      8      .[86]
    • No. 152, "Six Dances in Bulgarian Rhythm" 5, is in 2+2+2+3
      8      .[87]
  • "Niška Banja," SATB choral arrangement by Nick Page of a Serbian Gypsy dance, is in 2+2+2+3
    8    .[88]
  • "Scatterbrain" by Jeff Beck, from the album Blow by Blow, contains multiple sections in 9
    8    .[89]

9
32[]

  • Un Vitrail et des Oiseaux by Olivier Messiaen uses 3+2+2+2
    32    .[90]

Upper number of 10[]

10
4[]

10
8[]

  • "Happiness is a Warm Gun" by the Beatles. The first part includes 4
    4    , 2
    4    , and 5
    4    ; the second part includes 3
    8    ; and third part 9
    8     and 10
    8    .[100] The finale includes 1 bar of 12
    4    . "[T]he changes of meter either between or within every section establish themselves as a kind of leitmotif." (Alan Pollack's 'Notes On' series, no. 136).
  • "Nostalgia" by Yanni.[101]
  • Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in 10
    8    .[70]
  • Sketch, Op. 1 No. 7, by Alexei Stanchinsky.[37]
  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 10
    8    .[71]
  • Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky. "Solacium", part 3 of "De Elegia Tertia".[102]

10
16[]

Upper number of 11[]

11
4[]

  • "Chaos" by Heaven Pierce Her from the Ultrakill OST. The main motif is in 11
    4     time, with each bar divided into 5+6 and further subdivided into 3+2+3+3.[105]
  • "Cigne je suis" published in the collection Airs a III. IIII. V. et VI. parties (première livre, 1608) by Claude Le Jeune is barred as 11
    4    .[106]
  • "Crowned & Kissed" by Esperanza Spalding. The two-bar chorus groove is in 11
    4     time.[107]
  • "Eight Ball, Coroner's Pocket" by Hail the Sun, intro is composed in 9
    4    , and 11
    4    .[108]
  • "Eleven Four", by Paul Desmond and recorded by the Dave Brubeck Quartet.[109]
  • In Nomine IX, for harpsichord, by John Bull. 11
    4    , though it is not notated as such, either in the original manuscript or the new edition.[110][111]
  • Mädchentotenlieder, by Bo Nilsson. Bar 74 is in 11
    4     time.[112]
  • The Rite of Spring by Igor Stravinsky. The bar immediately before the section "The Chosen One" is in 11
    4    .[36]
  • "Testostyrannosaurus" by Hail the Sun contains some parts in 10
    4    , and 11
    4    .[97]
  • "Whipping Post", by the Allman Brothers Band. (Begins with a two-bar 11
    4     riff).[113]

11
8[]

  • Bachianas Brasileiras No. 9, by Heitor Villa-Lobos. Movement II is in 11
    8    [114]
  • "Blockhead", by Devo. Verses are in 11
    8     time, choruses in 4
    4    .[115]
  • "Cattle and Cane" by the Go-Betweens. The verses and coda are in 11
    8    .[116][failed verification]
  • "The Eleven", by the Grateful Dead.[117][118]
  • "Eleven" by Primus. The song is mainly in 11
    8    , the chorus has one bar in 9
    8    , and after two bars of 11
    8     a bar in 12
    8    .[119]
  • "Happy With What You Have To Be Happy With" by King Crimson contains sections in 11
    8    .[120]
  • "Here Comes the Sun" (1969), written by the Beatles' George Harrison. The song features common 4
    4     time in the verses and a compound sequence of 11
    8     + 4
    4     + 7
    8     in the bridge, phrasing interludes that Harrison drew from Indian music influences.[121][122][incomplete short citation][123]
  • "Larks' Tongues in Aspic, Pt. 1", by King Crimson. The song is in 5
    8     when the violin enters. Then, the metre switches to 11
    8    . The song shifts between these metres for the remainder of the song.[124]
  • "Losing It" by Rush. Intro and verses are composed out of ten bars in 5
    8    , other parts are in 11
    8    .[125][126][127]
  • The race results screen from Mario Kart 64, composed by  [es].[128]
  • "Man-Erg" (1971), by Van der Graaf Generator.[129]
  • Piano Sonata No. 2 in G major by Alexei Stanchinsky. Movement II is in 11
    8    .[130]
  • A próle do bébé, by Heitor Villa-Lobos. The first and last measures of the fourth movement[clarification needed] are in 11
    8    , divided into 6
    8     or 3
    4    , and 5
    8    .[131]
  • Sagat's theme from Street Fighter II (video game), composed by Isao Abe is entirely in 11
    8    .[132]
  • "Serenade", a wedding recessional by Derek Bourgeois. The beginning and ending sections are in 11
    8    .[133][134]
  • "7empest" by Tool mostly alternates between 5
    4     and 11
    8     time.[135]
  • Sketch, Op. 1 No. 5, by Alexei Stanchinsky.[37]
  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 11
    8    .[71]
  • 2 Canzonas with Dances, Op. 43 No. 1, by Nikolai Medtner. Movement I is in 11
    8    .[136]
  • "Trapped in the Wake of a Dream" by Mudvayne (chorus in 11
    8    )[137]
  • "Upstart" written by Don Ellis and performed by the Don Ellis Orchestra[138]
  • "Where but for Caravan Would I?" by Caravan.[139]

11
16[]

Upper number of 12[]

12
32[]

  • Piano Sonata No. 32 in C minor, Op. 111, by Ludwig van Beethoven. Movement II is in 12
    32     from bars 48 to 64.[90]

Upper number of 13[]

13
4[]

  • "The Great Divide" by Don Ellis.[141]
  • "Rabbit" by This Town Needs Guns has sections in 13
    4    .[94]
  • De Staat by Louis Andriessen. Bars 356 and 517 are in 13
    4    .[142]
  • "Starless" (1974), by King Crimson.[143]
  • "World's Fair" (1964) by The Dave Brubeck Quartet.[144]

13
8[]

  • "The Becoming" by Nine Inch Nails begins in a 13
    8     time signature.[145]
  • "I Will Be Absorbed", by Egg.[143]
  • "Odd Boy" by Mutant-Thoughts, in the verses.[146]
  • "One Word" by Mahavishnu Orchestra has a section in 13
    8     after the drum solo (just over eight and a half minutes in).[147]
  • A próle do bébé No. 2, by Heitor Villa-Lobos. A measure in the fourth movement, "O cachorrinho de borracha", is in 13
    8    , divided into 6
    8     or 3
    4    , and 7
    8    . Two measures in the ninth movement, "O lobozinho de vidro", are also in 13
    16    .[148]
  • "Serenade", a wedding recessional by Derek Bourgeois. The middle section is in 13
    8    .[133][134]
  • "Skimbleshanks, The Railway Cat" from Andrew Lloyd Webber's musical Cats. Introduction and chorus are in 13
    8     (3+3+3+4). Verses in 4
    4    .[149]
  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 13
    8    .[71]
  • De Staat by Louis Andriessen. Bars 356 and 517 are in 13
    4    , while bar 724 is in 13
    8    .[142]
  • "13th August" by FromUz.[150]
  • "Turn It on Again" by Genesis. The verses and choruses are in 13
    8    . Other parts are in 8
    8    , and 5
    8    .[151]
  • "Electric Sunrise" by Plini[152][153]
  • "To Negate" by Tigran Hamasyan is in 13
    8    .[154]

13
16[]

Upper number of 15[]

See also: Quintuple meter

15
8[]

  • "Chionoblepharou pater Aous" [Father of the bright-eyed Dawn], Hymn to the Sun, by Mesomedes of Crete (grouped 2+2+2+2+2+3+2)[156]
  • "I Think I Lost my Headache" by Queens of the Stone Age (intro and outro are in 15
    8    , grouped[clarification needed]).[157]
  • "Karn Evil 9", 1st Impression, Part 1 (1973), by Emerson, Lake and Palmer includes a passage in 15
    8    .[158]
  • "Perpetuum Mobile" by the Penguin Cafe Orchestra.[159]
  • "Strong One" from the Mother 3 soundtrack is in 15
    8     (grouped 2+2+2+3+3+3).[160]
  • "Tubular Bells" by Mike Oldfield. The first riff in 15
    8     is made of two bars. The first bar is in 7
    8    , the second bar is in 8
    8    .[161]

15
16[]

Upper number of 17[]

17
4[]

  • "Panda" by This Town Needs Guns includes sections of 17
    4     and other meters like 3
    4    .[166]
  • "Seven Teens", by Lionel Loueke.[167]

17
8[]

  • "The Hole Pt. 1" by Noisia is described by the band as being "more or less [in] 17
    8    ".[171]
  • "I Should Live in Salt" by the National. Intro and verses in 17
    8    , bridge and chorus in ordinary 4
    4    .[172][better source needed]
  • Sketch, Op. 1, No. 6, by Alexei Stanchinsky (17
    8    , written as 4
    8     + 4
    8     + 5
    8     + 4
    8    , but with the 17
    8     time signature written as well).[37]
  • "Trapped in the Wake of a Dream" by Mudvayne (verses in 17
    8    )[137]

Upper number of 18[]

See also: Sextuple meter

18
8[]

18
16[]

  • Don Rodrigo by Alberto Ginastera. "Interludium III" is in 18
    16     meter, except the last three bars, which are in 3
    4    .[175]
  • Four Etudes, Op. 2, by Sergei Prokofiev. The second étude uses 18
    16     in one hand against 4
    4     in the other.[176]
  • Fünf Klavierstücke, Op. 23 by Arnold Schoenberg. Movement III, bars 26 to 30 inclusive are in 18
    16    .[177]
  • Goldberg Variations, by Johann Sebastian Bach. Variatio 26, a 2 Clav. uses 18
    16     in one hand against 3
    4     in the other, exchanging hands at intervals until the last five bars where both hands are in 18
    16    .[178]

Upper number of 19[]

19
4[]

19
8[]

  • Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in 19
    8    .[70]
  • "Rusty Cage" by Soundgarden (third section in 19
    8    ).[180]
  • "Hell's Bells" by Bruford is in 19
    8    , variously subdivided as 7+7+5
    8     and 4+4+4+4+3
    8     throughout the song.[181]

19
16[]

  • "Celestial Terrestrial Commuters" by Mahavishnu Orchestra.[173][page needed]
  • "Home" by Dream Theater (ends in 19
    16    ).[182]
  • "Keep It Greasy" by Frank Zappa on Joe's Garage (the first verse, some bridges and the guitar solo are counted in 19
    16     and the second verse is in 21
    16    ).[145]

Upper number between 20 and 29[]

20[]

  • "Deux moulins", published in the collection Airs a III. IIII. V. et VI. parties (première livre, 1608) by Claude Le Jeune. The third section, Chant à 3, is barred as 20
    4    ; the rest of the piece is in 21
    4    .[183]
  • "Gibbon" by This Town Needs Guns is transcribed partially in 20
    4    .[184][better source needed]
  • Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky In "Sensus spei", part 2 of "De Elegia Tertia", bar 4 is in 20
    8     time.[185]

21[]

See also: Septuple meter
  • "The Art Of Dying" by Gojira (2008) cycles from 4
    4     to 2
    4     to 21
    16     (grouped 5+5+5+3+3) and repeats this pattern during the intro and beginning of the song.[186]
  • "Deux moulins" by Claude Le Jeune, published in Airs a III. IIII. V. et VI. parties (première livre, 1608). The first two sections, Rechant à 3 and Réprise à 5, are barred as 21
    4    ; the last section of the piece is in 20
    4    .[183]
  • In the Dead of the Night suite by U.K., "contains an instrumental refrain in 21
    16    ".[143]
  • "Keep It Greasy" by Frank Zappa on Joe's Garage (the first verse, some bridges and the guitar solo are counted in 19
    16     and the second verse is in 21
    16    ).[145]
  • Sonata for Cello and Piano (1948), by Elliott Carter, includes 21
    32     time.[187]
  • Master of Puppets by Metallica features measures that can be interpreted as 21
    32    .[188]

22[]

23[]

24[]

  • "Brobdingnagische Gigue", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann is in 24
    1    .[192]
  • The Well-Tempered Clavier, Book 1 by Johann Sebastian Bach. The upper stave of Prelude No. 15 is in 24
    16     (The bottom stave is in common time).[30]

25[]

29[]

Upper number between 30 and 39[]

30[]

  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 30
    16    .[71]

32[]

33[]

35[]

  • "Entertain Me" by Tigran Hamasyan contains a repeating melody in 35
    16    , overlayed on top of the main 256
    32     meter.[154]
  • "Nairian Odyssey" by Tigran Hamasyan contains a solo section in 35
    16    , divided variously as 6
    4     + 5
    16     + 3
    8     and 6
    16     + 8
    16     + 6
    16     + 9
    16     + 6
    16    .[198]

Upper number between 40 and 49[]

42[]

43[]

47[]

Upper number between 50 and 59[]

53[]

Upper number more than 59[]

256[]

  • "Entertain Me" by Tigran Hamasyan is in 256
    32    , with a repeating motif in 35
    16     laid over it.[154]

Fractional time signatures[]

See also: Time signature § Variants

Irrational time signatures[]

See also: Time signature § Irrational meters
  • In the fourth movement of Piano Sonata No. 3 by Carlos Chávez, bars 47, 49, 107, and 109 are written in 1
    12    .[219]
  • L'Itoi Variations by Kyle Gann. Bar 275 is in 2
    3     time, bar 277 is in 7
    12     time, and bar 299 is in 5
    6     time.[220]
  • emme by phonon contains two bars in 71
    160    , that appear twice in the song's first climax. The build-up and first part of the climax were written in two alternating measures of 26
    20     and 16
    20    . The last section is in 4
    30    . All of the other sections are in 4
    4    .[221][222]

Combined unusual signatures[]

See also: Time signature § Mixed meters

See also[]

Notes and references[]

  1. ^ Ian Waugh first lists 2
    2    , 2
    4    , 2
    8    , 3
    2    , 3
    4    , 3
    8    , 4
    2    , 4
    4    , 4
    8    , 6
    4    , 6
    8    , 6
    16    , 9
    4    , 9
    8    , 9
    16    , 12
    4    , 12
    8    , and 12
    16     (Waugh 2003, 76), then says "we've listed all the popular time signatures" (Waugh 2003, 77).
  2. ^ Britten 1945b.
  3. ^ "Variations on an Original Theme 'Enigma', Op. 36 (Elgar, Edward) – IMSLP: Free Sheet Music PDF Download". imslp.org. Retrieved 24 August 2021.
  4. ^ "Symphony No. 2 (Borodin, Aleksandr) – IMSLP: Free Sheet Music PDF Download". imslp.org. Retrieved 24 August 2021.
  5. ^ Copland 1945, 56–59.
  6. ^ Enescu 1965, 62.
  7. ^ https://imslp.org/wiki/5_Pieces,_Op.23_(Schoenberg,_Arnold)
  8. ^ Jump up to: a b http://conquest.imslp.info/files/imglnks/usimg/8/8e/IMSLP58460-PMLP119865-Janáček_-_Káťa_Kabanová_-_Act_III_(vocal_score).pdf
  9. ^ http://cnks.imslp.org/files/imglnks/usimg/4/46/IMSLP99159-PMLP200270-Couperin_-_Pieces_de_clavecin_Bk3.pdf
  10. ^ "Archived copy" (PDF). Archived (PDF) from the original on 22 April 2017. Retrieved 29 May 2020.CS1 maint: archived copy as title (link)
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  15. ^ Edward Elgar, Symphony No. 1 Archived 29 September 2018 at the Wayback Machine (London: Eulenberg Edition, n.d.), 62–101.
  16. ^ Myaskovsky 1947, 4–8, 23–30, 41–44, 59–65, 70–73.
  17. ^ Revueltas 1971, 32, 34–38.
  18. ^ Allcock, Maartin, ed. (1998). Fairport Convention Songbook 2. Woodworm Music. pp. 56–59.
  19. ^ Jump up to: a b c Nilsson 1958, 3–15.
  20. ^ "Archived copy" (PDF). Archived (PDF) from the original on 2 February 2017. Retrieved 23 January 2017.CS1 maint: archived copy as title (link)
  21. ^ Dream Theater Keyboard Anthology. Transcribed by Chris Romero and Jordan Baker 2004, 30.
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  23. ^ Stravinsky n.d., 26.
  24. ^ Chávez 1972, 3–4.
  25. ^ Jump up to: a b "Lincolnshire Posy (Grainger, Percy), page 30". IMSLP. Retrieved 19 December 2015.
  26. ^ Dream Theater Black Clouds and Silver Linings Authentic Guitar TAB. 2009, 7.
  27. ^ Chávez 1972, 12.
  28. ^ Villa-Lobos 1927, 5:4.
  29. ^ "A Headache And A Sixty-Fourth". Archived from the original on 11 May 2010. Retrieved 21 August 2010.
  30. ^ Jump up to: a b c Read 1964, 158.
  31. ^ http://conquest.imslp.info/files/imglnks/usimg/5/5b/IMSLP58459-PMLP119865-Janáček_-_Káťa_Kabanová_-_Act_II_(vocal_score).pdf
  32. ^ Yokoyama, Shin-itchiro (21 February 2016). "Bach's Cello Suites, Editor's Notes: How do we play the Gigue of Partita No.6 ?". Archived from the original on 2 February 2017. Retrieved 23 January 2017.
  33. ^ http://ks.imslp.net/files/imglnks/usimg/e/e3/IMSLP414162-PMLP667919-Bach_Partita_No_6_Gigue_Comparison.pdf[permanent dead link]
  34. ^ Bach, Johann (1985). Bischoff, Hans (ed.). Six Partitas and Overture in French Style. Alfred Music Publishing. p. 92. ISBN 978-0-7692-8604-4. Archived from the original on 15 February 2017. Retrieved 24 September 2016.
  35. ^ Alkan n.d. (ca.1861),[page needed].
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  38. ^ "Category:Stanchinsky, Aleksey". Archived from the original on 25 December 2014. Retrieved 25 February 2015.
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  44. ^ [1]
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  46. ^ Telemann 1728, 32; Telemann 1970, 13; Zohn 2004, 247: "The ‘Lilliputsche Chaconne’ is anything but stately as it flashes by (at least on the page) in a blur of demisemiquavers in 3
    32     time. . . ."
  47. ^ Jump up to: a b "Archived copy" (PDF). Archived (PDF) from the original on 22 February 2016. Retrieved 23 March 2017.CS1 maint: archived copy as title (link)
  48. ^ Revueltas 1958, 3–15.
  49. ^ Brahms 1928 Archived 11 January 2016 at the Wayback Machine, 78–79, 79–80.
  50. ^ https://imslp.nl/imglnks/usimg/2/2a/IMSLP08431-Brahms_-_Variations_Op.9_-_Sauer.pdf[permanent dead link]
  51. ^ Holst 1977, 4–6, 18–19, 23–24, 27–30.
  52. ^ Dean 2014.
  53. ^ Suspended Animation Authentic Guitar TAB, transcribed by Jordan Baker. 2005, 81–85, 88–89, 105–107
  54. ^ Dethalbum III Authentic Guitar TAB, transcribed by Jordan Baker. 2013, 10[full citation needed]
  55. ^ Ligeti 1995, 9, b. 28.
  56. ^ Stravinsky 1970, 99.
  57. ^ Jump up to: a b Andriessen 1976, 1–4, 82–88, 90, 92, 95–97, 99, 119.
  58. ^ Britten 1946, 14–15.
  59. ^ Davies 1985, 48–49.
  60. ^ Bartók 1993, 72.
  61. ^ Stravinsky 1958, 11–12 and 19.
  62. ^ Britten 1941, 30–32.
  63. ^ Bernstein 1950, 48, 52–54.
  64. ^ Bartók 1940, 6:45–48.
  65. ^ Bartók 1940, 6:51–55.
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  71. ^ Jump up to: a b c d e Timothy Smith (26 September 2015). "Kaikhosru Shapurji Sorabji – Sonata No. 1". Archived from the original on 11 February 2017. Retrieved 5 February 2017 – via YouTube.
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  73. ^ Davies 1985, 202.
  74. ^ Birtwistle 1996, 6–7 and 9.
  75. ^ Stravinsky 1962, 54, 56, 58, 60–61, 63, and 66.
  76. ^ Stravinsky 1924, 50.
  77. ^ Stravinsky 1967, 19.
  78. ^ Dream Theater Black Clouds and Silver Linings Authentic Guitar TAB, transcribed by Jordan Baker. 2009, 138
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  81. ^ Seconds Out Songbook 1978 Wise Publications
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  83. ^ Dryden, Ken. " Blue Rondo a la Turk", Allmusic: "unusual time signature of 9
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  84. ^ "The Crunge – Led Zeppelin – Drum Sheet Music | OnlineDrummer.com". Retrieved 4 April 2021.
  85. ^ Ginastera 1955, 17–20.
  86. ^ Bartók 1940, 6:35–38.
  87. ^ Bartók 1940, 6:48–50.
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  101. ^ Yanni (1993). The Best of Yanni; 11 selections from his top recordings. Hal Leonard Publishing. p. 16.
  102. ^ Bars 2–5 are in 10
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  103. ^ Eddie 2007, 62.
  104. ^ Terentyev, Savva; Hamasyan, Tigran (March 2018). "Tigran Hamasyan, Three Piano Pieces". Terentyev Publisher. Archived from the original on 15 March 2021. Retrieved 15 March 2021.
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  119. ^ Primus (musical group), Primus Anthology: A thru N: For Guitar and Bass, transcribed by Jeff Jacobsen (New York: Cherry Lane Music, 2000), 17–20. ISBN 1575601540.
  120. ^ Fripp, Robert (1 April 2020). "Bredonborough". Archived from the original on 15 March 2021. Retrieved 15 March 2021. Happy With What You Have To Be Happy With is very nicely in 11/8 which fits the music and Adrian’s particularly upbeat American take on that’s life! that’s fate! and c’est la vie.
  121. ^ Pollack 1999.
  122. ^ Pedler 2003, p. 555.
  123. ^ "The meters of these three measures are 11
    8    , 4
    4    , and 7
    8    , respectively. The special effect of running even eighth notes accented as if triplets against the grain of the underlying backbeat is carried to a point more reminiscent of Stravinsky than of the Beatles" (Alan Pollack's 'Notes On' series, no. 183 Archived 30 April 2008 at the Wayback Machine).
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  193. ^ Fenlon 2002, 90 & 102–106.
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  197. ^ Fenlon 2002, 40.
  198. ^ Jump up to: a b Bruce, David (2 April 2019). "The Rhythms of Tigran Hamasyan". Retrieved 4 March 2021. [Vardavar] also contains a long pattern of 32 notes, or two bars of 4
    4    , but this is completely split up into more unusual sub-groupings: It's five plus five plus three plus five plus five plus four plus five. [...] The thirty-five beat cycle [of Nairian Odyssey] is generally divided up into a 6
    4    , a 5
    16    , and 3
    8    .
  199. ^ Daunt, Ryan George (2018). "Neoteric Drum Set Orchestration: An analysis of Nate Wood's drumming on the music of Tigran Hamasyan". p. 54. Archived from the original on 2 April 2021. Retrieved 2 April 2021.
  200. ^ "Matt Savage plays "Blues in 33/8" in New York". YouTube. 1 January 2007. Archived from the original on 5 December 2013. Retrieved 1 August 2013.
  201. ^ Fenlon 2002, 41; Fienberg 2004, 228–29 & 231–32.
  202. ^ "Split Open and Melt". Phish.net. 10 April 2013. Archived from the original on 15 August 2013. Retrieved 20 July 2013. "SOAM's" complex improv segment is notorious for its time signature, which involves three sections of eight eighth-notes and then a fourth section with nine eighth-notes in a steady pulse (listen to Fishman's hi-hat)
  203. ^ Davis, Chip (1987). Fresh Aire II. Omaha, Nebraska, United States: Dots and Lines Ink. p. 55.
  204. ^ Jump up to: a b c Read 1964, 170.
  205. ^ Telemann 1728, 40; Zohn 2004, 247: "The ‘Reverie der Laputier, nebst ihren Aufweckern’ . . . teases the reader with a nonsensical time signature, 3+2⁄2
    4    , in an apparent allusion to the Laputians’ love for, and incompetence in, mathematics." Dietz Degan, the editor of Telemann 1970, transcribes this piece simply in 2
    2    .
  206. ^ Lloyd, Stephen (1982). "Grainger's Original Compositions". Studies in Music. Number 16: 12.
  207. ^ "Hill Songs (Grainger, Percy) – IMSLP: Free Sheet Music PDF Download". imslp.org. Archived from the original on 19 May 2018. Retrieved 30 November 2019.
  208. ^ Nilsson 1958, 8; Read 1964, 172.
  209. ^ Nilsson 1958, 10; Read 1964, 172.
  210. ^ Nilsson 1958, 10 & 12; Read 1964, 172.
  211. ^ Nilsson 1958, 11; Read 1964, 172.
  212. ^ Boulez 1957, 18.
  213. ^ Boulez 1957, 19–20.
  214. ^ Ives 1920, 56.
  215. ^ Chávez 1972, 17–20.
  216. ^ Wagner 2010, 312–13.
  217. ^ Revueltas 1949, 36.
  218. ^ Strait 2000, 56.
  219. ^ Chávez 1972, 16, 19.
  220. ^ "Don't Blame Me, It Was Henry Cowell's Idea". 15 March 2008. Archived from the original on 3 August 2016. Retrieved 4 June 2016.
  221. ^ "phonon – emme". 20 November 2020. Archived from the original on 21 December 2020. Retrieved 21 December 2020.
  222. ^ "Analysis of "phonon – emme" by Shawn Crowder". 7 December 2020. Archived from the original on 21 December 2020. Retrieved 21 December 2020.
  223. ^ Villa-Lobos 1927, 4:1–4.
  224. ^ "A prole do bebê No.2, W180". IMSLP. Retrieved 15 August 2021.
  225. ^ Banks n.d.
  226. ^ Sheet music, published by New Hidden Valley Music and Casa David, copyright 1966
  227. ^ Wolinski 2014
  228. ^ Stockhausen 1967, 1, 6, and 7.
  229. ^ Stockhausen 1957, 52, 60–62, 66.

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