List of musical works in unusual time signatures
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.[1]
The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti.
A perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length but is notated in ordinary 4
4 time, with each variation lasting 2 3⁄4 bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one had done.[2]
Upper number of 1
1
1
1
- Enigma Variations by Edward Elgar. Variation VII is in Presto 1
1.[3] - Symphony No. 2 by Alexander Borodin. Movement II is in Prestissimo 1
1, except for the trio section, which is in Allegretto 6
4.[4]
1
2
2
- Appalachian Spring, by Aaron Copland. Third bar of rehearsal 46 and third bar of rehearsal 48 are in 1
2.[5] - Decet for wind instruments, Op. 14, by George Enescu. Movement III, Bar 240 (fifth bar before rehearsal number 42) is in 1
2.[6] - Fünf Klavierstücke, Op. 23 by Arnold Schoenberg. Movement II, bar 9 is in 1
2.[7] - Káťa Kabanová, by Leoš Janáček. Act III contains some 1
2 bars between rehearsal numbers 5 and 8.[8] - La Langeur, from Le follie francaise ou les dominos from Pieces de Clavecin by Francois Couperin.[9]
- Nocturne No. 1 by Francis Poulenc, from 8 Nocturnes, FP 56. Bar 27 is in 1
2.[10] - Piano Sonata No. 5, Op. 53, by Alexander Scriabin. Bars 251 to 262 (Presto giocoso) are in 1
2.[11] - Quartet, Op. 22, by Anton Webern. In the second movement, bars 1–3, 5–6, 8–10, 12–14, 16–129, and 131–191 are in 1
2.[12] - Rapsodie nègre by Francis Poulenc, third movement, "Honoloulou", contains some bars of 1
2.[13] - String Quartet No. 1, by Béla Bartók. Bars 3, 10, and 22 of the third movement are in 1
2.[14] - Symphony No. 1, by Edward Elgar. Second movement, entirely in 1
2.[15] - Symphony No. 17 in G♯ minor by Nikolay Myaskovsky. Movement I has a 1
2 signature from rehearsal numbers 2–7, 25–35, 42–47, 59–66, and 70–74.[16]
1
4
4
- Alcancías by Silvestre Revueltas. Movement II, 5 bars after rehearsal 24, second bar of rehearsal 27, first bar of rehearsal 28, third bar of rehearsal 29, one bar before 31, and one bar before 32 are all 1
4.[17] - "The Eynsham Poacher", a traditional song; in the arrangement by Dave Pegg, most of the tune is in 12
8, but the finale includes one bar of 1
4.[18] - Mädchentotenlieder, by Bo Nilsson. Bars 20, 22–27, 33–36, 38–40, 43, 49, 51, 54, 57, 65, 76–77, 80–81, 86, 90–93, 95, 99, 103–7, 115–16, 118, 120, 122, 124, 126, 130, 134–42, 145, 153, and 158 are in 1
4 time.[19] - Metastaseis, by Iannis Xenakis. The first 103 bars are in 1
4.[20] - Metropolis Part 1: The Miracle and the Sleeper, by Dream Theater. Third bar of rehearsal R is in 1
4.[21] - On an Overgrown Path, by Leoš Janáček. There are isolated 1
4 bars in the sixth, tenth, and eleventh movements.[22] - Petrushka by Igor Stravinsky, the bar before rehearsal 17 is in 1
4.[23] - Piano Sonata No. 3 by Carlos Chávez. Movement I, bars 13, 15, 19, 52, 54, and 58 are in 1
4 time.[24]
1
8
8
- Lincolnshire Posy by Percy Grainger. Movement V, "Lord Melbourne", uses 1
8.[25] - Mädchentotenlieder, by Bo Nilsson. Bar 11 is in 1
16 time, bar 53 is in 1
8 time.[19] - A Nightmare to Remember, by Dream Theater. Measure 31 is in 1
8.[26] - On an Overgrown Path, by Leoš Janáček. There are two 1
8 bars in the third movement.[22] - Piano Sonata No. 3 by Carlos Chávez. Movement II, bar 176 is in 1
8 time.[27] - 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.[28]
1
16
16
- Mädchentotenlieder, by Bo Nilsson. Bar 11 is in 1
16 time.[19]
1
64
64
- "A Headache And A Sixty-Fourth", from Ron Jarzombek's album Solitarily Speaking of Theoretical Confinement, has a constant time signature pattern of 4
4 and 1
64.[29]
Upper number of 2
2
1
1
- Five Pieces for Piano, op. 23, by Arnold Schoenberg.[30]
- Káťa Kabanová, by Leoš Janáček. Act II is in 2
1 from rehearsal number 20 to just before rehearsal number 24; act III is in 2
1 for four bars before rehearsal number 27 and six bars before rehearsal number 28, followed by a mixture of 2
1 and
between rehearsal numbers 28 and 29, and one bar before rehearsal number 36.[8][31] - Partita No. 6 in E minor, BWV 830, by Johann Sebastian Bach. The last movement, a gigue, is in 2
1 in the Bischoff edition; however, the symbol
(the mensuration sign for "tempus perfectum, prolatio minor, diminutum") appears in the first edition of 1731, and = 2
2 in the autograph manuscript).[32] This time signature is unusual for gigues, which are usually in 6
8 or 12
8.[33][34] - Pli selon pli by Pierre Boulez. Movement III, "Improvisation II sur Mallarmé".[30]
2
16
16
- Comme le vent, first of the Douze études dans toutes les tons mineurs, Op. 39, by Charles-Valentin Alkan.[35]
- The Rite of Spring by Igor Stravinsky. 2
16 is used in the concluding "Sacrificial Dance".[36]
- Sketch, Op. 1 No. 10, by Alexei Stanchinsky.[37][38]
Upper number of 3
3
1
1
- "O Fortuna" from Carl Orff's Carmina Burana (first four bars).[39]
- Symphony No. 3 by Camille Saint-Saëns, in two sections (a total of 21 bars) at the end of the finale.[40]
- "Um Mitternacht" by Gustav Mahler (Rückert Lieder No. 5). Bar 27 is marked "6
2 (3
1)".[41]
3
16
16
- Piano Sonata No. 1 in C major, Op. 1, by Johannes Brahms. Movement II, bars 47–49 and 51–53.[42]
- The Rite of Spring by Igor Stravinsky. 3
16 is used in the concluding "Sacrificial Dance".[36] - String Quartet, Op. 28, by Anton Webern. Movement III is in 3
16 from bars 40 to 41, and again from bars 44 to 51.[43] - Symphonic Studies, Étude IX (first version) by Robert Schumann.[44]
- Variations for piano, Op. 27, by Anton Webern, movement I.[45]
3
32
32
- Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann. Movement II, "Lilliputsche Chaconne".[46]
- Pribaoutki by Igor Stravinsky. The fourth piece, "Starets i zayats", uses 3
32 in bar 15.[47] - String Quartet, Op. 28, by Anton Webern: the third movement is in 3
32 from bars 28 to 37.[43]
Upper number of 4
4
16
16
- Homenaje a Federico García Lorca by Silvestre Revueltas. Movement I, "Baile" (Dance), is entirely in 4
16, except for one free-rhythm bar at the beginning and two at the end.[48] - Piano Sonata No. 1 in C major, Op. 1, by Johannes Brahms. Movement II, bars 46 and 50.[42]
- Piano Sonata No. 3 in F minor, Op. 5, by Johannes Brahms. Movement II, bars 37–66 and 77–90.[49]
- Pribaoutki by Igor Stravinsky. The fourth piece, "Starets i zayats", uses 4
16 in bar 16.[47] - The Rite of Spring by Igor Stravinsky. 4
16 is used in the concluding "Sacrificial Dance".[36] - String Quartet, Op. 28, by Anton Webern: the third movement is in 4
16 from bars 52 to 53.[43] - Variations on a Theme by Robert Schumann, Op. 9, by Johannes Brahms. Variation XI.[50]
Upper number of 5
Upper number of 6
6
2
2
- "Um Mitternacht" by Gustav Mahler (Rückert Lieder No. 5). Bar 27 is marked "6
2 (3
1)".[41]
Upper number of 7
Upper number of 8
- Note: 8
4 or 8
8 may refer to an evenly divided compound duple or quadruple meter. While this is arguably extremely common in music, the notations 8
4 and 8
8 themselves are not, so all divisions of this time signature are listed here
8
4
4
- A Choral Fantasia, op. 51, by Gustav Holst. Bars 36–69, 142–48, 173–78, and 191–98 are in 8
4.[51] - "All You Need Is Love" by the Beatles. The main verse pattern contains a total of 29 beats, split into two 7
4 measures, a single bar of 8
4, followed by a one bar return of 7
4 before repeating the pattern.[52] - "Damage Control" by John Petrucci has several bars in 8
4.[53] - "I Ejaculate Fire" by Dethklok. Bars 81, 83, 85, and 88 are in 8
4.[54] - Musica ricercata for piano, by György Ligeti, movement 2 (Mesto, rigido e cerimoniale) includes a single bar of 8
4.[55] - The Rite of Spring by Igor Stravinsky, in the tableau "Mysterious Games of the Maidens", the bar before rehearsal 99 is in 8
4.[56] - De Staat by Louis Andriessen. Bars 686–87 are in 8
4.[57] - String Quartet No. 2, Op. 36 (1945), by Benjamin Britten. Movement I, bars 3 and 12 after rehearsal K are in 8
4.[58] - Symphony No. 3 by Peter Maxwell Davies. Movement I has two bars of 8
4 (divided 3+2+3) at rehearsal N.[59]
8
8
8
- Concerto for Orchestra by Béla Bartók. Movement IV has three bars of 8
8 in the strings at rehearsal 75.[60] - "De elegia prima" from Threni by Igor Stravinsky. Bars 83–84, 91, and 165 are in 8
8.[61] - Diversions for Piano Left Hand and Orchestra, Op. 21, by Benjamin Britten. In Variation IV, bars 171, 175–77, 181, and 187–91 are in 8
8.[62] - Fancy Free by Leonard Bernstein. In the fourth number, "Pas de deux", bars 324–25, 355–57, 359–61 are in 8
8.[63] - Mikrokosmos by Béla Bartók.
- Music for Strings, Percussion, and Celesta by Béla Bartók.
- 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.[68] - Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in 8
8.[69] - Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 8
8.[70] - De Staat by Louis Andriessen. Bars 5, 8, 10, 12–16, 54–57, 83–84, 87–88, 582, 590, 602, 610, 612, 625, 630, 644, 647–48, 650, 663, 695, 707, 851, and 853 are in 8
8.[57] - Symphony No. 1 by Gustav Mahler. In Movement IV, the bar before rehearsal number 40 is in 8
8.[71] - Symphony No. 3 by Peter Maxwell Davies. Third movement has one bar of 8
8 before rehearsal X.[72]
8
16
16
- The Cry of Anubis, for tuba and orchestra by Harrison Birtwistle. Bars 33, 36, and 45–46 are in 8
16.[73] - The Flood by Igor Stravinsky. Bars 406, 414, 422, 427, 432, 440, and 448 are in 8
16 time, all divided 3+2+3.[74] - Histoire du soldat by Igor Stravinsky has one bar in 8
16 time, at the fourth bar following rehearsal 35, in the movement "Ragtime".[75] - Requiem Canticles by Igor Stravinsky. The interlude has bar 156 in 8
16 time.[76]
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
4
- "The Count of Tuscany" by Dream Theater. The verse riff is in 9
4, with a rhythm of 3+2+2+3+3+2+3
8.[77] - "Kissing the Beehive" by Wolf Parade has its verses in 9
4.[78]
9
8
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.)[79] - "Big Lie Small World", by Sting is in 9
8 with varying division.[80] - "Blue Rondo à la Turk" (1959) by the Dave Brubeck Quartet, from the album Time Out – Played as 2+2+2+3 and 3+3+3, with some alternating sections of 4
4.[81] - 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.[82] - "I Hung My Head", by Sting is in 2+3+2+2
8.[80] - "Makara" by Stefan Goldmann (9
8).[83] - Mikrokosmos by Béla Bartók
- "Niška Banja," SATB choral arrangement by Nick Page of a Serbian Gypsy dance, is in 2+2+2+3
8.[86]
9
32
32
- Un Vitrail et des Oiseaux by Olivier Messiaen uses 3+2+2+2
32.[87]
Upper number of 10
10
4
4
- "Diagonals" by Stereolab is based on a modified drum loop in 10
4.[88] - "Everything in its Right Place" by Radiohead. (10
4 after a pick-up measure of two beats; divided 4+4+2)[89] - "Just Like You Imagined" by Nine Inch Nails.[90]
- "Playing in the Band" by the Grateful Dead (notated as 4+2+4
4).[91] - "Rabbit" by This Town Needs Guns has parts in 10
4.[92] - "Retreat! Retreat!", by 65daysofstatic is partially in 10
4.[93] - String Quartet No. 2, op. 35 (1945), by Benjamin Britten. Movement I, fourth bar after rehearsal K ("tranquillo, lusingando") is in 10
4.[94] - "Testostyrannosaurus" by Hail the Sun contains some parts in 10
4, and 11
4.[95] - "Wanderlove" by Mason Williams.[96]
10
8
8
- "Happiness is a Warm Gun" by the Beatles. The first part includes 4
4, 2
4, and 5
4; the second part includes 3
8; and third part 9
8 and 10
8.[97] The finale includes 1 bar of 12
4. "[T]he changes of meter either between or within every section establish themselves as a kind of leitmotif." (Alan Pollack's 'Notes On' series, no. 136). - "Nostalgia" by Yanni.[98]
- Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in 10
8.[69] - Sketch, Op. 1 No. 7, by Alexei Stanchinsky.[37]
- Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 10
8.[70] - Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky. "Solacium", part 3 of "De Elegia Tertia".[99]
10
16
16
- Étude, op. 35, no. 12 in E major, for piano, by Charles-Valentin Alkan. (grouped as 5
16 + 5
16)[100]
Upper number of 11
11
4
4
- "Cigne je suis" published in the collection Airs a III. IIII. V. et VI. parties (première livre, 1608) by Claude Le Jeune is barred as 11
4.[101] - "Crowned & Kissed" by Esperanza Spalding. The two-bar chorus groove is in 11
4 time.[102] - "Eight Ball, Coroner's Pocket" by Hail the Sun, intro is composed in 9
4, and 11
4.[103] - "Eleven Four", by Paul Desmond and recorded by the Dave Brubeck Quartet.[104]
- 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.[105][106] - Mädchentotenlieder, by Bo Nilsson. Bar 74 is in 11
4 time.[107] - The Rite of Spring by Igor Stravinsky. The bar immediately before the section "The Chosen One" is in 11
4.[36] - "Testostyrannosaurus" by Hail the Sun contains some parts in 10
4, and 11
4.[95] - "Where but for Caravan Would I Be" (1969), by Caravan.[108]
- "Whipping Post", by the Allman Brothers Band. (Begins with a two-bar 11
4 riff).[109]
11
8
8
- Bachianas Brasileiras No. 9, by Heitor Villa-Lobos. Movement II is in 11
8[110] - "Blockhead", by Devo. Verses are in 11
8 time, choruses in 4
4.[111] - "Cattle and Cane" by the Go-Betweens. The verses and coda are in 11
8.[112] - "The Eleven", by the Grateful Dead.[113][114]
- "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.[115]
- "Here Comes the Sun" (1969), written by the Beatles' George Harrison. The song features common 4
4 time in the verses and a compound sequence of 11
8 + 4
4 + 7
8 in the bridge, phrasing interludes that Harrison drew from Indian music influences.[116][117][118] - "Larks' Tongues in Aspic, Pt. 1", by King Crimson. The song is in 5
8 when the violin enters. Then, the metre switches to 11
8. The song shifts between these metres for the remainder of the song.[119] - "Losing It" by Rush. Intro and verses are composed out of ten bars in 5
8, other parts are in 11
8.[120][121][122] - Mario Kart 64 (video game), music by Kenta Nagata, at the race results screen.[123]
- "Man-Erg" (1971), by Van der Graaf Generator.[124]
- Piano Sonata No. 2 in G major by Alexei Stanchinsky. Movement II is in 11
8.[125] - A próle do bébé, 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.[126] - Sagat's theme from Street Fighter II (video game), composed by Isao Abe is entirely in 11
8.[127] - "Serenade", a wedding recessional by Derek Bourgeois. The beginning and ending sections are in 11
8.[128][129] - "7empest" by Tool mostly alternates between 5
4 and 11
8 time.[130] - Sketch, Op. 1 No. 5, by Alexei Stanchinsky.[37]
- Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 11
8.[70] - 2 Canzonas with Dances, Op. 43 No. 1, by Nikolai Medtner. Movement I is in 11
8.[131] - "Upstart" written by Don Ellis and performed by the Don Ellis Orchestra[132]
11
16
16
- "Forgotten Isle 2" from the Super Mario Odyssey soundtrack is entirely in 11
16.[133]
Upper number of 12
12
32
32
- Piano Sonata No. 32 in C minor, Op. 111, by Ludwig van Beethoven. Movement II is in 12
32 from bars 48 to 64.[87]
Upper number of 13
13
4
4
- "The Great Divide" by Don Ellis.[134]
- "Rabbit" by This Town Needs Guns has sections in 13
4.[92] - De Staat by Louis Andriessen. Bars 356 and 517 are in 13
4.[135] - "Starless" (1974), by King Crimson.[136]
13
8
8
- "The Becoming" by Nine Inch Nails. Begins in a 13
8 time signature and changes to 6
8 at the 3-minute mark.[137] - "Faust: Läuft...Heißt Das Es Läuft Oder Es Kommt Bald...Läuft" by Jean Hervé Péron.[138]
- "I Will Be Absorbed", by Egg.[136]
- "Odd Boy" by Mutant-Thoughts, in the verses.[139]
- "One Word" by Mahavishnu Orchestra has a section in 13
8 after the drum solo (just over eight and a half minutes in).[140] - A próle do bébé No. 2, by Heitor Villa-Lobos. A measure in the fourth movement, "O cachorrinho de borracha", is in 13
8, divided into 6
8 or 3
4, and 7
8. Two measures in the ninth movement, "O lobozinho de vidro", are also in 13
16.[141] - "Serenade", a wedding recessional by Derek Bourgeois. The middle section is in 13
8.[128][129] - "Skimbleshanks, The Railway Cat" from Andrew Lloyd Webber's musical Cats. Introduction and chorus are in 13
8 (3+3+3+4). Verses in 4
4.[142] - Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 13
8.[70] - De Staat by Louis Andriessen. Bars 356 and 517 are in 13
4, while bar 724 is in 13
8.[135] - "13th August" by FromUz.[143]
- "Turn It on Again" by Genesis. The verses and choruses are in 13
8. Other parts are in 8
8, and 5
8.[144] - "Weapons Factory" from the Super Mario RPG soundtrack by Yoko Shimomura.[145]
13
16
16
- The Terminator main theme, by Brad Fiedel.[146]
Upper number of 15
15
8
8
- "Chionoblepharou pater Aous" [Father of the bright-eyed Dawn], Hymn to the Sun, by Mesomedes of Crete (grouped 2+2+2+2+2+3+2)[147]
- "I Think I Lost my Headache" by Queens of the Stone Age (intro and outro are in 15
8, grouped ).[148] - "Karn Evil 9", 1st Impression, Part 1 (1973), by Emerson, Lake and Palmer includes a passage in 15
8.[149] - "Malibu Shuffle" for jazz band, by Wayne L. Perkins.[150]
- "Perpetuum Mobile" by the Penguin Cafe Orchestra.[151]
- Sonata Op. 25 No. 2 in E minor, for piano, "Night Wind" (1911) by Nikolai Medtner. Main Allegro section in 15
8.[152] - "Strong One" from the Mother 3 soundtrack is in 15
8 (grouped 2+2+2+3+3+3).[153] - "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.[154]
15
16
16
- The Phantom of the Opera (1986) by Andrew Lloyd Webber: "Notes" and "Notes II" each contain multiple sections of 15
16.[155] - Robert Browning Overture, by Charles Ives includes measures in 15
16 time.[156] - De Staat by Louis Andriessen. Bars 501 and 535–36 are in 15
16 time, divided 4+4+4+3 (in b. 501 some layers are in 3+3+3+3+3 and 3+4+4+3).[157] - String Quartet No. 1 (1950–51), by Elliott Carter includes measures in 15
16 time.[156] - String Quartet No. 1 (1949), by Leon Kirchner includes measures in 15
16 time.[156] - String Quartet No. 2 (1959), by Elliott Carter includes measures in 15
16 time.[156] - Concerto rotondo per violoncello solo (2000) by Giovanni Sollima, movement 4. Bars 1-17 are in 15
16 time, divided 5+3+4+3.[158]
Upper number of 17
17
4
4
- "Panda" by This Town Needs Guns includes sections of 17
4 and other meters like 3
4.[159] - "Seven Teens", by Lionel Loueke.[160]
- "Stories" by William Auerweck includes sections of 17
4.[161]
17
8
8
- "Crystalline" by Björk.[162]
- "The Hole Pt. 1" by Noisia is described by the band as being "more or less [in] 17
8".[163] - "Hollow" by Björk.[164]
- "I Should Live in Salt" by the National. Intro and verses in 17
8, bridge and chorus in ordinary 4
4.[165] - "Moon" by Björk.[166]
- Sketch, Op. 1, No. 6, by Alexei Stanchinsky (17
8, written as 4
8 + 4
8 + 5
8 + 4
8, but with the 17
8 time signature written as well).[37]
Upper number of 18
18
8
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.[167]
- 49 Esquisses by Charles-Valentin Alkan. No. 12, Barcarollette, is in 18
8, as compound sextuple meter.[168]
18
16
16
- Don Rodrigo by Alberto Ginastera. "Interludium III" is in 18
16 meter, except the last three bars, which are in 3
4.[169] - Four Etudes, op. 2, by Sergei Prokofiev. The second étude uses 18
16 in one hand against 4
4 in the other.[170] - Fünf Klavierstücke, Op. 23 by Arnold Schoenberg. Movement III, bars 26 to 30 inclusive are in 18
16.[171] - Goldberg Variations, by Johann Sebastian Bach. Variatio 26, a 2 Clav. uses 18
16 in one hand against 3
4 in the other, exchanging hands at intervals until the last five bars where both hands are in 18
16.[172]
Upper number of 19
19
8
8
- Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in 19
8.[69] - "Rusty Cage" by Soundgarden (third section in 19
8).[175]
19
16
16
- "Celestial Terrestrial Commuters" by Mahavishnu Orchestra.[167]
- "Home" by Dream Theater (ends in 19
16).[176] - "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).[177]
Upper number between 20 and 29
20
- "Deux moulins", published in the collection Airs a III. IIII. V. et VI. parties (première livre, 1608) by Claude Le Jeune. The third section, Chant à 3, is barred as 20
4; the rest of the piece is in 21
4.[178] - "Gibbon" by This Town Needs Guns is transcribed partially in 20
4.[179] - 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.[180]
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.[181] - "Deux moulins" by Claude Le Jeune, published in Airs a III. IIII. V. et VI. parties (première livre, 1608). The first two sections, Rechant à 3 and Réprise à 5, are barred as 21
4; the last section of the piece is in 20
4.[178] - In the Dead of the Night suite by U.K., "contains an instrumental refrain in 21
16".[136] - "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).[177] - Sonata for Cello and Piano (1948), by Elliott Carter, includes 21
32 time.[182] - Master of Puppets by Metallica features measures that can be interpreted as 21
32.[183]
22
- "The First Circle" from the album First Circle by the Pat Metheny Group. Composed by Pat Metheny and Lyle Mays (22
8).[184][185]
23
- "Low Light" by Jacky Ligon from his Between Moments EP (2013) is in 23
4.[186] - In The Legend of Zelda: Ocarina of Time, Ganondorf's battle theme is mostly in 23
16 (sometimes with 17
16 as a polymeter) with a stray section in 4
4.[187]
24
- "Brobdingnagische Gigue", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann is in 24
1.[188] - 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
).[30]
25
29
- "Strong One (Masked Man)" from the Mother 3 soundtrack (29
16)[153] - "The Undertow", by 65daysofstatic is in 29
8.[191]
Upper number between 30 and 39
30
- Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 30
16.[70]
Upper number between 40 and 49
43
- Study No. 3a for Player Piano by Conlon Nancarrow uses 43
16.[87]
47
- Study No. 3a for Player Piano by Conlon Nancarrow uses 47
16.[87]
Upper number between 50 and 59
53
- "Interlude V" by Mannheim Steamroller from the album Fresh Aire II contains one measure of 53
8.[196]
Upper number more than 59
- Gendhing Boehme by Kraig Grady uses a meter of 79[197]
- emme by phonon contains two bars in 71
160, that appear twice in the song's first climax. The build-up and first part of the climax were written in two alternating measures of 26
20 and 16
20. The last section is in 4
30. All of the other sections are in 4
4.[198][199]
Fractional time signatures
- Driftwood Suite, for piano, by Gardner Read uses 3 1⁄2
4, 4 1⁄2
4, and 5 1⁄2
4.[200] - 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.[201] - Hill-Song I and II by Percy Grainger contain measures of 1 1⁄2
4 and 2 1⁄2
4.[202][203] - Lincolnshire Posy by Percy Grainger. In movement V, "Lord Melbourne", some parts mark this measure as 1 1⁄2
4 while others mark it as 3
8. This trombone part has a bar of 1 1⁄2
4 on the bottom of page 4.[25] It also contains 2 1⁄2
4.[25] - Mädchentotenlieder, by Bo Nilsson.
- Le marteau sans maître, by Pierre Boulez. Movement III "L'Artisanat furieux".
- 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.[210] - 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.[211] - "Schism" by Tool is described by the band as largely in 6 1⁄2
8 and includes numerous other times.[212] - Sensemayá by Silvestre Revueltas includes three bars in 5 1⁄2
8.[213] - Study in Sonority by Wallingford Riegger contains several 2 1⁄2
4 bars.[200] - Touch Piece, for piano, by Gardner Read uses 3 1⁄2
4, 4 1⁄2
4, and 5 1⁄2
4.[200] - "Upstart" by Don Ellis is in 3 2⁄3
4 (originally written in 11
8).[214]
Irrational time signatures
- L'Itoi Variations by Kyle Gann. Bar 275 is in 2
3 time, bar 277 is in 7
12 time, and bar 299 is in 5
6 time.[215] - Piano Sonata No. 3 by Carlos Chávez. In movement IV, bars 47, 49, 107, and 109 are in 1
12.[216]
Combined unusual signatures
- "O cachorrinho de borracha" (The Little Rubber Dog), No. 4 from A próle do bébé No. 2 by Heitor Villa-Lobos mixes 11
8, 13
8, 5
4, and 8
4 with the usual signatures 3
4 and 4
4.[217] - "Firth of Fifth": Introduction, by Tony Banks of Genesis, mixes duple and quadruple meters with 13
16 and 15
16 signatures.[218] - "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.[219] - "I Swallowed Hard, Like I Understood", by 65daysofstatic switches between 6
4 and 5
4.[220] - Klavierstück IX (1954–55/61) by Karlheinz Stockhausen uses 21
8, 34
8, 42
8, 87
8, and 142
8.[221] - Zeitmaße by Karlheinz Stockhausen uses 1
2, 1
8, 1
16, 2
16, 2
32, 3
16, 3
32, 4
16, 8
8, 8
32, 11
16, 12
32, 17
32, 23
32, and 30
32.[87][222]
See also
Notes and references
- 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). - Britten 1945b.
- Elgar 1899, 35–46.
- Borodin [1888], 44–86.
- Copland 1945, 56–59.
- Enescu 1965, 62.
- "Archived copy" (PDF). Archived (PDF) from the original on 18 April 2017. Retrieved 29 May 2020.CS1 maint: archived copy as title (link)
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- http://cnks.imslp.org/files/imglnks/usimg/4/46/IMSLP99159-PMLP200270-Couperin_-_Pieces_de_clavecin_Bk3.pdf
- "Archived copy" (PDF). Archived (PDF) from the original on 22 April 2017. Retrieved 29 May 2020.CS1 maint: archived copy as title (link)
- Piano Sonata No. 5 (Scriabin): Scores at the International Music Score Library Project. Leipzig: Edition Peters, 1971, plate E.P. 12588.
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- Edward Elgar, Symphony No. 1 Archived 29 September 2018 at the Wayback Machine (London: Eulenberg Edition, n.d.), 62–101.
- Myaskovsky 1947, 4–8, 23–30, 41–44, 59–65, 70–73.
- Revueltas 1971, 32, 34–38.
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"SOAM's" complex improv segment is notorious for its time signature, which involves three sections of eight eighth-notes and then a fourth section with nine eighth-notes in a steady pulse (listen to Fishman's hi-hat)
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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. - Lloyd, Stephen (1982). "Grainger's Original Compositions". Studies in Music. Number 16: 12.
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- Nilsson 1958, 8; Read 1964, 172.
- Nilsson 1958, 10; Read 1964, 172.
- Nilsson 1958, 10 & 12; Read 1964, 172.
- Nilsson 1958, 11; Read 1964, 172.
- Boulez 1957, 18.
- Boulez 1957, 19–20.
- Ives 1920, 56.
- Chávez 1972, 17–20.
- Wagner 2010, 312–13.
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- Strait 2000, 56.
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- Chávez 1972, 16, 19.
- Villa-Lobos 1927, 4:1–4.
- Banks n.d.
- Sheet music, published by New Hidden Valley Music and Casa David, copyright 1966
- Wolinski 2014
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- Stockhausen 1957, 52, 60–62, 66.
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![[Study] No. 40](http://www.nancarrow.de/Study%2040%20Punching%20Score/1.jpg){kind=link}
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