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]
Contents
- Upper number of 1
- 11
- 12
- 14
- 18
- 116
- 132
- 164
- Upper number of 2
- 21
- 216
- 232
- Upper number of 3
- 31
- 316
- 332
- Upper number of 4
- 41/2
- 41
- 416
- 432
- Upper number of 5
- Upper number of 6
- 62
- 632
- Upper number of 7
- Upper number of 8
- 82
- 84
- 88
- 816
- Upper number of 9
- 94
- 98
- 916
- 932
- Upper number of 10
- 104
- 108
- 1016
- Upper number of 11
- 114
- 118
- 1116
- 1132
- 1164
- Upper number of 12
- 122
- 1232
- Upper number of 13
- 134
- 138
- 1316
- Upper number of 14
- 144
- 148
- 1416
- Upper number of 15
- 158
- 1516
- 1532
- Upper number of 16
- 164 2
- 1616
- Upper number of 17
- 174
- 178
- 1716
- Upper number of 18
- 188
- 1816
- Upper number of 19
- 194
- 198
- 1916
- Upper number between 20 and 29
- 20
- 21 2
- 22
- 23
- 24
- 25
- 27
- 29
- Upper number between 30 and 39
- 30
- 31 2
- 32
- 33
- 35
- 36
- Upper number between 40 and 49
- 40
- 42
- 43
- 44
- 47
- 48
- Upper number between 50 and 59
- 53
- Upper number more than 59
- 77
- 86
- 256
- Fractional time signatures
- Irrational time signatures
- Combined unusual signatures
- See also
- Notes and references
- Bibliography
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, in Variation VII. [3]
- Entr'actes and Sappho Fragments by Harrison Birtwistle. [4]
- Leopardi Fragments by Peter Maxwell Davies. [5]
- Mixtur by Karlheinz Stockhausen. [6]
- Rhythmicana by Henry Cowell, for the entire first two movements. [7]
- String Quartet No. 2 by Easley Blackwood Jr. [5]
- Symphony No. 2 by Alexander Borodin. Movement II is in Prestissimo1
1, except for the trio section, which is in Allegretto6
4. [8]
1
2
- Air - Homage to Sibelius by Thomas Adès. [9]
- Appalachian Spring , by Aaron Copland, at the third bar of rehearsal 46 and the third bar of rehearsal 48. [10]
- Apaisement, Op. 13 No. 1, by Ernest Chausson. [11]
- Canon with Sustained Notes, No. 60 from Mikrokosmos by Béla Bartók, in one measure. [12]
- Carmina Burana by Carl Orff, in some bars of some movements. [13]
- Decet for wind instruments, Op. 14, by George Enescu, at bar 240 of the third movement (fifth bar before rehearsal number 42). [14]
- Fünf Klavierstücke, Op. 23 by Arnold Schoenberg, at bar 9 of the second piece. [15]
- 3 Gesänge aus 'Viae Inviae', Op. 23, by Anton Webern, in some parts of the second song. [16]
- Káťa Kabanová , by Leoš Janáček, for some measures in Act III between rehearsal numbers 5 and 8. [17]
- La Langeur, from Le follie francaise ou les dominos from Pièces de Clavecin by François Couperin. [18]
- Mladi by Leoš Janáček, at measure 68 of the second movement. [19]
- 8 Nocturnes, FP 56 by Francis Poulenc, at bar 27 of No. 1. [20]
- Piano Sonata, Op. 43, by Harry Farjeon for a few bars in the first movement. [21]
- Piano Sonata No. 3, Op. 105, by Sigfrid Karg-Elert. [22]
- Piano Sonata No. 5, Op. 53, by Alexander Scriabin, at bars 251 to 262 (Presto giocoso). [23]
- Quartet, Op. 22, by Anton Webern, in many bars of the second movement. [24]
- Rapsodie nègre by Francis Poulenc, for some bars in the third movement, "Honoloulou". [25]
- String Quartet No. 1, by Béla Bartók, in bars 3, 10, and 22 of the third movement. [26]
- Symphony No. 1, by Edward Elgar, in the second movement. [27]
- Symphony No. 17 in G♯ minor by Nikolay Myaskovsky, in many parts of the first movement. [28]
1
4
- Adagio 1972 by Kyle Gann, in measure 66. [29]
- Alcancías by Silvestre Revueltas, in the second movement, for some bars between rehearsal marks 24 and 32. [30]
- Carmina Burana by Carl Orff, in the movement Swaz hie gat umbe. [13]
- Clarinet Sonata by Andrew Violette, at measure 97 of the first movement. [31]
- Concerto for Piano and Wind Instruments by Igor Stravinsky, just before rehearsal mark 83. [32]
- Divided Arpeggios, No. 143 from Mikrokosmos by Béla Bartók, for one bar, but incorrectly written as 1
2. [12] - "Etincelles," the first movement of Suite Bizarre by Joseph Achron. [33]
- "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. [34] - Fantasy on Themes from Mozart's Figaro and Don Giovanni, S. 697, by Franz Liszt and completed by Leslie Howard. Bar 431/427 is in 1
4 time. [35] - Iberia by Isaac Albéniz, in the movement Jerez. [36]
- Lonely Child (1980) by Claude Vivier, at bar 56. [37]
- Mädchentotenlieder, by Bo Nilsson, in many bars. [38]
- Metastaseis , by Iannis Xenakis, in the first 103 bars. [39]
- Metropolis Part 1: The Miracle and the Sleeper, by Dream Theater, at the third bar of rehearsal R. [40]
- On an Overgrown Path , by Leoš Janáček, for some bars in the sixth, tenth, and eleventh movements. [41]
- Petrushka by Igor Stravinsky, for the bar before rehearsal 17. [42]
- Piano Concerto No. 2 by Sergei Prokofiev, in two measures in the second movement. [43]
- Piano Sonata by Béla Bartók, in the third movement. [44]
- Piano Sonata no. 2 by Roger Sessions, at measure 178. [45]
- Piano Sonata No. 3 by Carlos Chávez, in six bars of the first movement. [46]
- The first version of Piano Sonata No. 5 by Sergei Prokofiev, for one measure in the third movement. [47]
- Tzigane by Maurice Ravel, in four measures, the first of which is right before rehearsal 27. [48]
- Zipangu (1980) by Claude Vivier in several measures. [49]
1
8
- Alchymia by Thomas Adès has a measure of 4
4+1
8. [50]
- Amor dammi quel fazzolettino by Andrew Violette, for one measure in the left hand of the second piano part. [51]
- Black Tea by Andrew Violette. [52]
- Caprice Variations by George Rochberg, in variation 19. [53]
- Carmina Burana by Carl Orff, in the movement Fortune plango vulnera. [13]
- Charon by Richard Barrett, in bars 51 and 68. [54]
- Fantasy by Andrew Violette. [55]
- Last Dance by Andrew Violette. [56]
- Lincolnshire Posy by Percy Grainger, in the fifth movement, "Lord Melbourne". [57]
- Lonely Child (1980) by Claude Vivier, in several measures. [37]
- Mädchentotenlieder, by Bo Nilsson, at bar 53. [38]
- A Nightmare to Remember, by Dream Theater, in bar 31. [58]
- On an Overgrown Path , by Leoš Janáček, for two bars in the third movement. [41]
- Piano Sonata No. 1 by Charles Wuorinen, at bar 84 of part 1. [59]
- Piano Sonata no. 2 by Roger Sessions, at bar 223. [45]
- Piano Sonata No. 3 by Carlos Chávez, at bar 165 of the second movement. [60]
- A próle do bébé , Book 2 by Heitor Villa-Lobos. The fifth piece, "O Cavalinho de páu" (The Little Wooden Horse), bar 68 is in 2
[4]1
8 time. [61] - String Trio, Op. 20 by Anton Webern. [62]
1
16
- Bicinium by Charles Wuorinen, at bars 49 and 82. [63]
- Mädchentotenlieder, by Bo Nilsson, at bar 11. [38]
- Piano Sonata no. 2 by Roger Sessions, at measure 257. [45]
1
32
- Bicinium by Charles Wuorinen, at bars 9, 27, 56, and 69. [63]
- Contrapunctus by Mark Andre. [64]
- Mädchentotenlieder, by Bo Nilsson, in bar 9. [38]
- Piano Sonata No. 1 by Charles Wuorinen, in bar 43 of part 1. [59]
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. [65]
Upper number of 2
2
1
- 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
between rehearsal numbers 28 and 29, and one bar before rehearsal number 36. [17] - 5 Motets by Peter Maxwell Davies. [5]
- 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
(the mensuration sign for "tempus perfectum, prolatio minor, diminutum") appears in the first edition of 1731, and = 2
2 in the autograph manuscript. [66] This time signature is unusual for gigues, which are usually in 6
8 or 12
8. [67] [68] - Piano Sonata No. 3 by Sigfrid Karg-Elert, in one measure. [22]
2
16
- Bicinium by Charles Wuorinen, at bar 75. [63]
- Comme le vent , first of the Douze études dans toutes les tons mineurs, Op. 39, by Charles-Valentin Alkan. [69]
- Douze études pour Caisse-Claire by Jacques Delécluse, in some measures of the last piece. [70]
- Requiem Canticles by Igor Stravinsky, for the last measure of the Prelude. [71]
- The Rite of Spring by Igor Stravinsky. 2
16 is used in the concluding "Sacrificial Dance". [72]
- Sketch, Op. 1 No. 10, by Alexei Stanchinsky. [73]
2
32
- Bicinium by Charles Wuorinen, at bar 47. [63]
Upper number of 3
3
1
- Chaconne in D major by Samuel Capricornus. [74]
- 5 Motets by Peter Maxwell Davies. [5]
- "O Fortuna" from Carl Orff's Carmina Burana (first four bars). [13]
- Passacaglia in D minor by Johann Philipp Krieger. [75]
- Piano Sonata No. 3 by Sigfrid Karg-Elert, in one measure. [22]
- Poème des Montagnes, Op. 15 by Vincent d'Indy, in the first and last movements. [76]
- Rosary Sonatas, by Heinrich Ignaz Franz Biber, for part of No. 11. [77]
- Symphony No. 3 by Camille Saint-Saëns, in two sections (a total of 22 bars) at the end of the finale. [78]
- Symphony No. 4 by Charles Ives. [79]
- "Um Mitternacht" by Gustav Mahler ( Rückert-Lieder No. 5). Bar 27 is marked "6
2 (3
1)". [80]
3
16
- Abraham and Isaac by Igor Stravinsky. [81]
- Apollo by Igor Stravinsky, near rehearsal mark 23. [82]
- Bicinium by Charles Wuorinen, at bars 1, 6, 11, 18, 23, 40, 50, 54, 58, 74, and 83. [63]
- Cantata No. 1 by Anton Webern, in the second movement. [83]
- Concerto for Piano and Wind Instruments by Igor Stravinsky, after rehearsal mark 39. [32]
- Concerto for Two Pianos by Igor Stravinsky, in the second movement. [84]
- Concerto in E-flat by Igor Stravinsky has a measure of 2
8+3
16 a few measures after rehearsal mark 4. [85] - Donna Diana Overture, by Emil von Reznicek. [86]
- Douze études pour Caisse-Claire by Jacques Delécluse, in some measures of the last piece. [70]
- Mädchentotenlieder, by Bo Nilsson, at bar 114. [38]
- Piano Sonata No. 1 in C major, Op. 1, by Johannes Brahms. Movement II, bars 47–49 and 51–53. [87]
- Piano Sonata No. 1 by Charles Wuorinen, at measure 29 of part 1. [59]
- Requiem Canticles by Igor Stravinsky. [71]
- The Rite of Spring by Igor Stravinsky, in the concluding "Sacrificial Dance". [72]
- String Quartet, Op. 28, by Anton Webern in bars 40-41 and 44-51 of the third movement. [88]
- String Trio, Op. 20 by Anton Webern. [62]
- Symphonic Studies, Étude IX (first version) by Robert Schumann. [89]
- Toccata, Op. 10, by Niels Viggo Bentzon, in a single measure. [90]
- Variations for piano, Op. 27, by Anton Webern, movement I. [91]
3
32
- Bicinium by Charles Wuorinen, at bars 5, 36-37, 39, 52, 65, 77, and 80. [63]
- Contrapunctus by Mark Andre. [64]
- Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann. Movement II, "Lilliputsche Chaconne". [92]
- Mädchentotenlieder, by Bo Nilsson, at bar 3. [38]
- Piano Sonata No. 1 by Charles Wuorinen, at measure 13 of part 1. [59]
- Pribaoutki by Igor Stravinsky, for bar 15 of the fourth piece, "Starets i zayats". [93]
- String Quartet, Op. 28, by Anton Webern in bars 28-37 of the third movement. [88]
Upper number of 4
4
1/2
- Carmina Burana by Carl Orff has a measure of 4
||
|| at the start of the movement Ecce gratum . [13]
4
1
- 5 Motets by Peter Maxwell Davies. [5]
- Poème des Montagnes, Op. 15 by Vincent d'Indy, in the first and last movements. [76]
4
16
- Abraham and Isaac by Igor Stravinsky. [81]
- Bicinium by Charles Wuorinen, at bars 8 and 29. [63]
- Le chant du rossignol by Igor Stravinsky, at the measure before rehearsal mark 37. [94]
- Homenaje a Federico García Lorca by Silvestre Revueltas, for the entire first movement, "Baile" (Dance), except for one free-rhythm bar at the beginning and two at the end. [95]
- Piano Sonata No. 1 in C major, Op. 1, by Johannes Brahms. Movement II, bars 46 and 50. [87]
- Piano Sonata No. 3 in F minor, Op. 5, by Johannes Brahms. Movement II, bars 37–66 and 77–90. [96]
- Pribaoutki by Igor Stravinsky, for bar 16 of the fourth piece, "Starets i zayats". [93]
- Requiem Canticles by Igor Stravinsky, for two measures near the end of the Prelude movement. [71]
- The Rite of Spring by Igor Stravinsky, in the concluding "Sacrificial Dance". [72]
- String Quartet, Op. 28, by Anton Webern, in bars 52 and 53 of the third movement. [88]
- Variations on a Theme by Robert Schumann, Op. 9, by Johannes Brahms. Variation XI. [97]
4
32
- Bicinium by Charles Wuorinen, at bars 38 and 42. [63]
Upper number of 5
Upper number of 6
6
2
- Cantata No. 1 by Anton Webern, in the first movement. [83]
- Carmina Burana by Carl Orff, in the movement Ave formossisima. [13]
- Piano Sonata No. 1 by Charles Wuorinen, in its last two measures. [59]
- Symphony No. 4 by Charles Ives, for bar 102 of the third movement. [79]
- "Um Mitternacht" by Gustav Mahler ( Rückert-Lieder No. 5). Bar 27 is marked "6
2 (3
1)". [80]
6
32
- Bicinium by Charles Wuorinen, at bar 45. [63]
- Piano Sonata No. 1 by Charles Wuorinen, at measure 162 in part 1 (written 2
.). [59]
Upper number of 7
Upper number of 8
- Note:8
4or8
8may 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
2
- Carmina Burana by Carl Orff, in the movement Reie. [13]
8
4
- A Choral Fantasia, Op. 51, by Gustav Holst, for bars 36–69, 142–148, 173–178, and 191–198. [98]
- Agon by Igor Stravinsky, at measure 164. [99]
- "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. [100] - Chaconne by Andrew Violette, at measures 55 and 109. [101]
- Custer and Sitting Bull by Kyle Gann, in measure 166 of part 3. [102]
- "Damage Control" by John Petrucci has several bars in 8
4. [103] - "I Ejaculate Fire" by Dethklok. Bars 81, 83, 85, and 88 are in 8
4. [104] - Lamentations and Consolations by Sergei Bortkiewicz, in some bars of Lamentation No. 1 and Consolation No. 4 (Sorrento). [105]
- Lincoln, The Great Commoner by Charles Ives. [106]
- Lonely Child (1980) by Claude Vivier has several measures of 8
4 (m. 143, 182 etc.). [37] - Mädchentotenlieder, by Bo Nilsson, at bar 73. [38]
- Musica ricercata for piano, by György Ligeti, movement 2 (Mesto, rigido e cerimoniale) includes a single bar of 8
4. [107] - L'Oeuvre d'orgue by Jehan Alain, in the first movement of the Suite and in the third of the Trois Danses. [108]
- Piano Sonata by Béla Bartók, in three measures of the second movement. [44]
- A próle do bébé No. 2ba, by Heitor Villa-Lobos, for one measure in the fourth movement. [61]
- The Rite of Spring by Igor Stravinsky, in the tableau "Mysterious Games of the Maidens", the bar before rehearsal 99 is in 8
4. [72] - De Staat by Louis Andriessen. Bars 686–87 are in 8
4. [109] - String Quartet No. 2, Op. 36 (1945), by Benjamin Britten. Movement I, bars 3 and 12 after rehearsal K are in 8
4. [110] - Study No. 22 by Charles Ives, in measures 3-4 and 18-19. [111]
- Symphony No. 3 by Peter Maxwell Davies. Movement I has two bars of 8
4 (divided 3+2+3) at rehearsal N. [112]
8
8
- Bicinium by Charles Wuorinen, at bar 90. [63]
- Cantata No. 1 by Anton Webern, at measure 51 in the third movement. [83]
- Charon by Richard Barrett, in bars 8-14 and 67. [54]
- Concertino by Igor Stravinsky, at rehearsal mark 14. [113]
- Concerto for Orchestra by Béla Bartók. Movement IV has three bars of 8
8 in the strings at rehearsal 75. [114] - Diversions for Piano Left Hand and Orchestra by Benjamin Britten. [115]
- Fancy Free by Leonard Bernstein. In the fourth number, "Pas de deux", bars 324–25, 355–57, 359–61 are in 8
8. [116] - 36 Fugues, Op. 36 by Anton Reicha. No. 28 is in 6+2
8. [117] - Mikrokosmos by Béla Bartók. [12]
- No. 103, "Minor and Major," has two measures, the first grouped 2+3+3 and the second as 3+2+3.
- No. 140, "Free Variations," in some places.
- No. 151, "Six Dances in Bulgarian Rhythm" 4, is in 3+2+3
8. - No. 153, "Six Dances in Bulgarian Rhythm" 6, is in 3+3+2
8.
- Music for Strings, Percussion, and Celesta by Béla Bartók. [118]
- 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 - Movement IV, bars 204, 207, 210, 213 are in 8
8.
- 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
- 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. [119] - Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in 8
8. [120] - 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. [109] - Symphony No. 1 by Gustav Mahler. In Movement IV, the bar before rehearsal number 40 is in 8
8. [121] - Symphony No. 3 by Peter Maxwell Davies. Third movement has one bar of 8
8 before rehearsal X. [122] - Threni by Igor Stravinsky. Bars 83–84, 91, and 165 are in 8
8. [123]
8
16
- Abraham and Isaac by Igor Stravinsky, at measure 159. [81]
- Agon by Igor Stravinsky. Measure 423 is in parenthesized 8
16. [99] - Canticum Sacrum by Igor Stravinsky, at measures 71-72.
- The Cry of Anubis, for tuba and orchestra by Harrison Birtwistle. Bars 33, 36, and 45–46 are in 8
16. [124] - The Flood by Igor Stravinsky. Bars 406, 414, 422, 427, 432, 440, and 448 are in 8
16 time, all divided 3+2+3. [125] - Histoire du soldat by Igor Stravinsky has one bar in 8
16 time, at the fourth bar following rehearsal 35, in the movement "Ragtime". [126] - Poème des Montagnes, Op. 15 by Vincent d'Indy, in the movement "Danses Rhythmiques". [76]
- Requiem Canticles by Igor Stravinsky. The interlude has bar 156 in 8
16 time. [71]
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
- Agon by Igor Stravinsky, at measure 167. Although other measures of 9
4 in the same section are subdivided 3+3+3, this measure is 3+2+2+2. [99] - Concertino by Igor Stravinsky, one measure after rehearsal mark 14 (subdivided 4+3+2). [113]
- "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. [127] - "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. [128] - "Kissing the Beehive" by Wolf Parade has its verses in 9
4.[ clarification needed ] [129] - Lonely Child (1980) by Claude Vivier has 9
4 in measure 142. [37] - "The Start of Somethin Beautiful" by Porcupine Tree. The verses are in 9
4. [130] - Requiem Canticles by Igor Stravinsky has a measure of 9
4, grouped as 2+3+4, in the movement Libera Me. [71]
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.) [131] - "Big Lie Small World", by Sting is in 9
8 with varying division. [132] - "The Crunge" by Led Zeppelin. The main groove is in 9
8, grouped 5
8 + 4
8. [133] - 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. [134] - "I Hung My Head", by Sting is in 2+3+2+2
8. [132] - Mikrokosmos by Béla Bartók [12]
- No. 148, "Six Dances in Bulgarian Rhythm" 1, is in 4+2+3
8. - No. 152, "Six Dances in Bulgarian Rhythm" 5, is in 2+2+2+3
8.
- No. 148, "Six Dances in Bulgarian Rhythm" 1, is in 4+2+3
- "Niška Banja", SATB choral arrangement by Nick Page of a Serbian Gypsy dance, is in 2+2+2+3
8. [135] - "Scatterbrain" by Jeff Beck, from the album Blow by Blow, contains multiple sections in 9
8. [136] - "VROOOM VROOOM" by King Crimson contains a few measures in 9
8 during the bridge. [137] - "The Cool, Cool River" by Paul Simon is mainly in 9
8. [138] - "Blue Rondo à la Turk" by Dave Brubeck is mainly in 9
8, grouped as both 2+2+2+3
8 and 3+3+3
8. [139]
9
16
- Piano Sonata no. 2 by Roger Sessions, at measure 337 (grouped 4+5). [45]
- Requiem Canticles by Igor Stravinsky has a measure of 9
16 grouped as 3+4+2. [71]
9
32
- Un Vitrail et des Oiseaux by Olivier Messiaen uses 3+2+2+2
32. [140]
Upper number of 10
10
4
- Adagio 1972 by Kyle Gann, in measure 34. [29]
- Apparition by Kyle Gann, in measures 6, 54, and 58. [141]
- Concertino by Igor Stravinsky, two measures after rehearsal mark 14. [113]
- The vocal coda section of "The ConstruKction of Light" by King Crimson has verses in 10
4. [142] - "Just Like You Imagined" by Nine Inch Nails. [143]
- Lonely Child (1980) by Claude Vivier has 10
4 in measure 141. [37] - "Playing in the Band" by the Grateful Dead (notated as 4+2+4
4). [144] - "Rabbit" by This Town Needs Guns has parts in 10
4. [145] - "Retreat! Retreat!", by 65daysofstatic is partially in 10
4. [146] - String Quartet No. 2, Op. 36 (1945), by Benjamin Britten. Movement I, fourth bar after rehearsal K ("tranquillo, lusingando") is in 10
4. [147] - "Testostyrannosaurus" by Hail the Sun, in some parts. [148]
- "Unisphere" (1964) by The Dave Brubeck Quartet. [149]
- "Wanderlove" by Mason Williams. [150]
- "Everything in its Right Place" by Radiohead. Notated as varying bars of 6
4 and 4
4. [151] - "Diagonals" and "Parsec" by Stereolab are both in 10
4. [152]
10
8
- Charon by Richard Barrett, in bars 36-42. [54]
- 3 Danses from L'Oeuvre d'orgue by Jehan Alain, in the second dance. [108]
- "Nostalgia" by Yanni. [153]
- Piano Sonata No. 1 by Charles Wuorinen, at measure 170 of part 2. [59]
- Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in 10
8. [120] - Piano Sonata no. 2 by Roger Sessions, at measure 230. [45]
- Poème des Montagnes, Op. 15 by Vincent d'Indy, in the movement "Danses Rhythmiques". [76]
- Sketch, Op. 1 No. 7, by Alexei Stanchinsky. [73]
- Threni, id est Lamentationes Jeremiae Prophetae , by Igor Stravinsky. "Solacium", part 3 of "De Elegia Tertia". [123]
10
16
- Concerto for Piano, Clarinet, and String Quartet by Roy Harris. [154]
- Étude, Op. 35, no. 12 in E major, for piano, by Charles-Valentin Alkan. (grouped as 5+5) [155]
- Etude No. 1 by Tigran Hamasyan. [156]
- Poème des Montagnes, Op. 15 by Vincent d'Indy, in the movement "Danses Rhythmiques". [76]
- String Quartet No. 2 by Heitor Villa-Lobos, in a section of the last movement (incorrectly printed as 10
8) [157]
Upper number of 11
11
4
- Adagio 1972 by Kyle Gann, in measures 11, 36, and 46. [29]
- Apparition by Kyle Gann, in measure 3, 56, and 60. [141]
- "Awaken" by Yes (first section). [158]
- Concertino by Igor Stravinsky, just before rehearsal mark 15. [113]
- Concerto in E-flat by Igor Stravinsky, just before rehearsal mark 25. [85]
- "Crowned & Kissed" by Esperanza Spalding. The two-bar chorus groove is in 11
4 time. [159] - Custer and Sitting Bull by Kyle Gann, in some measures (70, 72, 75, etc.) of part 3 and the beginning of part 4. [102]
- "Eight Ball, Coroner's Pocket" by Hail the Sun, intro is composed in 9
4, and 11
4. [160] - "Eleven Four", by Paul Desmond and recorded by the Dave Brubeck Quartet. [161]
- 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. [162] [163] - Mädchentotenlieder, by Bo Nilsson, in bar 74. [38]
- Requiem Canticles by Igor Stravinsky, in the first bar of the Libera Me. [71]
- The Rite of Spring by Igor Stravinsky. The bar immediately before the section "The Chosen One" is in 11
4. [72] - "Testostyrannosaurus" by Hail the Sun, in some parts. [148]
- "Whipping Post", by the Allman Brothers Band, begins with a two-bar 11
4 riff. [164]
11
8
- Adagio 1972 by Kyle Gann, in measures 13 and 28. [29]
- Bachianas Brasileiras No. 9 , by Heitor Villa-Lobos. Movement II is in 11
8, grouped as 5
8 + 6
8. [165] - "Blockhead", by Devo. The verses are in 11
8 time. [166] - 2 Canzonas with Dances, Op. 43, by Nikolai Medtner, in Canzona No. 1. [167]
- Composure by Kyle Gann, in measures 180 and 196. [168]
- Custer and Sitting Bull by Kyle Gann, in measure 162 of part 1 and some measures (m. 19, 61, etc.) of parts 3 and 4. [102]
- Cyclic Aphorism No. 2 by Kyle Gann, in bars 1-17 and 31-37. [169]
- 3 Danses from L'Oeuvre d'orgue by Jehan Alain, in the second dance. [108]
- "The Eleven" (1969) by the Grateful Dead. [170]
- "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. [171] - "Happy With What You Have To Be Happy With" by King Crimson contains sections in 11
8. [172] - "Here Comes the Sun" (1969), written by the Beatles' George Harrison. The song features 4
4 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. [173] [174] [175] - "In Re Con Moto Et Al" by Charles Ives uses 11
8. [176] - "Larks' Tongues in Aspic, Pt. 1", by King Crimson. The song is in 5
8 when the violin enters, then switches to 11
8. The song shifts between these metres for the remainder of the song. [177] - "Losing It" by Rush. Intro and verses are composed out of ten bars in 5
8, other parts are in 11
8. [178] [179] [180] - The race results screen from Mario Kart 64 , composed by Kenta Nagata . [181]
- "Man-Erg" (1971), by Van der Graaf Generator. [182]
- Piano Sonata No. 2 in G major by Alexei Stanchinsky. Movement II is in 11
8. [183] - A próle do bébé No. 2 , by Heitor Villa-Lobos. The first and last measures of the fourth movement are in 11
8, divided into 6
8 or 3
4, and 5
8. [61] - The chorus of "ProzaKc Blues" by King Crimson includes measures of 13
8 and 11
8. [142] - "Puedo Escribir" by Sixpence None The Richer. [184]
- Sagat's theme from Street Fighter II (video game), composed by Isao Abe is entirely in 11
8. [185] - "Serenade", a wedding recessional by Derek Bourgeois. The beginning and ending sections are in 11
8. [186] [187] - Sketch, Op. 1 No. 5, by Alexei Stanchinsky. [73]
- "Skrting on the Surface" by the Smile. [188]
- "7empest" by Tool mostly alternates between 5
4 and 11
8 time. [189] - "Trapped in the Wake of a Dream" by Mudvayne (chorus in 11
8) [190] - "Upstart" written by Don Ellis and performed by the Don Ellis Orchestra [191]
- "Where but for Caravan Would I?" by Caravan. [192]
- "Herd Culling" by Porcupine Tree. [193]
11
16
- Charon by Richard Barrett, in bar 65. [54]
- Concerto for Piano, Clarinet, and String Quartet by Roy Harris. [154]
- Custer and Sitting Bull by Kyle Gann, in some measures (m. 13, 15, 28, etc.) of parts 3 and 4. [102]
- Lonely Child (1980) by Claude Vivier, in several measures (m. 95, 105, etc.). [37]
- Piano Sonata no. 2 by Roger Sessions, for some measures in the first movement. [45]
11
32
- Bicinium by Charles Wuorinen, at bars 46 and 78. [63]
11
64
- Bicinium by Charles Wuorinen, at bar 31. [63]
Upper number of 12
12
2
- Concerto for Piano, Clarinet, and String Quartet by Roy Harris, in one measure of the second movement. [154]
12
32
- Bicinium by Charles Wuorinen, at bar 28. [63]
- Piano Sonata No. 1 by Charles Wuorinen, at measure 161 of part 1 (written 4
.). [59]
- Piano Sonata No. 32 in C minor, Op. 111, by Ludwig van Beethoven. Movement II from bars 48 to 64. [194]
Upper number of 13
13
4
- Adagio 1972 by Kyle Gann, in measure 20. [29]
- Custer and Sitting Bull by Kyle Gann, in measures 147 and 151 of part 3. [102]
- "The Great Divide" by Don Ellis. [195]
- Lonely Child (1980) by Claude Vivier, measure 1. [37]
- "Rabbit" by This Town Needs Guns, in some sections. [145]
- Requiem Canticles by Igor Stravinsky, in measure 276 (grouped 2+9+2) [71]
- De Staat by Louis Andriessen. Bars 356 and 517. [196]
- "Starless" (1974), by King Crimson. [197]
- "World's Fair" (1964) by The Dave Brubeck Quartet. [198]
13
8
- Adagio 1972 by Kyle Gann, in measure 45. [29]
- "The Becoming" by Nine Inch Nails begins in this time signature. [199]
- Custer and Sitting Bull by Kyle Gann, in measures 194-204 of part 4. [102]
- "Electric Sunrise" by Plini [200] [201]
- "I Will Be Absorbed", by Egg. [197]
- "Lauft... Heisst Das Es Lauft Oder Es Kommt Bald..Lauft" by Faust. [202]
- "Odd Boy" by Mutant-Thoughts, in the verses.[ citation needed ]
- A próle do bébé No. 2, by Heitor Villa-Lobos. A measure in the fourth movement, "O cachorrinho de borracha". It is divided into 6
8 or 3
4, and 7
8. [61] - The chorus of "ProzaKc Blues" by King Crimson in some measures. [142]
- "Serenade", a wedding recessional by Derek Bourgeois, the middle section. [186] [187]
- "Skimbleshanks, The Railway Cat" from Andrew Lloyd Webber's musical Cats . Introduction and chorus as (3+3+3+4). Verses in 4
4. [203] - De Staat by Louis Andriessen. Bar 724. [196]
- "13th August" by FromUz. [204]
- "To Negate" by Tigran Hamasyan. [205]
- "Turn It on Again" by Genesis. The verses and choruses. [206]
- ”Jóga” (1997) by Björk (chorus only). [207]
13
16
- Charon by Richard Barrett, in bar 57. [54]
- Custer and Sitting Bull by Kyle Gann, in some measures (m. 48, 64, etc.) of parts 3 and 4. [102]
- Piano Sonata no. 2 by Roger Sessions, at measure 154 of the first movement. [45]
- A próle do bébé No. 2 , by Heitor Villa-Lobos, for two measures in the ninth movement. [61]
- The Terminator main theme, by Brad Fiedel. [208]
Upper number of 14
14
4
- Polychromatics by Louis Gruenberg. No. 7, "Invocation," in one measure. [209]
14
8
14
16
- American Song Set by Andrew Violette, for two measures in one of the songs. [211]
- Concerto for Piano, Clarinet, and String Quartet by Roy Harris. [154]
- Poème des Montagnes, Op. 15 by Vincent d'Indy, in the movement "Danses Rhythmiques". [76]
Upper number of 15
15
8
- Adagio 1972 by Kyle Gann, in measure 39. [29]
- Charon by Richard Barrett, in bar 69. [54]
- "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) [212]
- Concerto for Piano, Clarinet, and String Quartet by Roy Harris. [154]
- Could Ye Loan Me Ten Pence? by Kyle Gann, in measures 22 and 57. [213]
- Sections of "Endless Dream" by Yes. [214]
- Passage of "Karn Evil 9", 1st Impression, Part 1 (1973), by Emerson, Lake and Palmer. [215]
- "Limo Wreck" by Soundgarden. [216]
- "Perpetuum Mobile" by the Penguin Cafe Orchestra. [217]
- Piano Sonata Op. 25 No. 2, "Night Wind", by Nikolai Medtner. [218]
- "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. [219] - "The Eight Miracle" by Bob Curnow, in measures 1-81, 129-161, 249-281, and 393-422. [220]
15
16
- Concerto for Piano, Clarinet, and String Quartet by Roy Harris. [154]
- Concerto rotondo per violoncello solo (2000) by Giovanni Sollima, movement 4, bars 1-17, divided 5+3+4+3. [221]
- Custer and Sitting Bull by Kyle Gann, in measure 131 of part 3 and some measures (m. 38, 58, 79, etc.) of part 4. [102]
- Lonely Child (1980) by Claude Vivier, in measure 104. [37]
- The Phantom of the Opera (1986) by Andrew Lloyd Webber: "Notes" and "Notes II" each contain multiple sections, divided 4+4+4+3 [222]
- Piano Sonata no. 2 by Roger Sessions, at measure 100 of the first movement. [45]
- Robert Browning Overture, by Charles Ives, in measure 330. [223]
- De Staat by Louis Andriessen. Bars 501 and 535–36, divided 4+4+4+3 (in b. 501 some layers are in 3+3+3+3+3 and 3+4+4+3). [224]
- String Quartet No. 1 (1949), by Leon Kirchner. [225]
15
32
- Custer and Sitting Bull by Kyle Gann, in measure 76 of part 3. [102]
- Piano Sonata No. 1 by Charles Wuorinen, at measure 163 of part 1 (written 5
.). [59]
Upper number of 16
16
4
16
16
- Concerto for Piano, Clarinet, and String Quartet by Roy Harris. [154]
Upper number of 17
17
4
- Adagio 1972 by Kyle Gann, in measure 12. [29]
- "Panda" by This Town Needs Guns, in some verse section (subdivided 4+4+4+5=17). It also includes other meters like 3
4. [226] - "Seven Teens", by Lionel Loueke. [227]
17
8
- Adagio 1972 by Kyle Gann, in measure 52. [29]
- "The Alien" by Dream Theater. [228]
- The intro of "Changes" by Yes. [229]
- "The Hole Pt. 1" by Noisia is described by the band as being "more or less" in this time signature. [230]
- "Hollow" by Björk. [231]
- "Moon" by Björk. [232]
- Sketch, Op. 1, No. 6, by Alexei Stanchinsky (written as 4
8+4
8+5
8+4
8, but with the 17
8 time signature written as well). [73] - "Trapped in the Wake of a Dream" by Mudvayne, verses [190]
17
16
- Concerto for Piano, Clarinet, and String Quartet by Roy Harris. [154]
- Sections of the instrumental Discipline by King Crimson, among other signatures. [233]
- Mladi by Leoš Janáček, in the second movement. [19]
- Piano Sonata No. 2 by Andrew Violette. [234]
Upper number of 18
18
8
- "Birds of Fire" by Mahavishnu Orchestra. The guitar plays 5+5+5+3 while the drums play 6+6+6. The violin from time to time plays 3+3+2+3+3+2+2. [235]
- 3 Danses from L'Oeuvre d'orgue by Jehan Alain, in the first and third dances. [108]
- 49 Esquisses by Charles-Valentin Alkan. No. 12, Barcarollette, as compound sextuple meter. [236]
- The first 38 bars of Nocturne No. 7, Op. 74 by Gabriel Fauré. [237]
18
16
- American Song Set by Andrew Violette. One of the songs ends in 3
4(18
16) and another song has 18
16 in the piano's right hand against 3
4 in the piano's left hand and voice. [211] - Diversions for Piano Left Hand and Orchestra by Benjamin Britten. [115]
- Don Rodrigo by Alberto Ginastera. "Interludium III", except the last three bars, which are in 3
4. [238] - 4 Etudes, Op. 2, by Sergei Prokofiev. The second étude uses 18
16 in one hand against 4
4 in the other. [239] - Goldberg Variations , by Johann Sebastian Bach. Variation 26 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. [240] - 5 Klavierstücke, Op. 23 by Arnold Schoenberg, third piece, measures 26 to 30. [15]
Upper number of 19
19
4
19
8
- "Hell's Bells" by Bruford, variously subdivided as 7+7+5
8 and 4+4+4+4+3
8 throughout the song. [243] [ unreliable source? ] - Piano Sonata No. 2 ("The Airplane"), by George Antheil, for one bar. [120]
- "Rusty Cage" by Soundgarden, third section. [244] [ unreliable source? ]
19
16
- "Celestial Terrestrial Commuters" by Mahavishnu Orchestra. [235]
- "Home" by Dream Theater, ending. [245]
- "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). [199]
Upper number between 20 and 29
20
- Piano Sonata No. 1 by Charles Wuorinen. Measure 155 of part 2 is in 20
8. [59] - 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. [123]
21
- "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. [246] - 3 Danses from L'Oeuvre d'orgue by Jehan Alain, for one measure in the first dance. [247]
- "In Re Con Moto Et Al" by Charles Ives uses 21
8. [176] - In the Dead of the Night suite by U.K., "contains an instrumental refrain in 21
16". [197] - "Keep It Greasy" by Frank Zappa on Joe's Garage (the second verse is in 21
16). [199] - Master of Puppets by Metallica features measures that can be interpreted as 21
32. [248]
22
- "The First Circle" from the album First Circle by the Pat Metheny Group. Composed by Pat Metheny and Lyle Mays (22
8). [249] [250]
23
- The Ganondorf Battle music from The Legend of Zelda: Ocarina of Time , composed by Koji Kondo is mostly in 23
16 (sometimes with 17
16 as a polymeter) with a stray section in 4
4. [251]
24
- American Song Set by Andrew Violette. One of the songs is in 4
4(24
16) and two other songs have some measures in 24
16 in the piano's right hand against 4
4 in the piano's left hand and voice. [211] - Amor dammi quel fazzolettino by Andrew Violette has a passage of 24
16 in the first piano against 6
4 in the second piano. [51] - "Brobdingnagische Gigue", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann is in 24
1. [92] - Carmina Burana by Carl Orff has 24
4 (written as 8
.) in the movement Veris leta facies. [13] - Suite in E Minor, HWV 438 by George Frideric Handel uses 24
16 for the Gigue. [252] - 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
). [253]
25
27
29
- "March of the Pigs" by Nine Inch Nails is partially in 29
8. [257] - Reverie in Prime Time Signatures by Robert Schneider has a measure of 29
4. [258] - "The Undertow", by 65daysofstatic is in 29
8. [259]
Upper number between 30 and 39
30
- American Song Set by Andrew Violette. One of the songs has 30
16 in the piano's right hand against 5
4 in the piano's left hand and voice. [211] - Bicinium by Charles Wuorinen, at bar 89 (30
32, written as 10
.). [63]
31
- Athesie, by The Hirsch Effekt. The song is in 31
16, grouped as 16+15. [260] - "Fishing Frenzy" from Splatoon 2 . [261]
32
- The main section of "Vardavar" by Tigran Hamasyan is in 32
16, grouped as 5+5+3+5+5+4+5. [262] [263] - "Variations for Trumpet" by Don Ellis has one section in 32
8. [264]
33
- "Blues in 33
8" by Matt Savage (33
8). [265] - "Bulgarian Bulge" by Don Ellis (33
8). [266] - Charon by Richard Barrett has 33
8 in bar 60. [54] - "In Re Con Moto Et Al" by Charles Ives (33
8). [176] - "Split Open and Melt" by Phish has a jam section in 33
8. [267]
35
36
- American Song Set by Andrew Violette. One of the songs has a measure in 36
16 in the piano's right hand against 6
4 in the piano's left hand and voice and another has the same, but with 3
2 instead of 6
4. [211] - Charon by Richard Barrett has 36
8 in bar 58. [54] - Organbook by Andrew Violette has 36
16. [268]
Upper number between 40 and 49
40
- Charon by Richard Barrett has 40
8 in bar 54. [54]
42
- "Song for Melan and Rafik" by Tigran Hamasyan uses 42
16. [205]
43
- Study No. 3a for Player Piano by Conlon Nancarrow uses 43
16. [140]
44
- Charon by Richard Barrett has 44
8 in bar 50. [54]
47
- Study No. 3a for Player Piano by Conlon Nancarrow uses 47
16. [140]
48
- American Song Set by Andrew Violette. One song has a measure of 24
16 in the piano's right hand against 48
32 in the piano's left hand and 4
4 in the voice. [211]
Upper number between 50 and 59
53
- "Interlude V" by Mannheim Steamroller from the album Fresh Aire II contains one measure of 53
8. [269]
Upper number more than 59
77
- Charon by Richard Barrett has 77
16 in bar 56. [54]
86
- Charon by Richard Barrett has 86
16 in bar 52. [54]
256
- "Entertain Me" by Tigran Hamasyan is in 256
32, with a repeating motif in 35
16 laid over it. [205]
Fractional time signatures
- Bicinium by Charles Wuorinen has 20+3⁄4
8 at bar 93. [63]
- Driftwood Suite, for piano, by Gardner Read uses 3+1⁄2
4, 4+1⁄2
4, and 5+1⁄2
4. [270] - Hill-Song I and II by Percy Grainger contain measures of 1+1⁄2
4 and 2+1⁄2
4. [271]
- Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann. "Reverie der Laputier, nebst ihren Aufweckern" is in 3+2⁄2
4. [92] [272] - Lincolnshire Posy by Percy Grainger. Movement V, "Lord Melbourne", uses 1+1⁄2
4 and 2+1⁄2
4. [57] - Mädchentotenlieder, by Bo Nilsson. [38]
- Bar 83 is in 4⁄3
4 time. - Bar 97 is in 3⁄5
4 time. - Bar 123 is in 2⁄3
4 time. - Bar 112 is in 4⁄5
4 time.
- Bar 83 is in 4⁄3
- Le marteau sans maître , by Pierre Boulez. Movement III "L'Artisanat furieux".
- O: Eleven Songs by Dennis Báthory-Kitsz has a section in 4+1⁄2
4 in the second movement. [275] - Piano Piece 2 by Andrew Violette has a measure of 1+4⁄5
4. [276] - Piano Sonata, Op. 43, by Harry Farjeon has three measures of 1+1⁄2
2 in the first movement. [21] - Piano Sonata No. 2, Concord, Mass., 1840–1860, by Charles Ives. In movement III "The Alcotts", bar 20 is in 4+1⁄2
4 time. [277] - Piano Sonata No. 3 by Carlos Chávez. Movement IV has measures in 2+1⁄2
4, 3+1⁄2
4, and 4+1⁄2
4. [278] - Piano Sonata No. 3 by Andrew Violette has 4⁄5
4, 1+2⁄5
4, 3+1⁄3
4, 3+1⁄2
8, 4+1⁄2
8, 5+1⁄2
4, 5+1⁄2
8, 7+1⁄5
4, 8+1⁄4
4, 12+1⁄2
4, 19+1⁄2
8, 55+1⁄2
4, and 70+1⁄2
8. [279] - "Schism" by Tool is described by the band as largely in 6+1⁄2
8 and includes numerous other times. [280] - Sensemayá by Silvestre Revueltas includes three bars in 5+1⁄2
8. [281] - Study in Sonority by Wallingford Riegger contains several 2+1⁄2
4 bars. [270] - Study No. 23 by Charles Ives has 5+1⁄2
8. [282] - Touch Piece, for piano, by Gardner Read uses 3+1⁄2
4, 4+1⁄2
4, and 5+1⁄2
4. [270] - "Upstart" by Don Ellis is in 3+2⁄3
4 (originally written in 11
8). [283]
Irrational time signatures
- Bicinium by Charles Wuorinen has 2
12 in bar 62. [63]
- Berceuse from The Exterminating Angel by Thomas Adès has 1
6 and 1
12. [284] - Contrapunctus by Mark Andre has 1
40, 2
44, 2
52, 3
12, 3
15, 3
18.75, 3
23.4375, 3
29.296875, 3
40, and 7
52. [64] - The Exterminating Angel Symphony by Thomas Adès has 1
6, 1
12, 2
6, and 5
12 in the first and third movements. [285] - The Four Quarters by Thomas Adès has 1
6, 1
12, 2
6, 2
12, and 4
12. [286] - Glaubst du an die Unsterblichkeit der Seele? (1983) by Claude Vivier has 1
3, 2
3, 1
5, 2
5, 3
5, 4
5, 6
5, 1
6, 4
6, 5
6, 4
7, 5
7 and 6
7. [287] - I'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. [288] - In Seven Days by Thomas Adès has a measure of 2
6. [289] - I Open and Close, the sixth part of Fictions by Richard Barrett, has 1
24 and 2
24. [290] - Lemma-Icon-Epigram by Brian Ferneyhough has 1
12, 1
20, 1
24, 2
10, 2
12, 3
10, 3
12, 4
10, 4
12, 5
10, 6
10, 7
10, 7
12, 8
12, and 9
12. [291] - Luxury Suite from Powder Her Face by Thomas Adès has 2
6 and 4
6. [292] - Piano Concerto by Thomas Adès has 1
6, 1
12, 2
3, 2
6, 3
5, 4
5, 4
6, 4
12, 5
12, 6
12, and 7
12. [293] - Piano Quintet by Thomas Adès has 1
5, 1
6, 1
7, 1
10, 1
12, 1
24, 2
5, 2
6, 2
7, 2
10, 3
5, 3
7, 3
9, 3
10, 3
14, 4
5, 4
6, 4
7, 5
6, 5
7, 2
4(5
10), 5
12, 6
7, 6
10, 7
10, 9
10, 3×5
12, 4×5
12, and 5×5
12. [294] - Piano Sonata No. 1 by Charles Wuorinen has 5
24 at measure 83 and 1
12 at measure 101 in part 1. [59] - In the fourth movement of Piano Sonata No. 3 by Carlos Chávez, bars 47, 49, 107, and 109 are written in 1
12. [295] - Superscriptio by Brian Ferneyhough has 1
10, 1
12, 1
20, 1
24, 1
40, 1
48, 2
10, 2
12, 3
10, 3
12, 3
20, 3
24, 3
48, 4
10, 4
12, 5
12, 5
24, 7
40, 7
48, and 11
48. [296] - Traced Overhead by Thomas Adès has 1
6, 2
5(4
10), 2
6, 3
10, 5
12, 5
24, 9
14, 9
20, 11
12, and 11
24. [297]
Combined unusual signatures
- Anyone Who Had a Heart, by Burt Bacharach uses 4
4, 5
4, and 7
8. [298] - "Butterflies, Hummingbirds", No. 5 from Twelve New Etudes by William Bolcom, has parenthesized time signatures of 18
64, 20
64, and 38
64. [299] - 20 Caprices and Rhythmic Studies by Émile Jaques-Dalcroze. [300]
- No. 1 has 10
8. - No. 2 has 5
4. - No. 3 has 5
8, 5
16, 7
16, 8
8, 8
16, 9
16 (5+4), 10
16, 11
16, 14
16, 15
8, 15
16, 18
16, and 24
16. - No. 4 has 10
4, 10
8, 11
8, and 16
8. - No. 5 has 8
16 and 16
16. - No. 6 has 7
8, 8
8, 15
8, and 18
8. - No. 8 has 5
8, 7
8, 8
8, and 10
8. - No. 9 has 1
8, 5
8, 7
8, 8
8, 10
8, and 15
8. - No. 10 has 3
16, 4
16, 7
16, and 8
16. - No. 11 has 5
8, 7
8, 8
8, 10
8, 20
16, and 24
16 (written as 8
.). - No. 15 has 5
8, 7
8, 8
8, and 9
8 (beamed 2+2+2+3). - No. 16 has 7
16, 8
16, 10
16, 11
16, 13
16, 14
16(7
8), and 15
16. - No. 17 has 7
8. - No. 19 has 7
8, 8
8, 9
8 (beamed 2+2+2+3), and 10
8. - No. 20 has 8
8, 15
16, 18
16, and 20
16.
- No. 1 has 10
- Chichester Psalms by Leonard Bernstein uses irregular 9
2 and 9
4, 10
4 notated as 5+5
4, and 12
2. [301] - The Death of the Hired Man by Andrew Violette has 1
4, 1
8, 5
4, 5
8, 5
16, 7
4, 10
16, 18
16, 24
16, 27
16(3
.+ .), and 36
16(4
.+ .) [302] - Earth, the fifth part of Fictions by Richard Barrett, has 2
16, 3
[16], 4
[16], 5
8, 5
16, 7
8, 7
16, 11
8, 11
16, 13
16, 15
8, 15
16, 17
8, 17
16, 19
8, and 25
16. [303] - Emily Dickinson's Book of the Dead by Andrew Violette has 5
4, 5
8, 7
8, and 20
16. [304] - The Exterminating Angel Symphony by Thomas Adès has 1
4, 5
4, 5
8, 7
4, 7
8, and 8
8. [285] - "Firth of Fifth": Introduction, by Tony Banks of Genesis, mixes duple and quadruple meters with 13
16 and 15
16 signatures. [305] - Intermezzo by Andrew Violette has 3
16, 4
16, 5
4, 5
8, 5
16, 7
8, 7
16, 8
16, 10
16, 11
16, and 20
16. [306] - I Open and Close, the sixth part of Fictions by Richard Barrett, has 1
8, 2
16, 3
16, 3
2, 5
8, 5
16, 7
8, 7
16, 7
32, 8
8, 11
16, 13
16, 15
16, 15
32, and 24
8. [290] - "I Say a Little Prayer" by Dionne Warwick uses two measures of 4
4, one measure of 10
4 and two measures of 4
4 for verses and 11
4 for its chorus. [307] - Klavierstück IX (1954–55/61) by Karlheinz Stockhausen uses 21
8, 34
8, 42
8, 87
8, and 142
8. [308] - Lemma-Icon-Epigram by Brian Ferneyhough has 1
8, 1
16, 1
32, 1
64 (in an additive time signature), 3
16, 5
8, 5
16, 5
32, 7
8, 7
16, 8
8, 9
16 (in various groupings such as 3+2+2+2), and 11
16. [291] - Lieder vom Wasser, the tenth part of Fictions by Richard Barrett, has 1
8, 1
16, 2
16, 3
16, 3
32, 5
8, 5
16, 5
32, 7
8, 7
16, 8
8, 11
16, 13
16, 15
16, and 43
16. [309] - The Long and the Short by Charles Wuorinen has 1
4, 1
8, 1
16 (in additive time signatures such as 5
4+1
16), 3
16, 4
4 (subdivided as 3
32+7
16+3
8+3
32), 4+1⁄4
4, 5
4, 5
8, 5
16, 7
4, 7
8, 7
16, 7+1⁄4
4, 8
4, 9
32, 11+1⁄2
4, 12
4, 13
32, 24
4, 25
4, and 40
4. [310] - Love Duet by Andrew Violette has 1
4, 5
4, 9
4 (grouped 2+2+2+3), 15
8, 18
8, and 21
8. [311] - Organ Sonata by Andrew Violette has 5
4, 5
8, 18
8, and 24
16. [312] - Pastorale by Andrew Violette has 20
16 and 24
16. [313] - Piano Concerto No. 5 by Kaikhosru Shapurji Sorabji has 5
4, 5
8, 6
4+1⁄2 (six dotted quarter notes), 7
4, 7
8, 8
4, 8
8, 10
8, 11
4, 11
8, 13
8, 14
8, and 15
8. [314] - Piano Sonata No. 1 by Kaikhosru Shapurji Sorabji has 5
4, 5
8, 7
4, 7
8, 7
16, 8
8, 10
8, 11
8, 13
8, 14
8, 15
8, and 30
16. [315] - Piano Sonata No. 1 by Andrew Violette has 5
2, 5
4, 5
8, and 7
8. [316] - Piano Sonata No. 2 by Charles Wuorinen has 1
4, 1
8, 3
16, 5
8, 5
16, 7
4, 7
8, 7
16, 7
32, 8
4, 9
8 (grouped 4+2+3), 9
32, 10
4, 10
16, 10
32, 11
8, 11
16, 11
32, 12
4, 15
16, 15
32, 18
32, and 20
32 (written as 4
+ 
