List of musical works in unusual time signatures

List of musical works in unusual time signatures

Listed here are musical compositions or pieces in Western 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."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).]

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 Fact|date=March 2008.

These examples are grouped by time signature, and listed alphabetically by title.

⅔/4

Partially in ⅔/4

* "L'Artisanat furieux", third movement of "Le Marteau sans maître", by Pierre Boulez. Bars 24, 35, and 43 are in ⅔/4 time. [Boulez 1957, 19–20.]

4/3/2

Partially in 4/3/2

* "L'Artisanat furieux", third movement of "Le Marteau sans maître", by Pierre Boulez. Bar 3 is in 4/3/2 time. [Boulez 1957, 18.]

1/2

Partially in 1/2

* "Appalachian Spring", by Aaron Copland. Third bar of rehearsal 46 and third bar of rehearsal 48 are in 1/2. [Copland 1945, 56–59.]

3/32

* "Lilliputsche Chaconne", from "Intrada, nebst burlesquer Suite", for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann. [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. . . ."]

5/1, 5/2, 5/4, or 5/8

* "Allegro con grazia", second movement of Pyotr Ilyich Tchaikovsky's Symphony No. 6 in B minor, "Pathétique", op. 74 (5/4). [Tschaikowsky [n.d.] , 58–87; Hiley 2001]
* "Amor con fortuna", villancico by Juan de Encina (Unicode|₵5/1, with measures in 5/2). [Meter 5/2 (Hiley 2001).]
* "Bulgarian Rhythm (2)", from "Mikrokosmos" (no. 115), by Béla Bartók. [Bartók 1940, 4:36–37.]
* "Come, stain your cheeks with nut or berry", the last movement of "Gypsy's Glee" (1796), by William Reeve (5/4). [Franklin Taylor, "Quintuple Time", in "A Dictionary of Music and Musicians (A.D. 1450-1889)", in four volumes, edited by Sir George Grove, D.C.L. (London and New York: The Macmillan Company, 1890), 3:61. "This may fairly be considered an example of genuine quintuple rhythm, for instead of the usual division of the bar into two parts, such as might be expressed by alternate bars of 3-4 and 2-4, or 2-4 and 3-4, tbere are five distinct beats in every bar, each consisting of an accent and a non-accent. This freedom from the ordinary alternation of two and three is well expressed by the grouping of the accompaniment, which varies throughout the movement. . . ."]
* "Con amores, mi madre", villancico by Juan de Anchieta (5/1). [Time signature 5/1 (Hiley 2001).]
* "De ser mal casada", villancico by Diego Fernández (5/2). [Pope and Knighton 2001 identify meter as "quintuple"; Hiley 2001 specifies time signature is 5/2).]
* "Do What You Like", by Ginger Baker. [Gutmann 2003.]
* "Dos ánades, madre", villancico by Juan de Anchieta (5/1). [Time signature 5/1 (Hiley 2001).]
* "15 Step" and "Morning Bell" by Radiohead (5/4).cite web | url = http://nymag.com/arts/all/process/17306/ | last = Mathis-Lilley | first = Ben | work = New York | title = Secrets of the Radiohead Set List | date = 2006-06-18 | accessdate = 2008-03-23]
* Fugue 20 (Allegretto), from "36 Fugues for Piano" by Anton Reicha. [Anton Reicha, "36 Fugen für Klavier", edited by Václav Jan Sýkora (Kassel: Bärenreiter, 1973), vol. 2, pp. 35–40.]
* "Here Come The Bastards", by Primus (5/4).
* "Hold Fast Hope" by Thrice (5/4). ["I listened to the Thrice podcast about this song and one of the main points they wanted to get across was that they had previous jumped around with time signatures but on this song they were really trying to get into a groove but in an interesting time signature. That signature happens to be 5/4." [http://www.sputnikmusic.com/album.php?albumid=3800 Sputnikmusic Review for Vheissu] , by Nick Greer, (posted 10-17-2005 | accessed 7-7-2008).]
* "Impromptu", op. 32, no. 4 (Andantino), by Charles Valentin Alkan.Eddie 2007, 104: "in five time"; MacDonald 2001: "in quintuple time".]
* "Impromptu", op. 32, no. 5 (Allegretto), by Charles Valentin Alkan.
* "Impromptu", op. 32, no. 6 (Vivace), by Charles Valentin Alkan.
* "In Mixolydian Mode", from "Mikrokosmos" (no. 48), by Béla Bartók. [Bartók 1940, 2:13.]
* "In Nomine "Trust", by Christopher Tye (5/4). [Tye 1967, 39–42, transcribed in 5/4 throughout by the editor, Robert W. Weidner. Paul Doe (1988, 105–107), transcribes the same piece in 5/4 except for one passage of 40 beats, which he renders as ten bars of 4/4 instead of eight bars of 5/4, on the grounds that "repeated notes in the CF permit a harmonic structure based on a normal duple metre" (Doe 1988, 150).]
* "Lament", second movement of the Double Concerto for Two Violins and Orchestra, op. 49, by Gustav Holst (5/4). [Holst 1973, 13–14.]
* "Larghetto" ("con molta espressione"), third movement of Sonata No. 1 in C Minor, op. 4, by Frédéric Chopin (5/4). [Frédéric Chopin, "Sonaten", kritisch revidiert von Herrmann Scholtz, Neue Ausgabe von Bronislaw von Pozniak (Frankfurt and New York: C.F. Peters, 1976): 19–21.]
* "Living in the Past" by Jethro Tull (5/4). [http://blog.pandora.com/archives/podcast/2007/09/meters_time_sig.html Pandora presents Meters & Time Signatures] .]
* "Mars, the Bringer of War", first movement of The Planets by Gustav Holst (mainly 5/4 with two episodes of 5/2 in bars 95–109 and 167–71, and a 14-bar coda in 3/4). [Holst 1979, 1–31]
* "Las mis penas madre", villancico by Pedro de Escobar (5/2). ["time signature 5/2" (Hiley 2001).]
* " Theme" by Lalo Schifrin (5/4). [cite web | url = http://www.soundtrack-express.com/osts/missionimpossibletv.htm | quote = the most famous TV theme ever composed in 5/4 time | title = Mission: Impossible - Then and Now | work = Soundtrack Express | first = Tom | last = Daish | accessdate = 2008-03-23]
* "Pensad ora’n al", anonymous villancico, in the "Cancionero Musical de Palacio" (1516–20) (C5/2). [Time signature C5/2 (Hiley 2001).]
* "Prizrak" (Phantom), no. 4 of the Four Pieces for Piano, op. 3, by Sergei Prokofiev (5/8). [Prokofiev 1926, 8–9; Nice 2003, 50; [http://everynote.com/piano.show/4960.note first four bars] .]
* "River Man", by Nick Drake (5/4).
* "Sanctus", from the "Missa Paschalis", by Heinrich Isaac. [Hiley 2001.]
* "Se la sorte mi condanna", aria from the opera "Arianna" (1750), by Andrea Adolfati (5/4). [Hansell and Steffan 2001 identify the meter as 5/4, but do not name the piece; Hiley 2001 names the aria and the opera, but only identifies the meter as "quintuple time".]
* "Serenade", second movement of the "Fantasiestücke", op. 5, for string quartet, by Samuel Coleridge-Taylor (5/4). [Richards 1987, 568.]
* "Seven Days", by Sting (5/4).
* "Six Dances in Bulgarian Rhythm": no. 3, from "Mikrokosmos" no. 150, by Béla Bartók. [Bartók 1940 6:42–44.]
* "Svadebnii khor i stsena" [Свадебный хор и сцена – Nuptial chorus and scene] , from act 3 of the opera A Life for the Tsar by Mikhail Glinka (5/4). [Richard Taruskin, "Life for the Tsar, A [Zhizn’ za tsarya; Ivan Susanin] ", "The New Grove Dictionary of Opera", edited by Stanley Sadie (London: Macmillan Press, 1992). Mikhail Glinka, "Жизнь за царя [Zhizno za tsaria] ", forward by Nikolai Rimsky-Korsakov and Alexander Glazunov (Leipzig: M. P. Belaieff, 1907): 262–64.]
* "Take Five" by Paul Desmond, recorded by The Dave Brubeck Quartet (5/4)."All this from a straight-ahead jazz quartet playing in 5/4, an odd time signature." [http://www.sonymusic.com/artists/SoundtrackForACentury/ns4/track/1724.html Sony Music listing for Take Five] ] "Irregular meters made their appearance in the late 1950s... Examples included Paul Desmond’s "Take Five" (on Dave Brubeck’s album "Time Out", 1959, Col. CL1397), which is in 5/4, and Brubeck’s "Blue Rondo a la Turk" (on the same album), which is alternately in 7/8 and 9/8... [David Sanchez] excels at improvising on sambas in such odd meters as 7/8." Barry Kernfeld: 'Beat: 1. Meter', " [http://www.grovemusic.com Grove Music Online] " ed. L. Macy (Accessed 9 November 2007)]
* "Tan buen ganadico", villancico by Juan de Encina. [Time signature 32/52 ["sic"] (Hiley 2001).]
* "Universal Good" (Quartet), from act 1 of "Candide", by Leonard Bernstein. [Bernstein 1994, 40.]
* "Variation IV: Più mosso", in Part I of "The Age of Anxiety: Symphony No. 2" by Leonard Bernstein is in 5/8. [Bernstein 1993, 12–16.]
* "Vicarious" by Tool (5/4). ["Rolling Stone's 100 Greatest Guitar Songs of All Time [http://www.rollingstone.com/news/coverstory/20947527/page/40] ]
* "Viens, gentille dame", tenor aria from act 2 of the opera "La Dame blanche" (1825), by François-Adrien Boieldieu (5/4). [Helmore 1879, 15; Hiley 2001. Specific time signature not specified in either of these two sources, though Helmore implies it is 5/4.]

Partially in 5/2, 5/4, 5/8, or 5/16

* "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 35 (1945), by Benjamin Britten. Eleventh bar after rehearsal K is in 5/4. [Britten 1946, 15.]
* "Aria (Cantilena)", first movement of "Bachianas Brasileiras no. 5" by Heitor Villa-Lobos. Opening and closing parts predominantly in 5/4, middle section entirely in 5/4. [Heitor Villa-Lobos, "Bachianas Brasilerias No. 5", for soprano and orchestra of violoncelli (1938) (New York: Associated Music Publishers, 1947).]
* "Ballad of Eldorado", from act 2 of "Candide", by Leonard Bernstein. Main verses are in 5/8, turnarounds in 7/8 or 3/4 + 7/8. [Bernstein 1994, 180–85.]
* "A Choral Fantasia", op. 51, by Gustav Holst. Bars 23–24 and 199–200 are in 5/4. [Holst 1977, 3, 30–31.]
* "Canticle III ('Still Falls the Rain')", op. 55, by Benjamin Britten. "Theme", "Variation IV", and "Variation VI" are all in 5/4. [Britten 1956, 1, 9, and 15.]
* "Frontispice", for two pianos (five hands), by Maurice Ravel. ["In the published score, five staves, ‘progressing’ vertically from flats through naturals to sharps, are played by five hands (three players) in metres of 15/8 (i.e., 3 × 5; 3 + 5) and 5/4" (Mawer 2000, 53); Ravel 1975.]
* "Everything's Alright", from "Jesus Christ Superstar", by Andrew Lloyd Webber. Mainly in 5/4, except b. 29–32 in 6/4, b. 43–44 in 4/4, and b. 45 and 48 in 3/4. [Lloyd Webber and Rice 1970, 12–17.]
* "Four Sticks" by Led Zeppelin. Verses alternate 5/4 and 3/4 passages; choruses are in 3/4. ["Led Zeppelin Complete", SuperHype Publishing, 1973.]
* "The Grudge" by Tool. The first bass riff during the intro and the verses is in 5/4.cite journal | first = Scott | last = Shiraki | coauthors = Bradman, E.E. | year = 2001 | month = May | title = Handy Man: How Justin Chancellor Frames Tool's Metal Madness | journal = Bass Player | url = http://www.basswriter.com/journalism/bpstories/Web-Chancellor.doc | quote = The first riff in 5/4 is driving, but it’s almost like a straight 4/4 line to me. | accessdate=2007-05-02 | pages = 6 ]
* "Happiness Is a Warm Gun" by John Lennon and Paul McCartney, as transcribed by Fujita et al. (5/4). [Fujita et al. 1993, 353–58.]
* "In the First Pentatonic Major Mode (En el 1er modo pentáfono mayor)", no. 12 from "12 American Preludes" for piano (1944) by Alberto Ginastera (bars 16 and 21 in 5/2). [Ginastera 1946, 1:12–13.]
* Mad scene, act 2, scene 11 from the opera "Orlando" by George Frideric Handel (5/8). ["The crazed hero believes himself to have entered Charon’s boat on the River Styx and sings the words ‘Già solco l’onde’ (‘Already I am cleaving the waves’) to five rising quavers, in unison with the strings, which immediately repeat the figure twice in descending sequence, thus giving three bars of 5/8 time; the figure recurs two bars later" (Hiley 2001).]
*"Molto allegro e appassionato", first movement of Samuel Barber’s String Quartet, op. 11, bars 28, 49, 55, 174, and 180 are in 5/4 [Barber 1943, 2–4, 9–10.]
*"Molto adagio" (Adagio for Strings), second movement of Samuel Barber’s String Quartet, op. 11, bars 431, and 60 are in 5/2. [Barber 1943, 11–13.]
*"Molto allegro (come prima)", third movement of Samuel Barber’s String Quartet, op. 11, bar 19 is in 5/4. [Barber 1943, 14.]
* "Los peones de hacienda", from the ballet "Estancia" by Alberto Ginastera. The four bars preceding rehearsal 66 are in 5/8. [Ginastera 1955, 18.]
* "Petit Caprice, réconciliation", op. 42, for piano, by Charles Valentin Alkan (5/4). ["includes a 5/4 "Zorzico dance" as an episode (Eddie 2007, 110).]
* "Promenade", from "Pictures at an Exhibition", by Modest Mussorgsky. Each of the five versions mixes 5/4 with other metres, regularly or irregularly: (1) 5/4 alternates with 6/4 for eight bars, then two 6/4s and one pair of 5/4 + 6/4, ending with twelve bars of 6/4; (2) 5/4 alternates regularly with 6/4 throughout (effectively 11/4); (3) regular alternation of 5/4 and 6/4 until the final two bars, which are 5/4 and C; (4) irregular mixture of 5/4, 6/4, and 7/4, with a single 3/4 bar at the end; (5) four pairs of regularly alternating 5/4 and 6/4, then an irregular mixure of 5/4, 6/4, and 7/4 to the end. [Mussorgsky 1914, 2–3, 7, 12, 18, 24–25.]
* "Variations on a Ground", third movement of the Double Concerto for Two Violins and Orchestra, op. 49, by Gustav Holst (11th and 18th variations in 5/4). [Holst 1973, 17–18, 22.]
* "Vivace", third movement of the Harp Concerto, op. 25, by Alberto Ginastera (bar 179 is in 5/16). [Ginastera 1974, 101.]
* "Within You Without You" by George Harrison, as transcribed by Fujita et al. (5/4). [Fujita et al. 1993, 1037–48]

6/2

Partially in 6/2

*"In the First Pentatonic Major Mode (En el 1er modo pentáfono mayor)", no. 12 from "12 American Preludes" for piano (1944) by Alberto Ginastera (bar 23 in 6/2). [Ginastera 1946, 1:12–13.]
*"Molto adagio" (Adagio for Strings), second movement of Samuel Barber’s String Quartet, op. 11, bars 15 and 26 are in 6/2. [Barber 1943, 11–12.]

7/4, 7/8, or 7/16

* "And The Money Kept Rolling In (and Out)" from "Evita" by Andrew Lloyd Webber (7/8, except for a three-bar introduction in 4/4). [Lloyd Webber and Rice 1979, 40–45.]
* "Bulgarian Rhythm (1)" from Béla Bartók's "Mikrokosmos" (no. 113) (7/4). [Bartók 1940, 4:32–33.]
* "Dreaming in Metaphors" by Seal. [ [http://www.musicroom.com/se/ID_No/0519219/details.html Dreaming in Metaphors] at musicroom.com]
* "(En) El Séptimo Día", by Soda Stereo (7/8). [cite web | url = http://www.suena.cl/content/view/548/33/ | first = Gastón O. | accessdate = 2008-03-20 | last = Apablaza | title = Christian Gálvez | work = Suena | language = Spanish]
* "Estimated Prophet" by the Grateful Dead (7/4). ["The song's unusual 7/4 time signature also made it one of Garcia's favorites out of the entire Weir catalog." [http://books.google.com/books?id=Q7zc1zkuW1kC&pg=PA160&lpg=PA160&dq=%22estimated+prophet%22+%22time+signature%22&source=web&ots=V8SPZKoaHR&sig=miKEmppnkOQygaQm_k9HY5TQSNU What a Long, Strange Trip] , by Stephen Peters, Thunder's Mouth Press, 1999 (p. 160).]
* Fugue No. 24, from "36 Fugues for Piano" by Anton Reicha (notated in regularly alternating ₵ and 3/4 bars). [Anton Reicha, "36 Fugen für Klavier", edited by Václav Jan Sýkora (Kassel: Bärenreiter, 1973), vol. 2, pp. 56–58.]
* Impromptu, op. 32, no. 8, for piano, by Charles Valentin Alkan (7/8). [Eddie 2007, 12 & 104; MacDonald 2001.]
* "In the First Pentatonic Minor Mode (En el 1er modo pentáfono menor)", no. 5 from "12 American Preludes" for piano by Alberto Ginastera (7/8). [Ginastera 1946, 1:9.]
* "Laps in Seven", by Sam Bush (7/4). [cite web | url = http://www.slantmagazine.com/music/music_review.asp?ID=873 | first = Jonathan | accessdate = 2008-05-18 | last = Keefe | title = Sam Bush: Laps in Seven | language = English]
* "Marching Season" by Yanni (7/8).cite book | last = | first =Yanni | authorlink = | coauthors = | title =The Best of Yanni; 11 selections from his top recordings | publisher =Hal Leonard Publishing | date = 1993 | location = | pages = p. 16 | url = | doi = | id = | isbn = ]
* "Mother" by Andy Summers (7/8).
* "Old Joe Has Gone Fishing" by Benjamin Britten (from the opera "Peter Grimes"). [Britten 1945. [http://www.boosey.com/shop/prod/Britten-Benjamin-Old-Joe-Has-Gone-Fishing-SATB/691822 Sample page] .]
* "Precipitato", last movement of the Piano Sonata No. 7, by Sergei Prokofiev (7/8). [Prokofiev 1955, 2:199–207.]
* "Right Hand Man" by Joan Osborne (7/4). [http://blog.pandora.com/archives/podcast/2007/09/meters_time_sig.html Pandora presents Meters & Time Signatures] ]
* "St. Augustine In Hell" by Sting (7/8). [ Genesis. Guitar Anthology. Hal Leonard.]
* "Sensemayá", for orchestra, by Silvestre Revueltas, is predominantly in 7/8, with occasional interruptions in 7/16 time and a brief 7-bar interlude at rehearsal 23 of 9/8 (3/4+3/8). [Silvestre Revueltas, "Sensemayá" (New York: G. Schirmer, 1949)]
* "7/4 (Shoreline)" by Broken Social Scene (7/4). [cite news| last =Sakamoto| first =John| title =The Anti-Hit List| page =H6| publisher ="Toronto Star"| date =2005-08-20| ]
* "Six Dances in Bulgarian Rhythm" 2, from Béla Bartók's "Mikrokosmos" (no. 149) (7/4). [Bartók 1940, 6:39–41.]
* "Solsbury Hill" by Peter Gabriel (7/4).
* "State of Mine" by IQ, the closing instrumental from the first part of "Subterranea" is based around a 7/8 piano arrangement. [cite web | url = http://www.dprp.net/proghistory/index.php?i=1997_01 | title = IQ: Subterranea | work = DPRP | first = Ed | last = Sander | date = 1999-12-08 | accessdate = 2008-03-07]
* "Träume" by Cosmic Baby (7/8).
* "Them Bones" by Alice In Chains (7/8).
* "Très Animé", third movement of "Fantasia", for saxophone, 3 horns, and string orchestra, by Heitor Villa-Lobos. (7/4). [Heitor Villa-Lobos, "Fantasia", for saxophone, 3 horns, and string orchestra (New York: Southern Music Publishing Co., Inc.; Hamburg: Peer Musikverlag G.m.b..H, 1963), 25–36.]
* "Unsquare Dance" by Dave Brubeck (7/8). [cite book | last =Kamien | first =Roger | authorlink = | coauthors = | title =Music: An Appreciation | publisher =McGraw-Hill | date =1980 | location =New York | pages =p. 40 | edition =2nd ed. | url = | doi = | id = | isbn =0070332797 ]
* "Variation X: Più mosso", in Part I of "The Age of Anxiety: Symphony No. 2" by Leonard Bernstein, is notated in regularly alternating ₵ and 3/4 bars, each pair amounting to one 7/4 bar. [Bernstein 1993, 40–43.]
* "Waltz in 7/8" by Yanni (7/8).
* "Words, Words, Words" (Martin's Laughing Song), from act 2 of "Candide", by Leonard Bernstein (7/8). [Bernstein 1994, 186–93. Article [http://www.leonardbernstein.com/studio/element2.asp?FeatID=9&AssetID=24 “Candide”] on the official Leonard Bernstein website (Accessed 30 December 2007) states that this number was added to "Candide" in 1971.]

Partially in 7/4 or 7/8

* "All You Need Is Love" by the Beatles. Verses sung in 7/4. [The history of this classic Beatles song [http://oldies.about.com/od/thebeatlessongs/a/allyouneedlove.htm "About.com: Oldies Music"] ]
* "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 35 (1945), by Benjamin Britten. Bars 2 and 13 after rehearsal K are in 7/4. [Britten 1946, 14–15.]
* "Andante grazioso", third movement of Trio No. 3 for Piano, Violin, and Violoncello, op. 101, by Johannes Brahms. Main (outer) sections in 7/4 (notated as a recurring 3/4 + 2/4 + 2/4), central section in 15/8 with 9/8 turnarounds, eight-bar coda in 9/8. [Brahms 1972, 134–37 of the score (= piano part).]
* "Anyone Who Had a Heart" by Burt Bacharach, sung by Dionne Warwick - 7/8 turnaround at the end of the bridge, as pointed out to Bacharach by Dionne Warwick. [ Author unknown/uncredited (1978). [http://www.bacharachonline.com/bacharach_articles/bacharach_essay.html "Bacharach and David"] , 'Bacharach and David'. Almo Productions. ] However the song features "5/4, 4/4, to 7/8 and resolving on 5/8 in only eight bars" according to Allmusic. [Greenwald, Matthew [http://www.allmusic.com/cg/amg.dll?p=amg&sql=33:tikxlfjejcxt "Anyone Who Had a Heart"] , Allmusic.]
* "Chichester Psalms" by Leonard Bernstein. Most of the first movement of this complex choral and orchestral piece is written in 7/4. [ [http://www.stmarksberkeley.org/chichester.html Choral Performance Bernstein Chichester Psalms ] ]
* "A Choral Fantasia", op. 51, by Gustav Holst. Bars 70–98, 179–85, and 201–209 are in 7/4. [Holst 1977, 7–11, 25–26, 31.]
* "Dance on a Volcano" by Genesis (7/8). ["Genesis Guitar Anthology" (New York: Hal Leonard, 2002). ISBN 0634020676.]
* "Heart of Glass" by Blondie has a break after the chorus in 7/8.http://findarticles.com/p/articles/mi_qn4158/is_19960211/ai_n14030670]
* "Heaven on Their Minds", from "Jesus Christ Superstar", by Andrew Lloyd Webber. Mainly in 4/4, but turnarounds in b. 44–51 and 69–76 are in 7/8. [Lloyd Webber and Rice 1970, 6–7 and 9.]
* "I Was Brought To My Senses" by Sting. Intro is in 4/4, but the rest is 7/4. [Jon Pareles. "Understated Showcase for Sting's New Songs". New York Times. Mar. 4, 1996. [http://query.nytimes.com/gst/fullpage.html?res=9C0CE4D71E39F937A35750C0A960958260] ]
* "In the House of Tom Bombadil" by Nickel Creek - alternates between 4/4 and 7/8. [cite web |url=http://query.nytimes.com/gst/fullpage.html?res=9500EFDC123DF934A15756C0A9679C8B63&sec=&spon=&pagewanted=2 |title= MUSIC; Bluegrass That Can Twang And Be Cool, Too (page 2 of 3)
accessdate=2007-11-28 |last=Teachout |first=Terry |date=2001-05-27 |work=The New York Times
]
* "Jocko Homo" by Devo is primarily in 7/8, but changes to 4/4 partway through. [Steve Huey [http://wc04.allmusic.com/cg/amg.dll?p=amg&token=&sql=10:difpxqr5ldse Jocko Homo] ]
* "Money" by Pink Floyd. Predominantly in 7/4. (may also be represented as one measure of 4/4 followed by a measure of 3/4) [http://blog.pandora.com/archives/podcast/2007/09/meters_time_sig.html Meters & Time Signatures] , Kevin Seal and Adam Blum, Pandora Podcast Series, Episode 20, starting at 4:25.]
* Music by John Miles - the "rock" riff section after the initial intro is in 7/4.
* "Oh, Happy We" from act 1 of "Candide" by Leonard Bernstein. Verses are in 7/4, turnarounds in 3/4. [Bernstein 1994, 42–47.]
* "Outshined" by Soundgarden. Verses in 7/4. [cite web | url = http://wc02.allmusic.com/cg/amg.dll?p=amg&sql=33:avfrxxrsldse | first = Steve | last = Huey | title = Outshined | work = Allmusic | quote = The song's main riff is in 7/4 time | accessdate = 2008-03-23]
* "Los peones de hacienda", from the ballet "Estancia" by Alberto Ginastera. Bars 27–28 (third and fourth bars following rehearsal 65) are in 7/8. [Ginastera 1955, 18.]
* "Presto ruvido", no. 4 of "Sechs Bagatellen" for wind quintet (1953) by György Ligeti (all in 7/8 except b. 36, 39, and 51, in 3/8, 2/8, and 3/8, respectively). [Ligeti 1973, flute p. 6, oboe pp. 4–5, clarinet pp. 6–7, horn pp. 4–5, bassoon pp. 6–7.]
* "Promenade", from "Pictures at an Exhibition", by Modest Mussorgsky. The last two of five versions mixes 7/4 irregularly with other metres: (4th Promenade) 5/4, 6/4, and 7/4, with a single 3/4 bar at the end; (5th Promenade) four pairs of regularly alternating 5/4 and 6/4, then an irregular mixure of 5/4, 6/4, and 7/4 to the end. [Mussorgsky 1914, 18, 24–25.]
* "Soul Love", by David Bowie (7/4).
* "Spoonman" by Soundgarden. Verses in 7/4. [cite web | url = http://www.discoverguitaronline.com/videos/view/230 | title = Spoonman: Main Riffs | work = Discover Guitar Online | quote = An interesting aspect of the main riff is that is in an odd time signature, 7/4 | accessdate = 2008-03-23]
* "Tattooed Love Boys" by The Pretenders. Verses alternate between 7/4 and 4/4. [cite web | url = http://query.nytimes.com/gst/fullpage.html?res=9E00EFDB153BF935A2575BC0A967948260&sec=&spon=&pagewanted=all | title = Substance Marks Pretenders II | work = New York Times | quote = Tattooed Love Boys, for example, grafted a section in 7/4 time onto a section with a kind of modified Bo Diddley beat in 4/4; James Honeyman Scott's ringing guitar figures held the piece together | accessdate = 2008-08-14]
* "2 + 2 = 5" by Radiohead (7/4).
* "Variations on a Ground", third movement of the Double Concerto for Two Violins and Orchestra, op. 49, by Gustav Holst (13th and 17th variations in 7/4). [Holst 1973, 18, 21–22.]

8/8 (unevenly grouped)

* "Six Dances in Bulgarian Rhythm" 4, from Béla Bartók's "Mikrokosmos" (no. 151), is in 3 + 2 + 3. [Bartók 1940, 6:45–48.]
* "Six Dances in Bulgarian Rhythm" 6, from Béla Bartók's "Mikrokosmos" (no. 153), is in 3 + 3 + 2. [Bartók 1940, 6:51–55.]

8/4

Partially in 8/4

* "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 35 (1945), by Benjamin Britten. Bars 3 and 12 after rehearsal K are in 8/4. [Britten 1946, 14–15.]
* "A Choral Fantasia", op. 51, by Gustav Holst. Bars 36–69, 142–48, 173–78, and 191–98 are in 8/4. [Holst 1977, 4–6, 18–19, 23–24, 27–30.]

9/8 (not ordinary triple-compound)

* "Six Dances in Bulgarian Rhythm" 1, from Béla Bartók's "Mikrokosmos" (no. 148), is in 4 + 2 + 3. [Bartók 1940, 6:35–38.]
* "Six Dances in Bulgarian Rhythm" 5, from Béla Bartók's "Mikrokosmos" (no. 152), is in 2 + 2 + 2 + 3. [Bartók 1940, 6:48–50.]

Partially in 9/8, 9/4, or 9/2

* "Apocalypse in 9/8" by Genesis. Penultimate movement of the "Supper's Ready" suite, rhythm section plays a 9/8 riff as 4+3+2, organ solo plays polymetrically over this (sometimes 4/4, sometimes 7/4.) [Seconds Out Songbook 1978 Wise Publications]
* "Blue Rondo a la Turk" by Dave Brubeck is "alternately in 9/8 (2+2+2+3)and 4/4 as described on the record notes to Dave Brubeck's Greatest Hits (1966)."Failed verification|date=May 2008
* "Blue Rondo à la Turk" (1958) 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) [ Dryden, Ken. [http://www.allmusic.com/cg/amg.dll?p=amg&sql=33:2ubyxdjb6olj "Blue Rondo a la Turk"] , Allmusic: "unusual time signature of 9/8". ]
* "Happiness Is a Warm Gun" by John Lennon and Paul McCartney, as transcribed by Fujita et al. [ Fujita et al. 1993Fact|date=March 2008 .]
* "Los peones de hacienda", from the ballet "Estancia" by Alberto Ginastera. The refrain, 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. [Ginastera 1955, 17–20.]
* "The Start of Something Beautiful" (2005) by Porcupine Tree [ Harrison, Gavin.http://drummerworld.com/forums/showthread.php?t=698&page=6]
* "Voices" by Dream Theater. Opening riff in 9/8 broken down as 4/4 + 1/8. [http://video.aol.com/video-detail/mike-portnoy-odd-time-signatures-demonstration/1272405019 Odd time signatures demonstration by Mike Portnoy] ]

10/4, 10/8 or 10/16

* "Alpha Beta Gaga" by Air. (10/4)
* Etude, op. 35, no. 12, for piano, by Charles Valentin Alkan. (10/16) [Eddie 2007, 62.]
* "Everything In Its Right Place" by Radiohead. (10/4)
* "Go to Sleep" by Radiohead. (10/4)
* "Looks Good (But You Looked Away)", by the Helio Sequence. (10/4)
* "Nostalgia" by Yanni. (10/8)
* "Playing in the Band" by The Grateful Dead (notated as 4/4 + 4/4 + 2/4). (10/4) [John J. Wood, Eric Nay and Ihor Slabicky, [http://stason.org/TULARC/music-bands/grateful-dead/30-The-Eleven-and-Other-Rhythmic-Oddities-Grateful-Dead.html "The Eleven and Other Rhythmic Oddities (Grateful Dead)"] , from the "Grateful Dead FAQ"; Kevin Seal and Adam Blum, [http://blog.pandora.com/archives/podcast/2007/09/meters_time_sig.html "Pandora Presents . . . Meters & Time Signatures"] ]

Partially in 10/4, 10/8 or 10/16

* "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 35 (1945), by Benjamin Britten. Fourth bar after rehearsal K ("tranquillo, "lusingando") is in 10/4. [Britten 1946, 14.]
* "Mother and Child Divided" (2005) by Porcupine Tree. Partially 10/16. [ Harrison, Gavin. http://drummerworld.com/forums/showthread.php?t=698&page=16|work=|]
* "Solacium", part 3 of "De Elegia Tertia" from "Threni, id est Lamentationes Jeremiae Prophetae", by Igor Stravinsky. [Bars 2–5 are in 10/8 time (Stravinsky 1958, 52).]

11/4 or 11/8

* "Cigne je suis", from "Airs a III. IIII. V. et VI. parties" (première livre, 1608) by Claude Le Jeune (barred as 11/4). [Le Jeune 1951–59, 2:85–88.]
* "The Eleven", by Grateful Dead. (11/8) [Lindsay Planer, [http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:2m6uak4k5m3z "Live/Dead"] , Allmusic: "instrumental rhythmic excursion titled "The Eleven" after the jam's tricky time signature".Fact|date=March 2008 ]
* "Fugue", second movement of "Bachianas brasileiras no. 9", by Heitor Villa-Lobos. (11/8) [Villa-Lobos 1969, 3–18.]
* "In Nomine IX", for harpsichord, by John Bull. (11/4) [J. A. Fuller Maitland and W. Barclay Squire (eds.), "The Fitzwilliam Virginal Book", vol. 2 (Leipzig: Breitkopf und Härtel, 1899; reprinted New York: Dover Publications, Inc., 1963), 34–39.]
* "Whipping Post" by The Allman Brothers Band. The intro (and signature riff) of the song is in 11/8. [ [http://www.articleaddict.com/Article/Getting-Around-And-Utilizing-Odd-Meters-In-Polyrhythmic-Technique/19062 Getting Around And Utilizing Odd Meters In Polyrhythmic Technique ] ]
* "Glossolalia" by Jonathan Segel, from his 1988 album "Storytelling".

13/4 or 13/8

Partially in 13/4 or 13/8

* "" by Dream Theater. Beginning of instrumental section in 13/8, broken down as 6/8 + 7/8, and later as 4/4 + 5/8.
* "Turn It On Again" by Genesis. The verses and choruses are in 13/8. Other parts are in 8/8, and 5/8. [Genesis - "Anthology," Published by Hal Leonard. (HL.306370), ISBN 0634020633]
* "Skimbleshanks" from Andrew Lloyd Webber's musical "Cats". Introduction and chorus are in 13/8 (3+3+3+4). Verses in 4/4. [Andrew Lloyd Webber, T. S. Eliot - "Cats" "Hal Leonard" (HL00359466), ISBN 0881884472]

15/8

Partially in 15/8

* "Andante grazioso", third movement of Trio No. 3 for Piano, Violin, and Violoncello, op. 101, by Johannes Brahms. Central section in 15/8 with 9/8 turnarounds, main (outer) sections in 7/4 (notated as a recurring 3/4 + 2/4 + 2/4), concluding eight-bar coda in 9/8. [Brahms 1972, 134–37 of the score (= piano part).]
* "A Change of Seasons" by Dream Theater. First verse in 15/8 broken down as 3/4 + 9/8, second verse in 15/8 broken down as 6/8 + 6/8 + 3/8.
* "Fêtes", no. 2 from "Nocturnes", by Claude Debussy. [Claude Debussy, "Trois nocturnes: (original version, 1899)", edited by Robert Grossman and Clinton F. Nieweg (Boca Raton, Fla.: Edwin F. Kalmus, 1990):19–71. Passage "Un peu plus animé", beginning at rehearsal 2 (pp. 24–26), has pairs of bars of 15/8, interspersed with bars in 9/8 time.]
* "Frontispice", for two pianos (five hands), by Maurice Ravel. ["In the published score, five staves, ‘progressing’ vertically from flats through naturals to sharps, are played by five hands (three players) in metres of 15/8 (i.e., 3 × 5; 3 + 5) and 5/4" (Mawer 2000, 53); Ravel 1975.]
* "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. [cite book | last = Oldfield | first = Mike | title = Changeling - Autobiography of Mike Oldfield | publisher = Virgin Books | isbn = 978-1852273811 | year = 2007 | page = p. 111]

18/8

* "Birds of Fire" by Mahavishnu Orchestra. Guitar plays 5+5+5+3 while drums play 6+6+6. Violin from time to time plays 3+3+2+3+3+2+2.John McLaughlin, "John McLaughlin and the Mahavishnu Orchestra: John McLaughlin's Scores to 28 Classic Recordings" (Van Nuys: Alfred Publishing, 2006).Fact|date=March 2008 ISBN 0739042556] .
* "Moderato", no. 2 (1909) from "Four Etudes", op. 2, by Sergei Prokofiev (18/4 in one hand against 4/4 in the other). [Prokofiev 1955, 1:9–14.]

19/16

* "Celestial Terrestrial Commuters" by Mahavishnu Orchestra.Fact|date=March 2008
* "Keep It Greasy" by Frank Zappa (On the studio album, first verse and guitar solo are counted in 19/16).Vinnie Colaiuta, interviewed by Robyn Flans. "Modern Drummer" (November 1982). http://www.vinniecolaiuta.com/articles/moderndrummer82.aspx.]

20/4 or 20/8

Partially in 20/4 or 20/8

* "Deux moulins", from "Airs a III. IIII. V. et VI. parties" (première livre, 1608) by Claude Le Jeune (third section, Chant à 3, is barred as 20/4; the rest of the piece is in 21/4). [Le Jeune 1951–59, 1:32–33.]
* "Sensus spei", part 2 of "De Elegia Tertia" from "Threni, id est Lamentationes Jeremiae Prophetae", by Igor Stravinsky. [Bar 4 is in 20/8 time (Stravinsky 1958, 29).]

21/4

Partially in 21/4

* "Deux moulins", from "Airs a III. IIII. V. et VI. parties" (première livre, 1608) by Claude Le Jeune (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). [Le Jeune 1951–59, 1:32–33.]

22/8

* "The First Circle" from the album "First Circle" by the Pat Metheny Group. Composed by Pat Metheny and Lyle Mays. [ [http://www.allaboutjazz.com/iviews/lmays2.htm Interview with Lyle Mays] by Mike Brannon for allaboutjazz.com, May 2001. "'First Circle' does have a little different kind of time signature. We called it 22/8…You could think of it as a bar of 12 and a bar of 10."]

24/1

* "Brobdingnagische Gigue", from "Intrada, nebst burlesquer Suite", for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann. [Telemann 1728, 37; Telemann 1970, 14–15; Zohn 2004, 247: "the ‘Brobdingnagische Gigue’—no doubt inspiredby the English jig Gulliver plays with great effort on a sixty-foot spinet—is danced in giant steps, trudging along in twenty-four semibreves to the bar."]

3 2} over {2} over {4

* "Reverie der Laputier, nebst ihren Aufweckern", from "Intrada, nebst burlesquer Suite", for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann. [Telemann 1728, 40; Zohn 2004, 247: "The ‘Reverie der Laputier, nebst ihren Aufweckern’ . . . teases the reader with a nonsensical time signature, 3 2} over {2} over {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.]

Unusual time signature combinations

* "Bastard" by Ben Folds. A combination of the time signatures 4/4, 3/2, 7/4, 6/4, 3/4, and 5/4. [Ben Folds-"Songs for Silverman, piano/vocal transcriptions Hal Leonard CorporationFact|date=March 2008 .]
* "Here Comes the Sun", by The Beatles. The bridge is in 11/8 + 4/4 + 7/8. ["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, [http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/hcts.shtml no. 183] ).]
* "Hey Ya!" by OutKast. Emulates 11/4 [cite web | url = http://www.rollingstone.com/news/story/6596025/hey_ya | title = Hey Ya! - Outkast | work = Rolling Stone | date = 2004-12-09 | accessdate = 2008-03-23] by using a cadential six-measure phrase consisting of three 4/4 measures, a 2/4 measure, and two 4/4 measures.Sheet music for "Hey Ya!" Hal Leonard Corporation, 2003.Fact|date=March 2008 ]

Unspecified time signatures

:"This section should contain only listings."
* "My Human Gets Me Blues" by Captain Beefheart & the Magic Band features a "complex time signature." [cite web | url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=33:5u9yxdjbjoz7 | title = My Human Gets Me Blues | work = Allmusic | last = Planer | first = Lindsay | quote = complex time signature | accessdate = 2008-03-23]
* "Prize" by Wanderlust features an "unconventional time signature." [cite web | url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:und9keptkq7z | title = Prize | work = Allmusic | last = Parisien | fist = Roch | quote = unconventional time signature | accessdate = 2008-03-23]
* "Wandering Child" by Gov't Mule features an "oddball time signature." [cite web | url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gvfexqekldte | title = Life Before Insanity | work = Allmusic | last = Smith | first = Michael B. | quote = oddball time signature | accessdate = 2008-03-23]

ee also

*Math rock
*Progressive rock
*Bulgarian dances
*Metre (music)
*Time signature

Notes and references

Bibliography

* Barber, Samuel. 1943. String Quartet, op. 11. G. Schirmer’s Edition of Study Scores of Orchestral Worls and Chamber Music 28. New York: G. Schirmer.
* Bartók, Béla. 1940. "Mikrokosmos: Progressive Piano Pieces = Pièces de piano progressives = Zongoramuzsika a kezdet legkezdetétöl", 6 vols. New York and London: Boosey & Hawkes.
*Bernstein, Leonard. 1993. "The Age of Anxiety: Symphony No. 2", for piano and orchestra, after W. H. Auden, revised version, full score, corrected edition. [New York] : Jalni Publications, Inc., Boosey & Hawkes.
* Bernstein, Leonard. 1994. "Candide: A Comic Operetta in Two Acts", Scottish Opera edition of the opera-house version (1989). Book by Hugh Wheeler, based on the satire by Voltaire; lyrics by Richard Wilbur, with additional lyrics by Stephen Sondheim, John Latouche, Dorothy Parker, Lillian Hellman, and Leonard Bernstein; edited by Charles Harmon. [New York] : Jalni Publications, Inc.; Boosey & Hawkes.
* Boulez, Pierre. 1957. "Le marteau sans maître. Pour voix d'alto et 6 instruments. Poèmes de René Char". Philharmonia Partituren/Scores/Partitions no. 398. Vienna and London: Universal Edition.
* Brahms, Johannes. 1972. "Trios, für Klavier, Violine und Violoncello", nach Eigenschriften, Erstausgaben und Handexemplaren des Komponisten hrsg. von Ernst Herttrich; Fingersatz der Klavierstimme von Hans-Martin Theopold. Munich: G. Henle Verlag.
* Britten, Benjamin. 1945. "Old Joe Has Gone Fishing". London: Boosey & Hawkes. ISMN 9790060014864
* Britten, Benjamin. 1946. "Quartet No. 2 in C", op. 36. London: Boosey & Hawkes.
* Britten, Benjamin. 1956. "Canticle III ('Still Falls the Rain')", op. 55, for tenor, horn, and piano. Words by Edith Sitwell. London, Paris, Bonn, Capetown, Sydney, Toronto, Buenos Aires, New York: Boosey & Co., Ltd.
* Copland, Aaron. 1945. "Appalachian Spring (Ballet for Martha)". Hawkes Pocket Scores 8. London: Boosey & Hawkes.
* Doe, Paul (ed.). 1988. "Elizabethan Consort Music: II". Musica Britannica 45. London: Stainer and Bell, published for the Musica Britannica Trust.
* Eddie, William Alexander. 2007. "Charles Valentin Alkan: His Life and His Music". Aldershot, England; Burlington, Vermont: Ashgate. ISBN 184014260X
* Fujita, Tetsuya, Yuji Hagino, Hajime Kubo, and Goro Sato (transcribers). 1993. "The Beatles Complete Scores". London: Hal Leonard Publishing Corporation. ISBN 0-7935-1832-6
* Ginastera, Alberto. 1946. "12 American Preludes (Doce Preludios Americanos)", 2 vols. New York: Carl Fischer.
* Ginastera, Alberto. 1955. "Estancia: Ballet in One Act and Five Scenes". Reduction for piano. Buenos Aires: Barry Editorial, Com., Ind., S. R. L.; [n.p.] : Boosey & Hawkes.
* Ginastera, Alberto. 1974. "Harp Concerto", opus 25. Hawkes Pocket Scores 1185. London: Boosey & Hawkes.
* Gutmann, Peter. 2003. " [http://www.classicalnotes.net/classics/pathetique.html Peter Ilyich Tchaikovsky: Symphony #6 ("Pathetique")] " "Classical Notes" (accessed 2008-03-23).
* Hansell, Sven, and Carlida Steffan. 2001. "Adolfati, Andrea". "The New Grove Dictionary of Music and Musicians", ed. S. Sadie and J. Tyrrell. London: Macmillan.
* Helmore, Rev. Thomas. 1879. "Accent". " [http://books.google.com/books?id=Y0sPAAAAYAAJ A Dictionary of Music and Musicians (A.D. 1450-1889) by Eminent Writers, English and Foreign] ", 2 vols, edited by George Grove, 1:12–18. London: Macmillan.
* Hiley, David. 2001. “Quintuple Metre”. "The New Grove Dictionary of Music and Musicians", ed. S. Sadie and J. Tyrrell, vol. 20:682–83. London: Macmillan.
* Holst, Gustav. 1973. "Double Concerto", op. 49, for two violins and orchestra. Revised edition by Imogen Holst. London: Curwen Edition, Faber Music Ltd.; New York: G. Schirmer Inc. First published in 1930 by J Curwen & Sons Ltd.
* Holst, Gustav. 1977. "A Choral Fantasia", op. 51, edited by Imogen Holst. London, Zürich, Mainz, and New York: Ernst Eulenburg Ltd.
* Holst, Gustav. 1979. "The Planets: Suite for Large Orchestra", op. 32. New edition prepared by Imogen Holst and Colin Matthews. Hawkes Pocket Scores 22. London: Boosey & Hawkes.
* Le Jeune, Claude. 1951–59. "Airs (1608)", edited by D. P. Walker, with an introduction by Francois Lesure and D. P. Walker, 4 vols. in 3. Publications of the American Institute of Musicology: Miscellanea 1. Rome: American Institute of Musicology.
* Ligeti, György. 1973. "Sechs Bagatellen für Bläserquintett" (Five parts: flute, oboe, clarinet in B-flat, horn in F, bassoon). Mainz and New York: Schott.
* Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1970. "Jesus Christ Superstar", vocal score, selections. New York: Universal—MCA Music Pub.; Miami: Warner Bros. Publications. ISBN 088188541X
* Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1979. "Evita", vocal score, selections. Melville, N.Y.: Leeds Music Corp—sole selling agent, MCA Music.
* MacDonald, Hugh. 2001. "Alkan [Morhange] , (Charles-)Valentin". "The New Grove Dictionary of Music and Musicians", ed. S. Sadie and J. Tyrrell. London: Macmillan.
* Mawer, Deborah. 2000. “Musical Objects and Machines”. In "The Cambridge Companion to Ravel", edited by Deborah Mawer, 47–70. Cambridge: Cambridge University Press. ISBN 0-521-64026-1 (cloth) ISBN 0-521-64856-4 (pbk)
* Mussorgsky, Modest Petrovich. 1914. "Tableaux d'une exposition (Pictures at an Exhibition): 10 Pieces for Piano", edited by O. Thümer. [N.p.] : Augener; London: Stainer and Bell Ltd; New York: Galaxy Music Corporation.
* Nice, David. 2003. "Prokofiev: From Russia to the West, 1891–1935". New Haven and London: Yale University Press. ISBN 0-300-09914-2
* Pope, Isabel, and Tess Knighton. 2001. "Fernández, Diego". "The New Grove Dictionary of Music and Musicians", ed. S. Sadie and J. Tyrrell. London: Macmillan.
* Prokofiev, Sergei. 1926. "Сказка, Шутка, Марш, Призрак [Skazka, Shutka, Marsh, Prizrak] . (Conte, Badinage, Marche, Fantôme), op. 3", для фортепяно. Moscow: Gos. izd-vo, Muzykal’nyi sektor.
* Prokofiev, Sergei. 1955. "Sobranie sochinenii" [Собрание сочинений, "Collected Works"] , 20 vols. Moscow: Gos. Muzykalnoe Izd-vo.
* Ravel, Maurice. 1975. "Frontispice: [pour S. P. 503 (poème du Vardar) de R. Canudo] : deux pianos [cinq mains] ". Paris and New York: Éditions Salabert.
* Richards, Paul. 1987. “Africa in the Music of Samuel Coleridge-Taylor”. "Africa: Journal of the International African Institute" 57, no. 4 (“Sierra Leone, 1787-1987”): 566–71.
* Stravinsky, Igor. 1958. "Threni, id est Lamentationes Jeremiae Prophetæ". Hawkes Pocket Scores 709. London: Boosey & Hawkes.
* Telemann, Georg Philipp (ed.). 1728. "Der getreue Music-Meister". Hamburg: [Telemann] . Facsimile reprint, Basel: Musica Musica, [n.d.] .
* Telemann, Georg Philipp. 1970. "Drei Duette für zwei Melodie-Instrumente". Hortus Musicus 11, edited by Dietz Degen. Kassel: Bärenreiter.
*Tschaikowsky, Peter Ilich. [n.d.] . "Symphony No. 6 (Pathétique) in B Minor, Op. 74". New York: M. Baron Co.
* Tye, Christopher. 1967. "The Instrumental Music", edited by Robert W. Weidner. Recent Researches in the Music of the Renaissance 3. New Haven: A-R Editions.
* Villa-Lobos, Heitor. 1969. "Bachianas brasileiras no. 9, pour orchestre à cordes". Paris: Editions Max Eschig.
* Waugh, Ian. 2003. [http://www.musictechmag.co.uk/mtm/download/time-signatures "Ten Minute Master No. 6: Time Signatures"] . "Music Tech Magazine" (May): 76–77.
* Zohn, Steven. 2004. "The "Sonate auf Concertenart" and Conceptions of Genre in the Late Baroque". "Eighteenth-Century Music" 1, no. 2:205–47.

External links

* [http://www.oddtimeobsessed.com www.oddtimeobsessed.com website and Internet radio dedicated to odd meters in music.] (odd time signatures)
* [http://www.answers.com/topic/list-of-musical-works-in-unusual-time-signatures?cat=biz-fin A more extensive list of works in unusual time signatures on Answers.com]


Wikimedia Foundation. 2010.

Поможем решить контрольную работу

Look at other dictionaries:

  • Time signature — Common time redirects here. For the short story, see Common Time. Simple example of a 34 time signature: here there are three quarter notes per measure. The time signature (also known as meter signature) is a notational convention used in Western …   Wikipedia

  • Meter (music) — Musical and lyric metre. See also: Hymn meter and Poetic meter. Meter or metre is a term that music has inherited from the rhythmic element of poetry (Scholes 1977; Latham 2002) where it means the number of lines in a verse, the number of… …   Wikipedia

  • Math rock — Stylistic origins Experimental rock, post hardcore, post punk, noise rock, minimalism, avant garde jazz, progressive rock Cultural origins Late 1980s United States (Chicago, Pittsburgh, San Diego and Los Angeles) and …   Wikipedia

  • Progressive rock — Prog redirects here. For the Swedish political music movement, see Progg. For the radio format, see Progressive rock (radio format). Progressive rock Stylistic origins Psychedelic rock, jazz fusion, classical music, free jazz, experimental rock,… …   Wikipedia

  • Tuplet — This article is about the note groupings. For mathematical grouping, see tuple. Irrational rhythm (  Play …   Wikipedia

  • Take Five — Infobox Single Name = Take Five Artist = The Dave Brubeck Quartet from Album = Time Out B side = Released = June 25, 1959 Format = Recorded = 1959 Genre = Jazz Length = 5:28 Label = Columbia/Legacy Writer = Paul Desmond Producer = Teo Macero… …   Wikipedia

  • Tarkus (song) — Song infobox Name = Tarkus Artist = Emerson, Lake Palmer Album = Tarkus Released = June 14, 1971 (UK) August, 1971 (US) track no = 1 Recorded = January 1971, Advision Studios Genre = Progressive rock Length = 20:41 Writer = Keith Emerson Greg… …   Wikipedia

  • Dave Brubeck — at the White House for the 2009 Kennedy Center Honors Background information Birth name David Warren Brubeck Born …   Wikipedia

  • Mashup (music) — Mash up music Stylistic origins Electronic music, pop, rock Cultural origins Late 1990s, 2000s; Europe, North America Typical instruments Digital audio editor, sampler, sequencer, DJ turntables, audio mixer …   Wikipedia

  • Minimal music — This article is about a musical style. For other uses, see Minimalism (disambiguation). Minimal music Stylistic origins Experimental music, twelve tone music, serialism, process music, Indian classical music Cultural origins United States Typical …   Wikipedia

Share the article and excerpts

Direct link
Do a right-click on the link above
and select “Copy Link”