List of musical works in unusual time signatures

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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.<ref name="musictechmag">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).</ref>

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 signify visually tempo for slow movements in symphonies, sonatas, and concerti. The Piano Sonata No. 14 in C-sharp minor "Quasi una fantasia", Op. 27, No. 2, by Ludwig van Beethoven, popularly known as the Moonlight Sonata, is an example of this: although the first movement is relatively slow, the predominant rhythm is that of triplet eighth notes (quavers), whereas in the second movement the basic tempo is faster but Beethoven notates the music in quarter notes (crotchets) and half notes (minims), giving a visual clue to the nature of the phrasing. A reworking of the first movement could place the meter as 12/8 and still convey the same rhythm, phrasing, and tempo. Similarly, a reworking of the 2nd movement could place it in 3/8 instead of 3/4 without destroying the phrasing.<ref>Ted Ross, The Art of Music Engraving and Processing: A Complete Manual, Reference and Text Book on Preparing Music for Reproduction and Print, 3rd edition, revised (Miami: Hansen Books; Santa Rosa, CA: NPC Imaging/Shattinger International Music Corporation, 2001),Template:Page needed.</ref> More to the point of the present article, 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 2¾ bars, and therefore commencing each time one crotchet earlier than the preceding one.<ref>Britten 1945b.</ref>

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

1 ⅔/2 and ⅔/4
- 1.1 Partially in ⅔/2 or ⅔/4
2 ⅗/4
- 2.1 Partially in ⅗/4
3 ⅘/4
- 3.1 Partially in ⅘/4
4 4/3/2 or 4/3/4
- 4.1 Partially in 4/3/2 or 4/3/4
5 1/1, 1/2, 1/4, 1/8, or 1/16
- 5.1 Partially in 1/1, 1/2, 1/4, 1/8, or 1/16
6 2/1
- 6.1 Partially in 2/1
7 2½/4
- 7.1 Partially in 2½/4
8 3/32
9 3½/4
- 9.1 Partially in 3½/4
10 32/2/4
11 3⅔/4
12 4½/4
- 12.1 Partially in 4½/4
13 5/1, 5/2, 5/4, or 5/8
14 5½/4
- 14.1 Partially in 5½/4
15 6/2
- 15.1 Partially in 6/2
16 7/4, 7/8, or 7/16
17 8/8 (unevenly grouped)
18 8/4
- 18.1 Partially in 8/4
19 9/8 (not ordinary triple-compound)
- 19.1 Partially in 9/8, 9/4, or 9/2
20 10/4, 10/8 or 10/16
- 20.1 Partially in 10/4, 10/8 or 10/16
21 11/4 or 11/8
- 21.1 Partially in 11/4 or 11/8
22 13/4 or 13/8
- 22.1 Partially in 13/4 or 13/8
23 15/8 or 15/16
- 23.1 Partially in 15/4, 15/8, or 15/16
24 17/4 or 17/8
- 24.1 Partially in 17/4 or 17/8
25 18/8 or 18/16
26 19/4, 19/8, or 19/16
27 20/4 or 20/8
- 27.1 Partially in 20/4 or 20/8
28 21/4, 21/16, or 21/32
- 28.1 Partially in 21/4, 21/16, or 21/32
29 22/8
30 24/1 or 24/16
31 25/8
32 32/8
- 32.1 Partially in 32/8
33 33/8
34 34/8
- 34.1 Partially in 34/8
35 42/8
- 35.1 Partially in 42/8
36 59/48
- 36.1 Partially in 59/48
37 87/8
- 37.1 Partially in 87/8
38 142/8
- 38.1 Partially in 142/8
39 Unusual time signature combinations
40 Unspecified time signatures
41 See also
42 Notes and references
43 Bibliography

⅔/2 and ⅔/4

Partially in ⅔/2 or 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.<ref>Boulez 1957, 19–20.</ref>
Mädchentotenlieder, by Bo Nilsson. Bar 102 is in ⅔/2; bar 123 is in ⅔/4 time.<ref>Nilsson 1958, 10 & 12; Read 1964, 172.</ref>

⅗/4

Partially in ⅗/4

Mädchentotenlieder, by Bo Nilsson. Bar 97 is in ⅗/4 time.<ref>Nilsson 1958, 10; Read 1964, 172.</ref>

⅘/4

Partially in ⅘/4

Mädchentotenlieder, by Bo Nilsson. Bar 112 is in ⅘/4 time.<ref>Nilsson 1958, 11; Read 1964, 172.</ref>

⁴/₃/2 or ⁴/₃/4

Partially in ⁴/₃/2 or ⁴/₃/4

"L'Artisanat furieux", third movement of Le Marteau sans maître, by Pierre Boulez. Bar 3 is in ⁴/₃/2 time.<ref>Boulez 1957, 18.</ref>
Mädchentotenlieder, by Bo Nilsson. Bar 83 is in ⁴/₃/4 time.<ref>Nilsson 1958, 8; Read 1964, 172.</ref>

1/1, 1/2, 1/4, 1/8, or 1/16

Partially in 1/1, 1/2, 1/4, 1/8, or 1/16

Appalachian Spring, by Aaron Copland. Third bar of rehearsal 46 and third bar of rehearsal 48 are in 1/2.<ref>Copland 1945, 56–59.</ref>
"Improvisation sur Mallarmé 2", from Pli selon pli by Pierre Boulez.<ref>Read 1964, 158.</ref>
Mädchentotenlieder, by Bo Nilsson. Bar 11 is in 1/16 time, bar 53 is in 1/8 time, 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.<ref>Nilsson 1958, 3–15.</ref>
"Scherzo" (2nd Movement) from Alexander Borodin's Symphony No. 2 is in Prestissimo 1/1, except for the trio section, which is in Allegretto 6/4.<ref>Borodin [n.d., ca. 1920], 51–94. IMSLP scans available.</ref>

2/1

"Gique", last movement of 6th Partita in E minor, BWV 830, by Johann Sebastian Bach.<ref>Template:Cite book</ref>

Partially in 2/1

"Improvisation sur Mallarmé 2", from Pli selon pli by Pierre Boulez.<ref>Read 1964, 158.</ref>
Five Pieces for Piano, op. 23, by Arnold Schoenberg.<ref>Read 1964, 158.</ref>

2½/4

Partially in 2½/4

Study in Sonority by Wallingford Riegger contains several 2½/4 bars.<ref>Read 1964, 170.</ref>

3/32

"Lilliputsche Chaconne", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann.<ref>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. . . ."</ref>

3½/4

Partially in 3½/4

Driftwood Suite, for piano, by Gardner Read uses 3½/4 time.<ref>Read 1964, 170.</ref>
Touch Piece, for piano, by Gardner Read uses 3½/4 time.<ref>Read 1964, 170.</ref>

3²/₂/4

"Reverie der Laputier, nebst ihren Aufweckern", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann.<ref>Telemann 1728, 40; Zohn 2004, 247: "The ‘Reverie der Laputier, nebst ihren Aufweckern’ . . . teases the reader with a nonsensical time signature, 3²/₂/4, in an apparent allusion to the Laputians’ love for, and incompetence in, mathematics." Dietz Degan, the editor of Telemann 1970, transcribes this piece simply in 2/2.</ref>

3⅔/4

"Upstart" by Don Ellis (originally written in 11/8).<ref>Strait 2000, 56.</ref>

4½/4

Partially in 4½/4

Driftwood Suite, for piano, by Gardner Read uses 4½/4 time.<ref>Read 1964, 170.</ref>
Touch Piece, for piano, by Gardner Read uses 4½/4 time.<ref>Read 1964, 170.</ref>

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

See Quintuple meter

5½/4

Partially in 5½/4

Driftwood Suite, for piano, by Gardner Read uses 5½/4 time.<ref>Read 1964, 170.</ref>
Touch Piece, for piano, by Gardner Read uses 5½/4 time.<ref>Read 1964, 170.</ref>

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).<ref>Ginastera 1946, 1:12–13.</ref>
"Molto adagio" (Adagio for Strings), second movement of Samuel Barber’s String Quartet, op. 11, bars 15 and 26 are in 6/2.<ref>Barber 1943, 11–12.</ref>

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

See Septuple meter

8/8 (unevenly grouped)

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

8/4

Partially in 8/4

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

9/8 (not ordinary triple-compound)

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

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 3+2+4, organ solo plays polymetrically over this (sometimes 4/4, sometimes 7/4.)<ref>Seconds Out Songbook 1978 Wise Publications</ref>
"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<ref>Dryden, Ken. "[[[Template:Allmusic]] Blue Rondo a la Turk]", Allmusic: "unusual time signature of 9/8".</ref>
"Broken Toy" (2006) by Keane, from the album Under the Iron Sea. First and second verses are marked 9/8 (although choruses use 6/8 or either 3/4).<ref>Under the Iron Sea Songbook 2006 Wise Publication, p.52</ref>
"Happiness Is A Warm Gun" by John Lennon and Paul McCartney, as transcribed by Fujita et al.<ref>Fujita et al. 1993Template:Citation needed.</ref>
"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.<ref>Ginastera 1955, 17–20.</ref>
"Voices" by Dream Theater. Opening riff in 9/8 broken down as 4/4 + 1/8.<ref name="dtrefs">Odd time signatures demonstration by Mike Portnoy</ref>

10/4, 10/8 or 10/16

"Alpha Beta Gaga" by Air. (10/4)<ref name="pandora_meters">Pandora presents Meters & Time Signatures.</ref>
Etude, op. 35, no. 12, for piano, by Charles Valentin Alkan. (10/16)<ref>Eddie 2007, 62.</ref>
"Everything in Its Right Place" by Radiohead. (10/4)<ref name="pandora_meters" />
"Go to Sleep" by Radiohead. (10/4)<ref name="pandora_meters" />
"Just Like You Imagined" by Nine Inch Nails. (10/4)<ref>Evan Banks, "Humming the Bassline: Just Like You Imagined. American Observer (29 September 2009).</ref>
"Looks Good (But You Looked Away)", by the Helio Sequence. (10/4)<ref name="pandora_meters"/>
"Nostalgia" by Yanni. (10/8)<ref name="yanni">Template:Cite book</ref>
"Playing in the Band" by the Grateful Dead (notated as 4/4 + 4/4 + 2/4). (10/4)<ref>John J. Wood, Eric Nay and Ihor Slabicky, "The Eleven and Other Rhythmic Oddities (Grateful Dead)", from the Grateful Dead FAQ; Kevin Seal and Adam Blum, "Pandora Presents . . . Meters & Time Signatures"</ref>
"Wanderlove" by Mason Williams. (10/4)<ref>Liner notes to The Mason Williams Phonograph Record Warner Brothers LP, WS 1729. Burbank: Warner Brothers-Seven Arts Records, 1968.</ref>

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.<ref>Britten 1946, 14.</ref>
"Solacium", part 3 of "De Elegia Tertia" from Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky.<ref>Bars 2–5 are in 10/8 time (Stravinsky 1958, 52).</ref>
"Thick As A Brick" by Jethro Tull. The second section of the first part of the song is in 10/4<ref>Uncommon Time - Television Tropes & Idioms, "[1]"; David Kaplowitz's Odd Time Page, "[2]"</ref>

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).<ref>Le Jeune 1951–59, 2:85–88.</ref>
"The Eleven", by the Grateful Dead. (11/8)<ref>Lindsay Planer, "[[[Template:Allmusic]] Live/Dead]", Allmusic: "instrumental rhythmic excursion titled "The Eleven" after the jam's tricky time signature".Template:Citation needed</ref>
Eleven Four, by Paul Desmond and recorded by the Dave Brubeck Quartet.<ref>Howard Brubeck (ed.), Dave Brubeck Deluxe Piano Album, (San Francisco: Derry Music Co., 1965), pp. 22-28.</ref>
"Fugue", second movement of Bachianas brasileiras no. 9, by Heitor Villa-Lobos. (11/8)<ref>Villa-Lobos 1969, 3–18.</ref>
In Nomine IX, for harpsichord, by John Bull. (11/4)<ref>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.</ref>
"Presto", second movement of Alexei Stanchinsky's Piano Sonata No.2 in G major (11/8)<ref>http://imslp.info/files/imglnks/usimg/9/9d/IMSLP15483-Stanchinksy_-_Piano_Sonata_No.2.pdf Piano Sonata No. 2 by Alexei Stanchinsky at the International Music Score Library Project</ref>

Partially in 11/4 or 11/8

Blockhead, by Devo. Verses are in 11/8 time, choruses in 4/4.<ref>Mark Feldman 2000.</ref>
Eleven, by Primus. 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.<ref>Primus Anthology: A thru N: For guitar and bass / Primus, transcribed by Jeff Jacobsen (New York: Cherry Lane, 2000), 17–20.</ref>
Mädchentotenlieder, by Bo Nilsson. Bar 74 is in 11/4 time.<ref>Nilsson 1958, 7.</ref>
"Serenade" by Derek Bourgeois. The beginning and ending sections are in 11/8.<ref name=reynish>{{

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13/4 or 13/8

"The Great Divide" by Don Ellis (13/4).<ref>Perkins 2000, 1:18.</ref>
"13th August" by FromUz (13/8)<ref>FROMUZ - "Overlook" booklet, 8–9.</ref>
"The Façade" by Wavequation (13/8).<ref>Wavequation track page</ref>

Partially in 13/4 or 13/8

"Metropolis Pt. 1: The Miracle and the Sleeper" by Dream Theater. Beginning of instrumental section in 13/8, broken down as 6/8 + 7/8, and later as 4/4 + 5/8.<ref name="dtrefs" />
"Serenade" by Derek Bourgeois. The middle section is in 13/8.<ref name=reynish/> <ref name=howardpac/>
"Skimbleshanks" from Andrew Lloyd Webber's musical Cats. Introduction and chorus are in 13/8 (3+3+3+4). Verses in 4/4.<ref>Andrew Lloyd Webber, T. S. Eliot - "Cats" Hal Leonard (HL00359466), ISBN 0881884472</ref>
"Turn It on Again" by Genesis. The verses and choruses are in 13/8. Other parts are in 8/8, and 5/8.<ref>Genesis 2001, Template:Page needed.</ref>

15/8 or 15/16

Partially in 15/4, 15/8, or 15/16

"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.<ref>Brahms 1972, 134–37 of the score (= piano part).</ref>
"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.<ref name="dtrefs" />
"Fêtes", no. 2 from Nocturnes, by Claude Debussy.<ref>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.</ref>
Frontispice, for two pianos (five hands), by Maurice Ravel.<ref name="ReferenceA">"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.</ref>
Robert Browning Overture, by Charles Ives includes measures in 15/16 time.<ref>Read 1964, 157.</ref>
String Quartet No. 1 (1950–51), by Elliott Carter includes measures in 15/16 time.<ref>Read 1964, 157.</ref>
String Quartet No. 1 (1949), by Leon Kirchner includes measures in 15/16 time.<ref>Read 1964, 157.</ref>
String Quartet No. 2 (1959), by Elliott Carter includes measures in 15/16 time.<ref>Read 1964, 157.</ref>
"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.<ref>Template:Cite book</ref>

17/4 or 17/8

"(Theme from) Valley of the Dolls" by Andre Previn and Dory Previn. Verse changes every measure 4/4 + 3/4 + 2/4 + 4/4 + 4/4 <ref>http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0035333#</ref>

Partially in 17/4 or 17/8

"Seconds" by Burt Bacharach and Neil Simon ends in 17/8.<ref>http://www.youtube.com/watch?v=jAl6vvjEA_w Template:Verify credibility</ref>

18/8 or 18/16

"Only 18" by [Peter Boyd] on "Time to Gather Seeds" by The Limelighters 1968. www.yangna.org under "More Songs"
"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.<ref name="mahavishnu">John McLaughlin, John McLaughlin and the Mahavishnu Orchestra: John McLaughlin's Scores to 28 Classic Recordings (Van Nuys: Alfred Publishing, 2006).Template:Citation needed ISBN 0739042556</ref>.
"Moderato", no. 2 (1909) from Four Etudes, op. 2, by Sergei Prokofiev (18/8 in one hand against 4/4 in the other).<ref>Prokofiev 1955, 1:9–14.</ref>
"Variatio 26, a 2 Clav.", from the Clavierübung, Vierter Theil, Aria mit 30 Veränderungen ["Goldberg Variations"], by Johann Sebastian Bach. (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).<ref>Bach 1968, 98–99.</ref>

19/4, 19/8, or 19/16

"Celestial Terrestrial Commuters" by Mahavishnu Orchestra.<ref name="mahavishnu" />Template:Page needed
Consort for Piano and Strings by John Vincent.<ref>Read 1964, 159.</ref>
"19 Days" by Gavin Harrison.<ref>Bernhard Castiglioni Gavin Harrison Part II (video). Videos and Pictures from the Musikmesse Frankfurt 2007. www.drummerworld.com (Accessed 6 June 2010).</ref>
"She's Only 19" by Wayne L. Perkins (19/4).<ref>Perkins 2000, 2:1–17 (score).</ref>
"33 222 1 222" by Don Ellis (19/4).<ref>Fenlon 2002, 112–13.</ref>

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).<ref name="Le Jeune 1951–59, 1:32–33">Le Jeune 1951–59, 1:32–33.</ref>
"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).<ref>Read 1964, 160; Stravinsky 1958, 29.</ref>

21/4, 21/16, or 21/32

Partially in 21/4, 21/16, or 21/32

"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).<ref name="Le Jeune 1951–59, 1:32–33"/>
"Keep It Greasy" by Frank Zappa (On the studio album, first verse and guitar solo are counted in 19/16 and another part is in 21/16).<ref name="colaiuta">Vinnie Colaiuta, interviewed by Robyn Flans. Modern Drummer (November 1982). http://www.vinniecolaiuta.com/articles/moderndrummer82.aspx.</ref>
Klavierstück IX (1954–55/61) by Karlheinz Stockhausen. Bars 6, 17, 120, and 149 are in 21/8 time.<ref>Stockhausen 1967, 1, 6, and 7.</ref>
Sonata for Cello and Piano (1948), by Elliott Carter, includes 21/32 time.<ref>Read 1964, 156.</ref>

22/8

"The First Circle" from the album First Circle by the Pat Metheny Group. Composed by Pat Metheny and Lyle Mays.<ref>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."</ref>

24/1 or 24/16

"Brobdingnagische Gigue", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann.<ref>Telemann 1728, 37; Telemann 1970, 14–15; Zohn 2004, 247: "the ‘Brobdingnagische Gigue’—no doubt inspired

by 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."</ref>

"Prelude no. 15" from the Well-Tempered Clavier by Johann Sebastian Bach is in 24/16<ref>Read 1964, 158.</ref>

25/8

"How's This for Openers?" by Don Ellis (25/8).<ref>Fenlon 2002, 90 & 102–106.</ref>

32/8

Partially in 32/8

"Variations for Trumpet" by Don Ellis has one section in 32/8.<ref>Fenlon 2002, 40.</ref>

33/8

"Bulgarian Bulge" by Don Ellis (33/8).<ref>Fenlon 2002, 41; Fienberg 2004, 228–29 & 231–32.</ref>

34/8

Partially in 34/8

Klavierstück IX (1954–55/61) by Karlheinz Stockhausen. The last two bars are in 34/8 time.<ref>Stockhausen 1967, 7.</ref>

42/8

Partially in 42/8

Klavierstück IX (1954–55/61) by Karlheinz Stockhausen. Bar 3 is in 42/8 time.<ref name="stockhausen1">Stockhausen 1967, 1.</ref>

59/48

Partially in 59/48

Evol by Damian LeGassick alternates a rhythm notated as five beats in the time of seven with another in 59/48 time.<ref>Gilmore 1994, 4.</ref>

87/8

Partially in 87/8

Klavierstück IX (1954–55/61) by Karlheinz Stockhausen. Bar 2 is in 87/8 time.<ref name="stockhausen1" />

142/8

Partially in 142/8

Klavierstück IX (1954–55/61) by Karlheinz Stockhausen. Bar 1 is in 142/8 time.<ref name="stockhausen1" />

Unusual time signature combinations

"Autopsy," from Fairport Convention's album Unhalfbricking, switches between 5/4, 3/4 and 4/4.<ref> Pamela Winters, "Richard Thompson: Plunging the Knife in Deeper", Paste Magazine (9 June 2003).</ref>
"Bastard" by Ben Folds. A combination of the time signatures 4/4, 3/2, 7/4, 6/4, 3/4, and 5/4.<ref>Ben Folds-"Songs for Silverman, piano/vocal transcriptions Hal Leonard Corporation Template:Citation needed.</ref>
"Diary of a Madman" by Ozzy Osbourne. After an intro in 4/4, there's a theme in 9/8 and 8/8, ending in 6/8. The verse is in 7/4. the chorus in 6/8. See also #Partially_in_7.2F4_or_7.2F8. <ref>Guitar April 1998, ""Diary of a madman"". Transcribed by Jeff Jacobson.Template:Full</ref>
"Fish On" by Primus. The intro has a free time feel, but is transcribed as: 4/4, 2/4, 4/4, 3/4, 4/4, 2/4, 4/4, 2/4, 7/8, 12/8, 14/8, 4/4, 4/4, 12/8 (7 times) and 6/8.<ref>Primus Anthology:A thru N: For guitar and bass / Primus; transcr. by Jeff Jacobsen. - New York: Cherry Lane; , pag. 21. 2000.</ref>
"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.<ref>{{

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"Here Comes the Sun", by The Beatles. The bridge can be transcribed as 11/8 + 4/4 + 7/8<ref>"The meters of these three measures are 11/8, 4/4, and 7/8, respectively. The special effect of running even eighth notes accented as if triplets against the grain of the underlying backbeat is carried to a point more reminiscent of Stravinsky than of the Beatles" (Alan Pollack's 'Notes On' series, no. 183).</ref> or 3/8 + 3/8 + 5/8 + 4/4 + 2/4 + 3/8<ref>As transcribed by Andy Adelort in Guitar World, January 1996 (Harris Publications, inc.)Template:Full</ref>
"Hey Ya!" by OutKast. Emulates 11/4<ref>{{

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"Limelight" by 'Rush. Intro is 4/4 and 3/4 alternating (can be transcribed as 7/4 therefore), verse is 3/4, 3/4, 4/4, 2/4, 4/4, 2/4, 3/4, 3/4, 4/4 (3 times). The chorus is 7 times 3/4, 3 times 4/4.<ref>Guitar School March 1994, ""Geddy Lee Bass Clinic""Template:Full</ref>
"On the Floor" by Maartin Allcock. A tune where passages of mixed time signatures (5/4, 4/4, 3/4, 6/8, 6/4, 7/4 - with no more than two consecutive bars in the same time) alternate with longer passages in 4/4.<ref>Template:Cite book</ref>
"Physical Cities" by The Bad Plus. Alternates between 5/16, 3/4 and 10/8.<ref>{{

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"The Dance of Eternity" by Dream Theater. This instrumental contains mixtures of faster and slower beat groupings in 8, 7, 6, 5, and 4. It goes through 104 time signature changes in just over six minutes.<ref>{{

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"The Eynsham Poacher", a traditional song; in the arrangement by Dave Pegg, most of the tune is in 12/8, but there are five other time signatures: several single bars at 9/8 occur in the refrain and elsewhere; the bridge has a six-bar phrase of three bars at 2/4, one at 6/8 then two more at 2/4; whilst the 9/8 finale includes one bar each of 1/4 and 4/4.<ref>Template:Cite book</ref>
"Trial Before Pilate (Including the Thirty-Nine Lashes)", from the musical Jesus Christ Superstar by Andrew Lloyd Webber, includes 4/4, 3/4, 5/8, 2/4, 6/8, 6/4, 5/4, 7/4, 7/8, and 2/8, and the time signature in the piece varies a total of 41 times.<ref>Lloyd Webber and Rice 1970.</ref>
"Schism" by Tool begins in six, moves to six-and-a-half, then, according to bassist Justin Chancellor "goes into all kinds of other times."<ref name="bassplayer052001">Template:Cite journal</ref>
"I Say a Little Prayer" by Dionne Warwick uses 10/4 for verses and 11/4 for its chorus.<ref>Sheet music, published by New Hidden Valley Music and Casa David, copyright 1966</ref>

Unspecified time signatures

"My Human Gets Me Blues" by Captain Beefheart & the Magic Band features a "complex time signature."<ref>{{

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"Prize" by Wanderlust features a "distinctive, unconventional time signature."<ref>{{

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"Wandering Child" by Gov't Mule features an "oddball time signature."<ref>{{

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Notes and references

Template:Reflist

Bibliography

Bach, Johann Sebastian. 1968. The Musical Offering [and] The "Goldberg Variations". Kalmus Study Scores no. 720. [N.p.]: Edwin F. Kalmus, Publisher of Music. Reprinted Melville, NY: Belwin Mills Publishing Corp.
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.
Bois, Rob du. 1979. Concert voor twee violen en orkest. Amsterdam: Donemus.
Borodin, Alexander Porfirevich. [n.d., ca. 1920]. Symphony No. 2, revised and edited by Alexander Glazunov and Nikolai Rimsky-Korsakov. Leipzig: Ernst Eulenburg. IMSLP scans.
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. 1945a. Old Joe Has Gone Fishing. London: Boosey & Hawkes. ISMN 9790060014864
Britten, Benjamin. 1945b. Passacaglia, opus 33b, frm the opera Peter Grimes. London: Boosey & Hawkes.
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, Cape Town, Sydney, Toronto, Buenos Aires, New York: Boosey & Co., Ltd.
Copland, Aaron. 1945. Appalachian Spring (Ballet for Martha). Hawkes Pocket Scores 8. London: Boosey & Hawkes.
Davison, Archibald T., and Willi Apel (eds.). 1974. Historical Anthology of Music, vol. 1: Oriental, Medieval and Renaissance Music. Revised edition. Cambridge: Harvard University Press. ISBN 0-674-39300-7
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
Fenlon, Sean. 2002. "The Exotic Rhythms of Don Ellis". DMA diss. Baltimore: Johns Hopkins University, Peabody Institute. ISBN 0-493-60448-0.
Fienberg, Gary Andrew. 2004. "It Doesn't Have to Be Sanctified to Swing: A Musical Biography of Don Ellis". PhD diss. Pittsburgh: Carnegie Mellon University. ISBN 0-496-86817-9.
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
Genesis (musical group). 2001. Anthology. Milwaukee: Hal Leonard. ISBN 0-634-02063-3.
Genesis (musical group). 2002. Genesis Guitar Anthology. Hal Leonard Guitar Recorded Version. [United States]: EMI Music Pub.; Milwaukee: Hal Leonard Corporation. ISBN 0-634-02067-6.
Gilmore, Bob. 1994. "Icebreaker". Liner notes to Icebreaker: Terminal Velocity. Argo 443 214-2. CD recording. London: The Decca Record Company Limited.
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.
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Helmore, Rev. Thomas. 1879. "Accent". 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.
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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.
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 {{Template}}
-:''[[Andy Votel]]'s ''[[Prog Is Not a Four Letter Word]]'' ([[2006]])''
+<!--**********************************************************************************************
-'''Progressive rock''' is a style of [[rock music]] that arose in the late [[1960s]], reaching the peak of its popularity in the [[1970s]], but continuing to this day.
-Progressive rock artists sought to move forward, or progress, the rock genre from its simple roots to a higher level. The music is often complex and elaborate, frequently requiring a high level of musicianship from the artists. Elements of progressive rock include:
+BEFORE YOU ADD ANY NEW PIECES, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE RHYTHM YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER!
-* Long pieces, in some cases over 20 minutes. (An extreme example is "Karn Evil 9" by [[Emerson Lake and Palmer]], which was too long to fit on a single LP album side).
+Please list unsourced material on the talk list linked on the Talk Page. It is a good resource for people who are confident enough to count for themselves.
-* Pieces that are subdivided into sub-pieces, in the manner of a classical symphony. (An example is the four-part song "Close to the Edge" on the three-track album of the same name by [[Yes (band)|Yes]]).
-* Lyrics that are complex and sometimes impenetrable, but usually carefully crafted, covering such themes as [[science fiction]], [[fantasy]], [[religion]], [[war]], [[love]], madness and [[history]].
-* Melodies and harmonies that are intricate and lengthy, often requiring repeated listening to grasp.
-* [[Concept album|Concept albums]], where a theme or set of themes is explored throughout an entire album. (Extreme examples are the double concept albums, ''The Lamb Lies Down on Broadway'' by [[Genesis (band)|Genesis]], ''Tales from Topographic Oceans'' by [[Yes (band)|Yes]]), and "From Planet Daelthesya To Planet Earth" by [[Master Sound]].
-* Unusual vocal styles and use of multi-part vocal harmonies.
-* Use of both classical and [[electronic instrument|electronic instruments]] (particularly keyboards), in addition to the usual rock combination of [[electric guitar]], [[bass]] and [[drum]]s.
-* Inclusion of elements from disparate other musical genres, particularly [[hard rock]], [[classical music]] and [[jazz]].
-* Use of [[syncopation]], unusual [[time signature]]s, scales or tunings. Some pieces use multiple time signatures and/or [[tempo]]s, sometimes overlaid.
-* Solo passages of great speed, subtlety, complexity and/or difficulty, demonstrating the virtuosity of the player.
-* Inclusion of classical pieces on albums. For example, [[Yes (band)|Yes]] start their concerts with a taped extract of [[Igor Stravinsky|Stravinsky's]] [[Firebird suite]], and [[Emerson Lake and Palmer]] have included pieces by [[Aaron Copland|Copland]], [[Modest Moussorgsky|Moussorgsky]], [[Charles Hubert Hastings Parry|Parry]]. [[Marillion]] once started concerts with [[Gioacchino Rossini|Rossini]]'s ''La Gazza Ladra'', and named their first live album the same.
-Progressive rock can be closely identified with the term [[art rock]]. [[Symphonic rock]] can be considered a significant subset of progressive rock.
+*************************************************************************************************-->
-Progressive rock's popularity peaked in the mid [[1970s]], when progressive rock artists regularly topped readers' votes in mainstream popular music magazines. With the advent of [[punk rock]] in the late [[1970s]], and its earlier precursor [[Pub rock (UK)| pub rock]], popular and critical opinion moved toward a simpler and more aggressive style of rock, with the words "pretentious", "pompous", and "overblown" often being used to describe progressive rock.
+Listed here are [[musical composition]]s or [[piece]]s in Western music that have [[Time signature#Complex time signatures|unusual time signatures]]. "Unusual" is here defined to be <blockquote>''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.''<ref name="musictechmag">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).</ref></blockquote>
-The early [[1980s]] saw something of a revival of the genre, led by groups such as [[Marillion]]. Groups that arose during this time are sometimes labelled ''neo-progressive''. At the same time, some progressive rock stalwarts modified themselves to some extent, simplifying their music and including more obviously electronic elements. In [[1983]], [[Genesis (band)|Genesis]] achieved international success with the song "Mama", with its heavy emphasis on a drum machine riff. In [[1984]], [[Yes (band)|Yes]] had a surprise number one hit with the song "Owner of a Lonely Heart", which contained modern (for the time) electronic effects, yet was simple enough to be played at discos.
+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 signify visually tempo for slow movements in symphonies, sonatas, and concerti. The Piano Sonata No. 14 in C-sharp minor "Quasi una fantasia", Op. 27, No. 2, by Ludwig van Beethoven, popularly known as the [[Moonlight Sonata]], is an example of this: although the first movement is relatively slow, the predominant rhythm is that of triplet [[eighth notes]] (quavers), whereas in the second movement the basic tempo is faster but Beethoven notates the music in [[quarter notes]] (crotchets) and [[half notes]] (minims), giving a visual clue to the nature of the phrasing. A reworking of the first movement could place the meter as 12/8 and still convey the same rhythm, phrasing, and tempo. Similarly, a reworking of the 2nd movement could place it in 3/8 instead of 3/4 without destroying the phrasing.<ref>Ted Ross, ''The Art of Music Engraving and Processing: A Complete Manual, Reference and Text Book on Preparing Music for Reproduction and Print'', 3rd edition, revised (Miami: Hansen Books; Santa Rosa, CA: NPC Imaging/Shattinger International Music Corporation, 2001),{{Page needed|date=December 2008}}<!--Book has 278 pages, plus 10 pages of prefatory material.-->.</ref> More to the point of the present article, 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 [[Benjamin Britten|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 2¾ bars, and therefore commencing each time one crotchet earlier than the preceding one.<ref>Britten 1945b.</ref>
-The genre received another minor surge of popularity in the [[1990s]] with a wave of new bands, many of which played harder-edged music known as [[progressive metal]]. Today, progressive rock continues to be created and admired by a solid core of enthusiasts, but cannot convincingly claim to be progressing rock music in the way it once did. However, the work of contemporary artists such as [[Godspeed You! Black Emperor]] could be said to incorporate some of the more experimental elements of progresive rock, combined with the aesthetic sensibilities of [[punk rock]] to produce music which is at once challenging, inovative and imaginative.
+These examples are grouped by time signature, and listed alphabetically by title.
-=== Early bands ===
-Music critic [[Piero Scaruffi]] opines that the "bands that nurtured prog-rock through its early stages were [[Traffic (band)|Traffic]], [[Jeff Beck]], [[Family (band)|Family]], [[Jethro Tull (band)|Jethro Tull]], and [[Genesis (band)|Genesis]]; while [[King Crimson]], [[Yes (band)|Yes]], and [[Van Der Graaf Generator]] represent the genre at its apex".
-Numerous key bands had formed by the end of the 1960s, including [[The Moody Blues]] (1964),  [[Pink Floyd]] (1965), [[Soft Machine]] (1966), [[Barclay James Harvest]] (1966), [[Gong (band)|Gong]] (1967), [[Genesis (band)|Genesis]] (1967), [[Jethro Tull (band)|Jethro Tull]] (1967), [[The Nice]] (1967), [[Yes (band)|Yes]] (1968), [[Caravan (band)|Caravan]] (1968), [[King Crimson]] (1969), [[Supertramp]] (1969) and [[Gentle Giant]] (1969).
+==⅔/2 and ⅔/4==
+===Partially in ⅔/2 or 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.<ref>Boulez 1957, 19–20.</ref>
+* ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 102 is in ⅔/2; bar 123 is in ⅔/4 time.<ref>Nilsson 1958, 10 & 12; Read 1964, 172.</ref>
-Although almost all of these bands were from the UK, the genre was growing popular elsewhere in continental Europe. [[Triumvirat]] led Germany's significant progressive rock movement, while [[Tangerine Dream]], [[Faust (band)|Faust]], [[Can (band)|Can]] and [[Neu!]] led the related [[Berlin School]] and [[Krautrock]] movements.
+==⅗/4==
+===Partially in ⅗/4===
+* ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 97 is in ⅗/4 time.<ref>Nilsson 1958, 10; Read 1964, 172.</ref>
-[[Focus (band)|Focus]] and ''Trace'' formed in the Netherlands, France produced [[Ange]], [[Gong]], and [[Magma (band)|Magma]], and Greece saw the debut of [[Aphrodite's Child]] led by electronic music pioneer [[Vangelis]]. Spain produced numerous prog groups, including Canarios and [[Triana (band)|Triana]].  Scandinavia was represented by: Norwegian band [[Popol Vuh (Norwegian band)|Popol Vuh]], Swedish band [[Kaipa]] and Finnish band [[Wigwam (progressive rock)|Wigwam]]. [[Italian progressive rock]] is sometimes considered a genre unto itself, highlighted by bands like [[Premiata Forneria Marconi|PFM]], [[Banco del Mutuo Soccorso|Banco]], [[Quella Vecchia Locanda]], [[Metamorfosi(band)|Metamorfosi]], [[New Trolls]], [[Area (band)|Area]], [[Le Orme]], [[Goblin (band)|Goblin]], [[Museo Rosenbach]], [[Il Balletto di Bronzo]], and [[Locanda Delle Fate]].
+==⅘/4==
+===Partially in ⅘/4===
+* ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 112 is in ⅘/4 time.<ref>Nilsson 1958, 11; Read 1964, 172.</ref>
-== Artists whose works include at least some progressive rock elements==
+==<small><sup>4</sup>/<sub>3</sub></small>/2 or <small><sup>4</sup>/<sub>3</sub></small>/4==
+===Partially in <small><sup>4</sup>/<sub>3</sub></small>/2 or <small><sup>4</sup>/<sub>3</sub></small>/4===
+* "L'Artisanat furieux", third movement of ''[[Le Marteau sans maître]]'', by [[Pierre Boulez]]. Bar 3 is in <small><sup>4</sup>/<sub>3</sub></small>/2 time.<ref>Boulez 1957, 18.</ref>
+* ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 83 is in <small><sup>4</sup>/<sub>3</sub></small>/4 time.<ref>Nilsson 1958, 8; Read 1964, 172.</ref>
-* [[Alan Parsons Project]]
+==1/1, 1/2, 1/4, 1/8, or 1/16==
-* [[Asia (band)|Asia]]
+===Partially in 1/1, 1/2, 1/4, 1/8, or 1/16===
-* [[Better Than Ezra]]
+* ''Appalachian Spring'', by [[Aaron Copland]]. Third bar of rehearsal 46 and third bar of rehearsal 48 are in 1/2.<ref>Copland 1945, 56–59.</ref>
-* [[Camel (band)|Camel]]
+* "Improvisation sur Mallarmé 2", from ''Pli selon pli'' by [[Pierre Boulez]].<ref>Read 1964, 158.</ref>
-* [[Can (band)|Can]]
+* ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 11 is in 1/16 time, bar 53 is in 1/8 time, 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.<ref>Nilsson 1958, 3–15.</ref>
-* [[Caravan (band)|Caravan]]
+* "Scherzo" (2nd Movement) from [[Alexander Borodin]]'s [[Symphony No. 2 (Borodin)|Symphony No. 2]] is in Prestissimo 1/1, except for the [[ternary form|trio]] section, which is in Allegretto 6/4.<ref>Borodin [n.d., ca. 1920], 51–94. [http://imslp.org/wiki/Symphony_No.2_%28Borodin%2C_Alexander_Porfirevich%29 IMSLP scans available.]</ref>
-* [[Crack the Sky]]
-* [[Daniel Amos]]
-* [[Deep Purple]]
-* [[Dream Theater]]
-* [[Electric Light Orchestra]] (progressive pop?)
-* [[Emerson Lake and Palmer]]
-* [[Faust (band)|Faust]]
-* [[Fish (singer)|Fish]]
-* [[Flower Kings]]
-* [[Focus (band)|Focus]]
-* [[Foreigner]]
-* [[Godspeed You! Black Emperor]]
-* [[Gong (band)|Gong]]
-* [[Genesis (band)|Genesis]]
-* [[Hatfield and the North]]
-* [[Henry Cow]]
-* [[Jethro Tull (band)|Jethro Tull]]
-* [[Kansas (band)|Kansas]]
-* [[Kate Bush]]
-* [[King Crimson]]
-* [[Led Zeppelin]]
-* [[Magma (band)| Magma]]
-* [[Marillion]]
-* [[Moody Blues]]
-* [[Mike Oldfield]]
-* [[Ozric Tentacles]]
-* [[Pallas]]
-* [[Peter Gabriel]]
-* [[Premiata Forneria Marconi (band)|PFM]]
-* [[Pink Floyd]]
-* [[Queensryche]]
-* [[Radiohead]]
-* [[Renaissance]]
-* [[Rush (band)|Rush]]
-* [[Skid Row]]
-* [[Soft Machine (band)|Soft Machine]]
-* [[Santana]]
-* [[Sky (band)|Sky]]
-* [[Spock's Beard]]
-* [[Styx (band)|Styx]]
-* [[Supertramp]]
-* [[Tangerine Dream]]
-* Tantra
-*[[TransAtlantic (band)|TransAtlantic]]
-* [[Uriah Heep]]
-* [[Rick Wakeman]]
-* [[Van der Graaf Generator (band)|Van der Graaf Generator]]
-* [[Warhorse (band)|Warhorse]]
-* [[Yes (band)|Yes]]
-== See also ==
-*[[Timeline of progressive rock]]
+==2/1==
-*[[List of musical works in unusual time signatures]] (not limited to prog rock)
+* "Gique"<!--NB: this is Bach's spelling, not a typo. See the cited source.-->, last movement of [[Partitas, BWV 825-830|6th Partita in E minor, BWV 830]], by [[Johann Sebastian Bach]].<ref>{{Cite book|author= Johann Bach |editor= Hans Bischoff |year= 1985 |publisher= Alfred Music Publishing |isbn= 9780769286044 |title= Six Partitas and Overture in French Style |url= http://books.google.com/?id=_M8RUaKmwYAC&pg=PT84 |page= 92}}</ref>
-*[[Art rock]]
-*[[Avant-progressive rock]]
+===Partially in 2/1===
-*[[Canterbury scene|The Canterbury Scene]]
+* "Improvisation sur Mallarmé 2", from ''Pli selon pli'' by [[Pierre Boulez]].<ref>Read 1964, 158.</ref>
-*[[Italian progressive rock]]
+* ''Five Pieces for Piano'', op. 23, by [[Arnold Schoenberg]].<ref>Read 1964, 158.</ref>
-*[[Krautrock]]
-*[[Rock in Opposition]]
+==2½/4==
+===Partially in 2½/4===
+* ''Study in Sonority'' by [[Wallingford Riegger]] contains several 2½/4 bars.<ref>Read 1964, 170.</ref>
+==3/32==
+* "Lilliputsche Chaconne", from ''Intrada, nebst burlesquer Suite'', for two violins (the so-called "Gulliver Suite") by [[Georg Philipp Telemann]].<ref>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. . . ."</ref>
+==3½/4==
+===Partially in 3½/4===
+* ''Driftwood Suite'', for piano, by [[Gardner Read]] uses 3½/4 time.<ref>Read 1964, 170.</ref>
+* ''Touch Piece'', for piano, by [[Gardner Read]] uses 3½/4 time.<ref>Read 1964, 170.</ref>
+==<small>3<sup>2</sup>/<sub>2</sub></small>/4==
+* "Reverie der Laputier, nebst ihren Aufweckern", from ''Intrada, nebst burlesquer Suite'', for two violins (the so-called "Gulliver Suite") by [[Georg Philipp Telemann]].<ref>Telemann 1728, 40; Zohn 2004, 247: "The ‘Reverie der Laputier, nebst ihren Aufweckern’ . . . teases the reader with a nonsensical time signature, <small>3<sup>2</sup>/<sub>2</sub></small>/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.</ref>
+==3⅔/4==
+* "Upstart" by [[Don Ellis]] (originally written in 11/8).<ref>Strait 2000, 56.</ref>
+==4½/4==
+===Partially in 4½/4===
+* ''Driftwood Suite'', for piano, by [[Gardner Read]] uses 4½/4 time.<ref>Read 1964, 170.</ref>
+* ''Touch Piece'', for piano, by [[Gardner Read]] uses 4½/4 time.<ref>Read 1964, 170.</ref>
+==5/1, 5/2, 5/4, or 5/8==
+See [[Quintuple meter]]
+==5½/4==
+===Partially in 5½/4===
+* ''Driftwood Suite'', for piano, by [[Gardner Read]] uses 5½/4 time.<ref>Read 1964, 170.</ref>
+* ''Touch Piece'', for piano, by [[Gardner Read]] uses 5½/4 time.<ref>Read 1964, 170.</ref>
+==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).<ref>Ginastera 1946, 1:12–13.</ref>
+*"Molto adagio" (Adagio for Strings), second movement of Samuel Barber’s String Quartet, op. 11, bars 15 and 26 are in 6/2.<ref>Barber 1943, 11–12.</ref>
+==7/4, 7/8, or 7/16==
+See [[Septuple meter]]
+==8/8 (unevenly grouped)==
+* "Six Dances in Bulgarian Rhythm" 4, from Béla Bartók's ''Mikrokosmos'' (no. 151), is in 3 + 2 + 3.<ref>Bartók 1940, 6:45–48.</ref>
+* "Six Dances in Bulgarian Rhythm" 6, from Béla Bartók's ''Mikrokosmos'' (no. 153), is in 3 + 3 + 2.<ref>Bartók 1940, 6:51–55.</ref>
+==8/4==
+===Partially in 8/4===
+* "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 36 (1945), by Benjamin Britten. Bars 3 and 12 after rehearsal '''K''' are in 8/4.<ref>Britten 1946, 14–15.</ref>
+* ''A Choral Fantasia'', op. 51, by [[Gustav Holst]]. Bars 36–69, 142–48, 173–78, and 191–98 are in 8/4.<ref>Holst 1977, 4–6, 18–19, 23–24, 27–30.</ref>
+==9/8 (not ordinary triple-compound)==
+<!--**********************************************************************************************
+BEFORE YOU ADD ANY NEW SONGS, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE TIMING YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER!
+*************************************************************************************************-->
+* "Six Dances in Bulgarian Rhythm" 1, from Béla Bartók's ''Mikrokosmos'' (no. 148), is in 4 + 2 + 3.<ref>Bartók 1940, 6:35–38.</ref>
+* "Six Dances in Bulgarian Rhythm" 5, from Béla Bartók's ''Mikrokosmos'' (no. 152), is in 2 + 2 + 2 + 3.<ref>Bartók 1940, 6:48–50.</ref>
+===Partially in 9/8, 9/4, or 9/2===
+<!--**********************************************************************************************
+BEFORE YOU ADD ANY NEW SONGS, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE TIMING YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER!
+*************************************************************************************************-->
+* "Apocalypse in 9/8" by [[Genesis (band)|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.)<ref>Seconds Out Songbook 1978 Wise Publications</ref>
+* "[[Blue Rondo à la Turk]]" (1958) by [[Dave Brubeck|the Dave Brubeck Quartet]], from the album ''[[Time Out (album)|Time Out]]'' - Played as 2+2+2+3 and 3+3+3, with some alternating sections of 4/4<ref>Dryden, Ken. "[{{Allmusic|class=song|id=t803311|pure_url=yes}} Blue Rondo a la Turk]", Allmusic: "unusual time signature of 9/8".</ref>
+* "[[Under the Iron Sea#Broken Toy|Broken Toy]]" (2006) by [[Keane (band)|Keane]], from the album ''[[Under the Iron Sea]]''. First and second verses are marked 9/8 (although choruses use 6/8 or either 3/4).<ref>''Under the Iron Sea'' Songbook 2006 Wise Publication, p.52</ref>
+* "[[Happiness Is A Warm Gun]]" by John Lennon and Paul McCartney, as transcribed by Fujita et al.<ref>Fujita et al. 1993{{Citation needed|date=March 2008}}<!--Page numbers needed-->.</ref>
+* "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.<ref>Ginastera 1955, 17–20.</ref>
+* "Voices" by [[Dream Theater]]. Opening riff in 9/8 broken down as 4/4 + 1/8.<ref name="dtrefs">[http://video.aol.com/video-detail/mike-portnoy-odd-time-signatures-demonstration/1272405019 Odd time signatures demonstration by Mike Portnoy]</ref>
+==10/4, 10/8 or 10/16==
+<!--**********************************************************************************************
+BEFORE YOU ADD ANY NEW SONGS, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE TIMING YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER!
+*************************************************************************************************-->
+* "Alpha Beta Gaga" by [[Air (French band)|Air]]. (10/4)<ref name="pandora_meters">[http://blog.pandora.com/archives/podcast/2007/09/meters_time_sig.html Pandora presents Meters & Time Signatures].</ref>
+* Etude, op. 35, no. 12, for piano, by Charles Valentin Alkan. (10/16)<ref>Eddie 2007, 62.</ref>
+* "[[Everything in Its Right Place]]" by [[Radiohead]]. (10/4)<ref name="pandora_meters" />
+* "[[Go to Sleep]]" by [[Radiohead]]. (10/4)<ref name="pandora_meters" />
+* "[[Just Like You Imagined]]" by [[Nine Inch Nails]]. (10/4)<ref>Evan Banks, "[http://inews6.americanobserver.net/content/humming-bassline-just-you-imagined Humming the Bassline: Just Like You Imagined]. ''American Observer'' (29 September 2009).</ref>
+* "Looks Good (But You Looked Away)", by the [[Helio Sequence]]. (10/4)<ref name="pandora_meters"/>
+* "Nostalgia" by [[Yanni]]. (10/8)<ref name="yanni">{{Cite book| last =| first =Yanni| authorlink =| coauthors =| title =The Best of Yanni; 11 selections from his top recordings| publisher =[[Hal Leonard Publishing]]| year = 1993| page = 16}}</ref>
+* "[[Playing in the Band]]" by the [[Grateful Dead]] (notated as 4/4 + 4/4 + 2/4). (10/4)<ref>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]"</ref>
+* "Wanderlove" by [[Mason Williams]]. (10/4)<ref>Liner notes to ''The Mason Williams Phonograph Record'' Warner Brothers LP, WS 1729. Burbank: Warner Brothers-Seven Arts Records, 1968.</ref>
+===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.<ref>Britten 1946, 14.</ref>
+* "Solacium", part 3 of "De Elegia Tertia" from [[Threni (Stravinsky)|''Threni, id est Lamentationes Jeremiae Prophetae'']], by [[Igor Stravinsky]].<ref>Bars 2–5 are in 10/8 time (Stravinsky 1958, 52).</ref>
+* "[[Thick As A Brick]]" by [[Jethro Tull (band)|Jethro Tull]]. The second section of the first part of the song is in 10/4<ref>Uncommon Time - Television Tropes & Idioms, "[http://tvtropes.org/pmwiki/pmwiki.php/Main/UncommonTime]"; David Kaplowitz's Odd Time Page, "[http://dkap.info/oddtime.php]"</ref>
+==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).<ref>Le Jeune 1951–59, 2:85–88.</ref>
+* "The Eleven", by the [[Grateful Dead]]. (11/8)<ref>Lindsay Planer, "[{{Allmusic|class=album|id=r39326|pure_url=yes}} Live/Dead]", Allmusic: "instrumental rhythmic excursion titled "The Eleven" after the jam's tricky time signature".{{Citation needed|date=March 2008}}<!--A "tricky time signature" could be anything—11/4, 33/16, etc. This is certainly in eleven, and more likely 11/8 than 11/4 or 11/16, but a better source needs to be found.--></ref>
+* ''Eleven Four'', by [[Paul Desmond]] and recorded by the [[Dave Brubeck Quartet]].<ref>Howard Brubeck (ed.), ''Dave Brubeck Deluxe Piano Album'', (San Francisco: Derry Music Co., 1965), pp. 22-28.</ref>
+* "Fugue", second movement of ''Bachianas brasileiras no. 9'', by [[Heitor Villa-Lobos]]. (11/8)<ref>Villa-Lobos 1969, 3–18.</ref>
+* ''In Nomine IX'', for harpsichord, by [[John Bull (composer)|John Bull]]. (11/4)<ref>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.</ref>
+* "Presto", second movement of [[Alexei Stanchinsky]]'s Piano Sonata No.2 in G major (11/8)<ref>http://imslp.info/files/imglnks/usimg/9/9d/IMSLP15483-Stanchinksy_-_Piano_Sonata_No.2.pdf Piano Sonata No. 2 by [http://imslp.org/wiki/Category:Stanchinsky,_Alexei Alexei Stanchinsky] at the [[International Music Score Library Project]]</ref>
+===Partially in 11/4 or 11/8===
+* ''Blockhead'', by [[Devo]]. Verses are in 11/8 time, choruses in 4/4.<ref>[http://dailyvault.com/toc.php5?review=1171 Mark Feldman 2000].</ref>
+* ''Eleven'', by [[Primus (band)|Primus]]. 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.<ref>''Primus Anthology: A thru N: For guitar and bass / Primus'', transcribed by Jeff Jacobsen (New York: Cherry Lane, 2000), 17–20.</ref>
+* ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 74 is in 11/4 time.<ref>Nilsson 1958, 7.</ref>
+* "Serenade" by [[Derek Bourgeois]]. The beginning and ending sections are in 11/8.<ref name=reynish>{{Cite web| url=http://www.timreynish.com/repcompbourgeois1.html| title=Derek Bourgeois: An Assessment of his music in Two Parts| author=Reynish, Tim| accessdate=November 8, 2009}}</ref> <ref name=howardpac>{{Cite web| url=http://www.howard.andrews.edu/news/113/| title=Pops Concert Program Notes| publisher=Howard Performing Arts Center, Andrews University| date=March 8, 2008| accessdate=November 8, 2009}}</ref>
+==13/4 or 13/8==
+* "The Great Divide" by [[Don Ellis]] (13/4).<ref>Perkins 2000, 1:18.</ref>
+* "[[13th August(instrumental)|13th August]]" by [[FromUz]] (13/8)<ref>[http://www.kenwestphal.com/CDart/Overlook8-9.html FROMUZ - "Overlook" booklet], 8–9.</ref>
+* "The Façade" by [[Wavequation]] (13/8).<ref>[http://music.wavequation.com/track/the-fa-ade Wavequation track page]</ref>
+===Partially in 13/4 or 13/8===
+* "[[Metropolis Pt. 1: The Miracle and the Sleeper]]" by [[Dream Theater]]. Beginning of instrumental section in 13/8, broken down as 6/8 + 7/8, and later as 4/4 + 5/8.<ref name="dtrefs" />
+* "Serenade" by [[Derek Bourgeois]]. The middle section is in 13/8.<ref name=reynish/> <ref name=howardpac/>
+* "Skimbleshanks" from [[Andrew Lloyd Webber]]'s musical ''[[Cats (musical)|Cats]]''. Introduction and chorus are in 13/8 (3+3+3+4). Verses in 4/4.<ref>Andrew Lloyd Webber, T. S. Eliot - "Cats" ''Hal Leonard'' (HL00359466), ISBN 0881884472</ref>
+* "[[Turn It on Again]]" by [[Genesis (band)|Genesis]]. The verses and choruses are in 13/8. Other parts are in 8/8, and 5/8.<ref>Genesis 2001, {{Page needed|date=June 2010}}.</ref>
+==15/8 or 15/16==
+See also: See [[Quintuple meter]]
+* "Chionoblepharou pater Aous" [Father of the bright-eyed Dawn], Hymn to the Sun, by [[Mesomedes|Mesomedes of Crete]] (15/8, grouped 2+2+2+2+2+3+2)<ref>Davison and Apel 1974, 9; Pöhlmann and West 2001, 96–99.</ref>
+* "Malibu Shuffle" for jazz band, by Wayne L. Perkins (15/8).<ref>Perkins 2000, 2:18–40 (score).</ref>
+* "Perpetuum Mobile" by the [[Penguin Cafe Orchestra]] (15/8)<ref>{{cite |first=Arthur |last=Jeffes |title=BBC Proms programme notes, 2010 season concert 73 |date=2010-09-08 |publisher=BBC}}</ref>
+===Partially in 15/4, 15/8, or 15/16===
+* "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.<ref>Brahms 1972, 134–37 of the score (= piano part).</ref>
+* "[[A Change of Seasons (song)|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.<ref name="dtrefs" />
+* "Fêtes", no. 2 from ''Nocturnes'', by [[Claude Debussy]].<ref>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.</ref>
+* ''Frontispice'', for two pianos (five hands), by [[Maurice Ravel]].<ref name="ReferenceA">"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.</ref>
+* ''Robert Browning Overture'', by [[Charles Ives]] includes measures in 15/16 time.<ref>Read 1964, 157.</ref>
+* String Quartet No. 1 (1950–51), by [[Elliott Carter]] includes measures in 15/16 time.<ref>Read 1964, 157.</ref>
+* String Quartet No. 1 (1949), by [[Leon Kirchner]] includes measures in 15/16 time.<ref>Read 1964, 157.</ref>
+* String Quartet No. 2 (1959), by [[Elliott Carter]] includes measures in 15/16 time.<ref>Read 1964, 157.</ref>
+* "[[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.<ref>{{Cite book| last = Oldfield| first = Mike| title = Changeling - Autobiography of Mike Oldfield| publisher = Virgin Books| isbn = 978-1852273811| year = 2007| page = 111}}</ref>
+==17/4 or 17/8==
+* "[[(Theme from) Valley of the Dolls]]" by [[Andre Previn]] and [[Dory Previn]]. Verse changes every measure 4/4 + 3/4 + 2/4 + 4/4 + 4/4 <ref>http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0035333#</ref>
+===Partially in 17/4 or 17/8===
+* "Seconds" by [[Burt Bacharach]] and [[Neil Simon]] ends in 17/8.<ref>http://www.youtube.com/watch?v=jAl6vvjEA_w {{Verify credibility|date=September 2010}}<!--Video advertisement and a Youtube posting as well. Is this a credible source?--></ref>
+==18/8 or 18/16==
+* "Only 18" by [Peter Boyd] on "Time to Gather Seeds" by The Limelighters 1968. www.yangna.org under "More Songs"
+* "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.<ref name="mahavishnu">John McLaughlin, ''John McLaughlin and the Mahavishnu Orchestra: John McLaughlin's Scores to 28 Classic Recordings'' (Van Nuys: Alfred Publishing, 2006).{{Citation needed|date=March 2008}}<!--This book has got 152 pages in it—surely this one song or the documentation of its meter doesn't occupy all of them!--> ISBN 0739042556</ref>.
+* "Moderato", no. 2 (1909) from ''Four Etudes'', op. 2, by [[Sergei Prokofiev]] (18/8 in one hand against 4/4 in the other).<ref>Prokofiev 1955, 1:9–14.</ref>
+* "Variatio 26, a 2 Clav.", from the ''Clavierübung'', Vierter Theil, ''Aria mit 30 Veränderungen'' ["[[Goldberg_Variations#Variatio_26._a_2_Clav.|Goldberg Variations]]"], by [[Johann Sebastian Bach]]. (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).<ref>Bach 1968, 98–99.</ref>
+==19/4, 19/8, or 19/16==
+* "Celestial Terrestrial Commuters" by [[Mahavishnu Orchestra]].<ref name="mahavishnu" />{{Page needed|date=March 2008}}<!--Like the other ref(s) to this book, this needs a page number or numbers-->
+* ''Consort for Piano and Strings'' by [[John Vincent (composer)|John Vincent]].<ref>Read 1964, 159.</ref>
+* "19 Days" by [[Gavin Harrison]].<ref>Bernhard Castiglioni ''[http://www.drummerworld.com/Videos/gavinharrison2.html Gavin Harrison Part II (video)]''. Videos and Pictures from the Musikmesse Frankfurt 2007. www.drummerworld.com (Accessed 6 June 2010).</ref>
+* "She's Only 19" by Wayne L. Perkins (19/4).<ref>Perkins 2000, 2:1–17 (score).</ref>
+* "33 222 1 222" by [[Don Ellis]] (19/4).<ref>Fenlon 2002, 112–13.</ref>
+==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).<ref name="Le Jeune 1951–59, 1:32–33">Le Jeune 1951–59, 1:32–33.</ref>
+* "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).<ref>Read 1964, 160; Stravinsky 1958, 29.</ref>
+==21/4, 21/16, or 21/32==
+See also: [[Septuple meter]]
+===Partially in 21/4, 21/16, or 21/32===
+* "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).<ref name="Le Jeune 1951–59, 1:32–33"/>
+* "Keep It Greasy" by [[Frank Zappa]] (On the studio album, first verse and guitar solo are counted in 19/16 and another part is in 21/16).<ref name="colaiuta">[[Vinnie Colaiuta]], interviewed by Robyn Flans. ''Modern Drummer'' (November 1982). http://www.vinniecolaiuta.com/articles/moderndrummer82.aspx.</ref>
+* ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. Bars 6, 17, 120, and 149 are in 21/8 time.<ref>Stockhausen 1967, 1, 6, and 7.</ref>
+* Sonata for Cello and Piano (1948), by [[Elliott Carter]], includes 21/32 time.<ref>Read 1964, 156.</ref>
+==22/8==
+* "The First Circle" from the album ''[[First Circle (album)|First Circle]]'' by the [[Pat Metheny Group]]. Composed by [[Pat Metheny]] and [[Lyle Mays]].<ref>[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."</ref>
+==24/1 or 24/16==
+* "Brobdingnagische Gigue", from ''Intrada, nebst burlesquer Suite'', for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann.<ref>Telemann 1728, 37; Telemann 1970, 14–15; Zohn 2004, 247: "the ‘Brobdingnagische Gigue’—no doubt inspired
+by 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."</ref>
+* "Prelude no. 15" from the ''[[Well-Tempered Clavier]]'' by [[Johann Sebastian Bach]] is in 24/16<ref>Read 1964, 158.</ref>
+==25/8==
+* "How's This for Openers?" by [[Don Ellis]] (25/8).<ref>Fenlon 2002, 90 & 102–106.</ref>
+==32/8==
+===Partially in 32/8===
+* "Variations for Trumpet" by [[Don Ellis]] has one section in 32/8.<ref>Fenlon 2002, 40.</ref>
+==33/8==
+*"Bulgarian Bulge" by [[Don Ellis]] (33/8).<ref>Fenlon 2002, 41; Fienberg 2004, 228–29 & 231–32.</ref>
+==34/8==
+===Partially in 34/8===
+* ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. The last two bars are in 34/8 time.<ref>Stockhausen 1967, 7.</ref>
+==42/8==
+===Partially in 42/8===
+* ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. Bar 3 is in 42/8 time.<ref name="stockhausen1">Stockhausen 1967, 1.</ref>
+==59/48==
+===Partially in 59/48===
+*''Evol'' by [[Damian LeGassick]] alternates a rhythm notated as five beats in the time of seven with another in 59/48 time.<ref>Gilmore 1994, 4.</ref>
+==87/8==
+===Partially in 87/8===
+* ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. Bar 2 is in 87/8 time.<ref name="stockhausen1" />
+==142/8==
+===Partially in 142/8===
+* ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. Bar 1 is in 142/8 time.<ref name="stockhausen1" />
+==Unusual time signature combinations==
+* "Autopsy," from [[Fairport Convention]]'s album ''[[Unhalfbricking]]'', switches between 5/4, 3/4 and 4/4.<ref> Pamela Winters, "[http://www.pastemagazine.com/articles/2003/06/richard-thompson.html Richard Thompson: Plunging the Knife in Deeper]", ''Paste Magazine'' (9 June 2003).</ref>
+* "Bastard" by [[Ben Folds]]. A combination of the time signatures 4/4, 3/2, 7/4, 6/4, 3/4, and 5/4.<ref>Ben Folds-"Songs for Silverman, piano/vocal transcriptions [[Hal Leonard Corporation]]{{Citation needed|date=March 2008}}<!--Place, year, page numbers?-->.</ref>
+* "Diary of a Madman" by [[Ozzy Osbourne]]. After an intro in 4/4, there's a theme in  9/8 and 8/8, ending in 6/8. The verse is in 7/4. the chorus in 6/8. See also [[#Partially_in_7.2F4_or_7.2F8]]. <ref>Guitar April 1998, ""Diary of a madman"". Transcribed by Jeff Jacobson.{{Full|date=June 2010}}<!--Presumably this is a magazine citation to something called ''Guitar'', published in April 1998. If so, at least the inclusive page numbers are needed. If it is a book, then the place and publisher are also needed.--></ref>
+* "Fish On" by [[Primus (band)|Primus]]. The intro has a free time feel, but is transcribed as: 4/4, 2/4, 4/4, 3/4, 4/4, 2/4, 4/4, 2/4, 7/8, 12/8, 14/8, 4/4, 4/4, 12/8 (7 times) and 6/8.<ref>Primus Anthology:A thru N: For guitar and bass / Primus; transcr. by Jeff Jacobsen. - New York: Cherry Lane; , pag. 21. 2000.</ref>
+* "A Headache And A Sixty-Fourth", from [[Ron Jarzombek]]'s album [[Solitarily Speaking Of Theoretical Confinement|Solitarily Speaking of Theoretical Confinement]], has a constant time signature pattern of 4/4 and 1/64.<ref>{{Cite web| url = http://www.ronjarzombek.com/headache.html| title = A Headache And A Sixty-Fourth| accessdate = 2010-08-21}}</ref>
+* "Here Comes the Sun", by The Beatles. The bridge can be transcribed as 11/8 + 4/4 + 7/8<ref>"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]).</ref> or 3/8 + 3/8 + 5/8 + 4/4 + 2/4 + 3/8<ref>As transcribed by Andy Adelort in Guitar World, January 1996 (Harris Publications, inc.){{Full|date=June 2010}}<!--Presumably this is a magazine citation to something called ''Guitar World''. If so, at least the inclusive page numbers are needed, and the author's (transcriber's) name should come first, then the title, then the magazine name and date. If it is a book, then the place and publisher are also needed.--></ref>
+* "[[Hey Ya!]]" by [[OutKast]]. Emulates 11/4<ref>{{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}}</ref> by using a cadential six-[[bar (music)|measure]] [[phrase (music)|phrase]] consisting of three 4/4 measures, a 2/4 measure, and two 4/4 measures.<ref name="sheet">Sheet music for "Hey Ya!" [[Hal Leonard Corporation]], 2003.{{Citation needed|date=March 2008}}<!--Author, place of publication? Not only that, but 3× 4 + 2 + 2 × 4 = 22, not 11.--></ref>
+* "Limelight" by '[[Rush (band)|Rush]]. Intro is 4/4 and 3/4 alternating (can be transcribed as 7/4 therefore), verse is 3/4, 3/4, 4/4, 2/4, 4/4, 2/4, 3/4, 3/4, 4/4 (3 times). The chorus is 7 times 3/4, 3 times 4/4.<ref>Guitar School March 1994, ""Geddy Lee Bass Clinic""{{Full|date=June 2010}}<!--Presumably this is a magazine citation to something called ''Guitar School March'', published in 1994. If so, at least the inclusive page numbers are needed. If it is a book, then, the place and publisher are also needed. In either case, the author's name should come first, then the title, etc.--></ref>
+* "On the Floor" by [[Maartin Allcock]]. A tune where passages of mixed time signatures (5/4, 4/4, 3/4, 6/8, 6/4, 7/4 - with no more than two consecutive bars in the same time) alternate with longer passages in 4/4.<ref>{{Cite book|title=Fairport Convention Songbook 2 |editor-last=Allcock |editor-first=Maartin |publisher=Woodworm Music |year=1998 |page=81 }}</ref>
+* "Physical Cities" by [[The Bad Plus]]. Alternates between 5/16, 3/4 and 10/8.<ref>{{Cite web| url = http://oddtimeobsessed.blogspot.com/2008/01/bad-plus-prog-cd-review.html| title = The Bad Plus – Prog CD Review| work = Odd Time Obsessed| date = 2008-01-27| accessdate = 2009-01-18}}</ref>
+* "[[The Dance of Eternity]]" by [[Dream Theater]]. This instrumental contains mixtures of faster and slower beat groupings in 8, 7, 6, 5, and 4.  It goes through 104 time signature changes in just over six minutes.<ref>{{Cite web| url = http://www.youtube.com/watch?v=H7jikeIyKaE| title = Mike Portnoy - The dance of eternity time signature & solo 1| accessdate = 2009-02-28}}</ref>
+* "The Eynsham Poacher", a traditional song; in the arrangement by [[Dave Pegg]], most of the tune is in 12/8, but there are five other time signatures: several single bars at 9/8 occur in the refrain and elsewhere; the bridge has a six-bar phrase of three bars at 2/4, one at 6/8 then two more at 2/4; whilst the 9/8 finale includes one bar each of 1/4 and 4/4.<ref>{{Cite book|title=Fairport Convention Songbook 2 |editor-last=Allcock |editor-first=Maartin |publisher=Woodworm Music |year=1998 |pages=56–59 }}</ref>
+* "[[Jesus Christ Superstar (album)|Trial Before Pilate (Including the Thirty-Nine Lashes)]]", from the musical ''[[Jesus Christ Superstar]]'' by [[Andrew Lloyd Webber]], includes 4/4, 3/4, 5/8, 2/4, 6/8, 6/4, 5/4, 7/4, 7/8, and 2/8, and the time signature in the piece varies a total of 41 times.<ref>Lloyd Webber and Rice 1970.</ref>
+* "[[Schism (song)|Schism]]" by [[Tool (band)|Tool]] begins in six, moves to six-and-a-half, then, according to bassist [[Justin Chancellor]] "goes into all kinds of other times."<ref name="bassplayer052001">{{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| accessdate=2007-05-02| pages = 6}}</ref>
+* "[[I Say a Little Prayer]]" by [[Dionne Warwick]] uses 10/4 for verses and 11/4 for its chorus.<ref>Sheet music, published by New Hidden Valley Music and Casa David, copyright 1966</ref>
+==Unspecified time signatures==
+<!--**********************************************************************************************
+BEFORE YOU ADD ANY NEW SONGS, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE TIMING YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER!
+This section should only contain works that reliable sources identify as having an unusual time signature, but which do not mention exactly which time signature is used.
+*************************************************************************************************-->
+* "My Human Gets Me Blues" by [[Captain Beefheart & the Magic Band]] features a "complex time signature."<ref>{{Cite web| url = {{Allmusic|class=song|id=t2006601|pure_url=yes}}| title = My Human Gets Me Blues| work = [[Allmusic]]| last = Planer| first = Lindsay| quote = complex time signature| accessdate = 2008-03-23}}</ref>
+* "Prize" by [[Wanderlust (band)|Wanderlust]] features a "distinctive, unconventional time signature."<ref>{{Cite web| url = {{Allmusic|class=album|id=r212815|pure_url=yes}}| title = Prize| work = [[Allmusic]]| last = Parisien| first = Roch| quote = unconventional time signature| accessdate = 2008-03-23}}</ref>
+* "Wandering Child" by [[Gov't Mule]] features an "oddball time signature."<ref>{{Cite web| url = {{Allmusic|class=album|id=r464933|pure_url=yes}}| title = Life Before Insanity| work = [[Allmusic]]| last = Smith| first = Michael B.| quote = oddball time signature| accessdate = 2008-03-23}}</ref>
+==See also==
+*[[Bulgarian dances]]
+*[[Greek dances]]
+**[[Ai Georgis]]
+**[[Kalamatianos]]
+**[[Karşılama|Karsilamas]]
+**[[Tsakonikos]]
+**[[Zeibekiko]]
 *[[Math rock]]
-*[[Mathcore]]
+*[[Meter (music)]]
-*[[Neo-progressive rock|Neo-prog]]
+*[[Progressive rock]]
-*[[New prog]]
+*[[Time signature]]
-*[[Progressive folk music|Progressive folk]]
-*[[Progressive metal]]
+==Notes and references==
-*[[Psychedelic rock]]
+{{Reflist|2}}
-*[[Symphonic rock]]
+==Bibliography==
+* Bach, Johann Sebastian. 1968. ''The Musical Offering [and] The "Goldberg Variations"''. Kalmus Study Scores no. 720. [N.p.]: Edwin F. Kalmus, Publisher of Music. Reprinted Melville, NY: Belwin Mills Publishing Corp.
+* 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.
+* Bois, Rob du. 1979. ''Concert voor twee violen en orkest''. Amsterdam: Donemus.
+* Borodin, Alexander Porfirevich. [n.d., ca. 1920]. ''Symphony No. 2'', revised and edited by Alexander Glazunov and Nikolai Rimsky-Korsakov. Leipzig: Ernst Eulenburg. [http://imslp.org/wiki/Symphony_No.2_%28Borodin%2C_Alexander_Porfirevich%29 IMSLP scans].
+* 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. 1945a. ''Old Joe Has Gone Fishing''. London: Boosey & Hawkes. ISMN 9790060014864
+* Britten, Benjamin. 1945b. ''Passacaglia'', opus 33b, frm the opera ''Peter Grimes''. London: Boosey & Hawkes.
+* 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, Cape Town, Sydney, Toronto, Buenos Aires, New York: Boosey & Co., Ltd.
+* Copland, Aaron. 1945. ''Appalachian Spring (Ballet for Martha)''. Hawkes Pocket Scores 8. London: Boosey & Hawkes.
+* Davison, Archibald T., and Willi Apel (eds.). 1974. ''Historical Anthology of Music'', vol. 1: Oriental, Medieval and Renaissance Music. Revised edition. Cambridge: Harvard University Press. ISBN 0-674-39300-7
+* 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
+* Fenlon, Sean. 2002. "The Exotic Rhythms of Don Ellis". DMA diss. Baltimore: Johns Hopkins University, Peabody Institute. ISBN 0-493-60448-0.
+* Fienberg, Gary Andrew. 2004. "It Doesn't Have to Be Sanctified to Swing: A Musical Biography of Don Ellis". PhD diss. Pittsburgh: Carnegie Mellon University. ISBN 0-496-86817-9.
+* 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
+* Genesis (musical group). 2001. ''Anthology''. Milwaukee: Hal Leonard. ISBN 0-634-02063-3.
+* Genesis (musical group). 2002. ''Genesis Guitar Anthology''. Hal Leonard Guitar Recorded Version. [United States]: EMI Music Pub.; Milwaukee: Hal Leonard Corporation. ISBN 0-634-02067-6.
+* Gilmore, Bob. 1994. "Icebreaker". Liner notes to ''Icebreaker: Terminal Velocity''. Argo 443 214-2. CD recording. London: The Decca Record Company Limited.
+* 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.
+* Howard, Patricia. 1969. ''The Operas of Benjamin Britten: An Introduction''. New York and Washington: Frederick A. Praeger, Publishers.
+* 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.
+* [[Hugh Macdonald|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
+* Nilsson, Bo. 1958. ''Mädchentotenlieder'', Faksimilepartitur. Vienna, Zürich, and London: Universal Edition.
+* Perkins, Wayne L. 2000. "Don Ellis' Use of 'New Rhythms' in His Compositions : ''The Great Divide'' (1969), ''Final Analysis'' (1969) and ''Strawberry Soup'' (1971)" (vol. 1); "Original Compositions: ''She's Only 19'' (1999), ''Malibu Shuffle'' (1999) and ''Cruisin' P.C.H.'' (1999)" (vol. 2). Ph.D. diss.  Los Angeles: University of California Los Angeles.
+* Pöhlmann, Egert, and Martin L. West. 2001. ''Documents of Ancient Greek Music: The Extant Melodies and Fragments Edited and Transcribed with Commentary''. Oxford: Clarendon Press. ISBN 9780198152231
+* 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. 1934. ''Don Quichotte a Dulcinée''. Paris: Editions Durand.
+* Ravel, Maurice. 1975. ''Frontispice: [pour S. P. 503 (poème du Vardar) de R. Canudo]: deux pianos [cinq mains]''. Paris and New York: Éditions Salabert.
+* Read, Gardner. 1964. ''Music Notation: A Manual of Modern Practice''. Boston: Alleyn and Bacon, Inc.
+* 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.
+* Shostakovich, Dmitri. 1983. ''Sobranie sochinenii tom 13'' [Собрание сочинений том 13, Collected works volume 13], Izdatelstvo "Muzyka" Moskva.
+* Stockhausen, Karlheinz. 1967. ''Nr. 4: Klavierstück IX''. London: Universal Edition. (UE 13675e)
+* Strait, Thomas John. 2000. "The Rhythmic Innovations of Don Ellis: An Examination of Their Origins as Found in His Early Works". DMA diss. Greeley: University of Northern Colorado. ISBN 978-0-599-79347-7.
+* Stravinsky, Igor. 1958. [[Threni (Stravinsky)|''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.
+* Wiehmayer, Theodor. 1917. ''Musikalische Rhythmik und Metrik''. Magdeburg: Heinrichshofen’s Verlag.
+* Zohn, Steven. 2004. "The ''Sonate auf Concertenart'' and Conceptions of Genre in the Late Baroque". ''Eighteenth-Century Music'' 1, no. 2:205–47.
 {{GFDL}}

List of musical works in unusual time signatures

From The Art and Popular Culture Encyclopedia

Revision as of 21:25, 6 January 2011

Contents

⅔/2 and ⅔/4

Partially in ⅔/2 or ⅔/4

⅗/4

Partially in ⅗/4

⅘/4

Partially in ⅘/4

4/3/2 or 4/3/4

Partially in 4/3/2 or 4/3/4

1/1, 1/2, 1/4, 1/8, or 1/16

Partially in 1/1, 1/2, 1/4, 1/8, or 1/16

2/1

Partially in 2/1

2½/4

Partially in 2½/4

3/32

3½/4

Partially in 3½/4

32/2/4

3⅔/4

4½/4

Partially in 4½/4

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

5½/4

Partially in 5½/4

6/2

Partially in 6/2

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

8/8 (unevenly grouped)

8/4

Partially in 8/4

9/8 (not ordinary triple-compound)

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

10/4, 10/8 or 10/16

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

11/4 or 11/8

Partially in 11/4 or 11/8

13/4 or 13/8

Partially in 13/4 or 13/8

15/8 or 15/16

Partially in 15/4, 15/8, or 15/16

17/4 or 17/8

Partially in 17/4 or 17/8

18/8 or 18/16

19/4, 19/8, or 19/16

20/4 or 20/8

Partially in 20/4 or 20/8

21/4, 21/16, or 21/32

Partially in 21/4, 21/16, or 21/32

22/8

24/1 or 24/16

25/8

32/8

Partially in 32/8

33/8

34/8

Partially in 34/8

42/8

Partially in 42/8

59/48

Partially in 59/48

87/8

Partially in 87/8

142/8

Partially in 142/8

Unusual time signature combinations

Unspecified time signatures

See also

Notes and references

Bibliography

Views

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Metas

Navigation

⁴/₃/2 or ⁴/₃/4

Partially in ⁴/₃/2 or ⁴/₃/4

3²/₂/4