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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.[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 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: the first movement is written with excessive triplet semiquavers, where the second allegro movement is written almost entirely in crotchets and semi-breves, giving a visual cue to the nature of the phrasing. A modern reworking of the first movement could place the meter as 12/8 and still convey the same rhythm, phrasing, and tempo. Similarly, a modern reworking of the 2nd movement could place it in 3/8 instead of 3/4 without destroying the phrasing. [2]

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

⅔/4

Partially in ⅔/4

4/3/2

Partially in 4/3/2

1/2

Partially in 1/2

  • Appalachian Spring, by Aaron Copland. Third bar of rehearsal 46 and third bar of rehearsal 48 are in 1/2.[5]

3/32

  • "Lilliputsche Chaconne", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann.[6]

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

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

  • "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 35 (1945), by Benjamin Britten. Eleventh bar after rehearsal K is in 5/4.[41]
  • "Aria (Cantilena)", first movement of Bachianas Brasileiras no. 5 by Heitor Villa-Lobos. Opening and closing parts predominantly in 5/4, middle section entirely in 5/4.[42]
  • "Ballad of Eldorado", from act 2 of Candide, by Leonard Bernstein. Main verses are in 5/8, turnarounds in 7/8 or 3/4 + 7/8.[43]
  • A Choral Fantasia, op. 51, by Gustav Holst. Bars 23–24 and 199–200 are in 5/4.[44]
  • Canticle III ('Still Falls the Rain'), op. 55, by Benjamin Britten. "Theme", "Variation IV", and "Variation VI" are all in 5/4.[45]
  • "Cinqo de Mayo" by Jesse Dangerously. Mostly in 5/4 but becomes 4/4 at the end. Notable for being a rap song in an unusual time signature. Listen
  • "Everything's Alright", from Jesus Christ Superstar, by Andrew Lloyd Webber. Mainly in 5/4, except b. 29–32 in 6/4, b. 43–44 in 4/4, and b. 45 and 48 in 3/4.[46]
  • "Four Sticks" by Led Zeppelin. Verses alternate 5/4 and 3/4 passages; choruses are in 3/4. [47]
  • Frontispice, for two pianos (five hands), by Maurice Ravel.[48]
  • "The Grudge" by Tool. The first bass riff during the intro and the verses is in 5/4.[49]
  • "Happiness Is a Warm Gun" by John Lennon and Paul McCartney, as transcribed by Fujita et al. (5/4).[50]
  • "In the First Pentatonic Major Mode (En el 1er modo pentáfono mayor)", no. 12 from 12 American Preludes for piano (1944) by Alberto Ginastera (bars 16 and 21 in 5/2).[51]
  • Mad scene, act 2, scene 11 from the opera Orlando by George Frideric Handel (5/8).[52]
  • "Molto allegro e appassionato", first movement of Samuel Barber’s String Quartet, op. 11, bars 28, 49, 55, 174, and 180 are in 5/4[53]
  • "Molto adagio" (Adagio for Strings), second movement of Samuel Barber’s String Quartet, op. 11, bars 431, and 60 are in 5/2.[54]
  • "Molto allegro (come prima)", third movement of Samuel Barber’s String Quartet, op. 11, bar 19 is in 5/4.[55]
  • "Los peones de hacienda", from the ballet Estancia by Alberto Ginastera. The four bars preceding rehearsal 66 are in 5/8.[56]
  • Petit Caprice, réconciliation, op. 42, for piano, by Charles Valentin Alkan (5/4).[57]
  • "Promenade", from Pictures at an Exhibition, by Modest Mussorgsky. Each of the five versions mixes 5/4 with other metres, regularly or irregularly: (1) 5/4 alternates with 6/4 for eight bars, then two 6/4s and one pair of 5/4 + 6/4, ending with twelve bars of 6/4; (2) 5/4 alternates regularly with 6/4 throughout (effectively 11/4); (3) regular alternation of 5/4 and 6/4 until the final two bars, which are 5/4 and C; (4) irregular mixture of 5/4, 6/4, and 7/4, with a single 3/4 bar at the end; (5) four pairs of regularly alternating 5/4 and 6/4, then an irregular mixure of 5/4, 6/4, and 7/4 to the end.[58]
  • "Variations on a Ground", third movement of the Double Concerto for Two Violins and Orchestra, op. 49, by Gustav Holst (11th and 18th variations in 5/4).[59]
  • "Vivace", third movement of the Harp Concerto, op. 25, by Alberto Ginastera (bar 179 is in 5/16).[60]
  • "Within You Without You" by George Harrison, as transcribed by Fujita et al. (5/4).[61]

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).[62]
  • "Molto adagio" (Adagio for Strings), second movement of Samuel Barber’s String Quartet, op. 11, bars 15 and 26 are in 6/2.[63]

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

Partially in 7/4 or 7/8

  • "All You Need Is Love" by the Beatles. Verses sung in 7/4.[17] [85]
  • "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 35 (1945), by Benjamin Britten. Bars 2 and 13 after rehearsal K are in 7/4.[86]
  • "Andante grazioso", third movement of Trio No. 3 for Piano, Violin, and Violoncello, op. 101, by Johannes Brahms. Main (outer) sections in 7/4 (notated as a recurring 3/4 + 2/4 + 2/4), central section in 15/8 with 9/8 turnarounds, eight-bar coda in 9/8.[87]
  • "Anyone Who Had a Heart" by Burt Bacharach, sung by Dionne Warwick - 7/8 turnaround at the end of the bridge, as pointed out to Bacharach by Dionne Warwick.[88] However the song features "5/4, 4/4, to 7/8 and resolving on 5/8 in only eight bars" according to Allmusic.[89] [35]
  • Chichester Psalms by Leonard Bernstein. Most of the first movement of this complex choral and orchestral piece is written in 7/4.[90]
  • A Choral Fantasia, op. 51, by Gustav Holst. Bars 70–98, 179–85, and 201–209 are in 7/4.[91]
  • "Forsaken" by Dream Theater
  • "In Your Eyes" by Peter Gabriel in 7/4 time
  • "Dance on a Volcano" by Genesis (7/8).[92]
  • "Heart of Glass" by Blondie has a break after the chorus in 7/8.[93]
  • "Heaven on Their Minds", from Jesus Christ Superstar, by Andrew Lloyd Webber. Mainly in 4/4, but turnarounds in b. 44–51 and 69–76 are in 7/8.[94]
  • "I Was Brought To My Senses" by Sting. Intro is in 4/4, but the rest is 7/4.[95]
  • "In the House of Tom Bombadil" by Nickel Creek - alternates between 4/4 and 7/8.[96]
  • "Jocko Homo" by Devo is primarily in 7/8, but changes to 4/4 partway through.[97]
  • "Money" by Pink Floyd. Predominantly in 7/4.[17] [98]
  • Music by John Miles - the "rock" riff section after the initial intro is in 7/4.
  • "Oh, Happy We" from act 1 of Candide by Leonard Bernstein. Verses are in 7/4, turnarounds in 3/4.[99]
  • "Outshined" by Soundgarden. Verses in 7/4.[17] [100]
  • "Los peones de hacienda", from the ballet Estancia by Alberto Ginastera. Bars 27–28 (third and fourth bars following rehearsal 65) are in 7/8.[101]
  • "Presto ruvido", no. 4 of Sechs Bagatellen for wind quintet (1953) by György Ligeti (all in 7/8 except b. 36, 39, and 51, in 3/8, 2/8, and 3/8, respectively).[102]
  • "Promenade", from Pictures at an Exhibition, by Modest Mussorgsky. The last two of five versions mixes 7/4 irregularly with other metres: (4th Promenade) 5/4, 6/4, and 7/4, with a single 3/4 bar at the end; (5th Promenade) four pairs of regularly alternating 5/4 and 6/4, then an irregular mixure of 5/4, 6/4, and 7/4 to the end.[103]
  • "Soul Love", by David Bowie (7/4).[17]
  • "Spoonman" by Soundgarden. Verses in 7/4.[104]
  • "Tattooed Love Boys" by The Pretenders. Verses alternate between 7/4 and 4/4.[105]
  • "2 + 2 = 5" by Radiohead (7/4).[17]
  • "Variations on a Ground", third movement of the Double Concerto for Two Violins and Orchestra, op. 49, by Gustav Holst (13th and 17th variations in 7/4).[106]

8/8 (unevenly grouped)

  • "Six Dances in Bulgarian Rhythm" 4, from Béla Bartók's Mikrokosmos (no. 151), is in 3 + 2 + 3.[107]
  • "Six Dances in Bulgarian Rhythm" 6, from Béla Bartók's Mikrokosmos (no. 153), is in 3 + 3 + 2.[108]
  • "Clocks" by Coldplay is in 3 + 3 + 2

8/4

Partially in 8/4

  • "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 35 (1945), by Benjamin Britten. Bars 3 and 12 after rehearsal K are in 8/4.[109]
  • A Choral Fantasia, op. 51, by Gustav Holst. Bars 36–69, 142–48, 173–78, and 191–98 are in 8/4.[110]

9/8 (not ordinary triple-compound)

  • "Six Dances in Bulgarian Rhythm" 1, from Béla Bartók's Mikrokosmos (no. 148), is in 4 + 2 + 3.[111]
  • "Six Dances in Bulgarian Rhythm" 5, from Béla Bartók's Mikrokosmos (no. 152), is in 2 + 2 + 2 + 3.[112]

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

  • "Apocalypse in 9/8" by Genesis. Penultimate movement of the "Supper's Ready" suite, rhythm section plays a 9/8 riff as 4+3+2, organ solo plays polymetrically over this (sometimes 4/4, sometimes 7/4.)[113]
  • "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[114]
  • "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). [115]
  • "Happiness Is a Warm Gun" by John Lennon and Paul McCartney, as transcribed by Fujita et al.[116]
  • "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.[117]
  • "The Start of Something Beautiful" (2005) by Porcupine Tree [118]
  • "Voices" by Dream Theater. Opening riff in 9/8 broken down as 4/4 + 1/8.[119]

10/4, 10/8 or 10/16

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.[122]
  • "Mother and Child Divided" (2005) by Porcupine Tree. Partially 10/16.[123]
  • "Solacium", part 3 of "De Elegia Tertia" from Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky.[124]

11/4 or 11/8

13/4 or 13/8

Partially in 13/4 or 13/8

15/8

Partially in 15/8

  • "Andante grazioso", third movement of Trio No. 3 for Piano, Violin, and Violoncello, op. 101, by Johannes Brahms. Central section in 15/8 with 9/8 turnarounds, main (outer) sections in 7/4 (notated as a recurring 3/4 + 2/4 + 2/4), concluding eight-bar coda in 9/8.[132]
  • "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.[119]
  • "Fêtes", no. 2 from Nocturnes, by Claude Debussy.[133]
  • Frontispice, for two pianos (five hands), by Maurice Ravel.[134]
  • "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.[135]

18/8

  • "Birds of Fire" by Mahavishnu Orchestra. Guitar plays 5+5+5+3 while drums play 6+6+6. Violin from time to time plays 3+3+2+3+3+2+2.[136].
  • "Moderato", no. 2 (1909) from Four Etudes, op. 2, by Sergei Prokofiev (18/4 in one hand against 4/4 in the other).[137]

19/16

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).[139]
  • "Sensus spei", part 2 of "De Elegia Tertia" from Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky.[140]

21/4

Partially in 21/4

  • "Deux moulins", from Airs a III. IIII. V. et VI. parties (première livre, 1608) by Claude Le Jeune (first two sections, Rechant à 3 and Réprise à 5, are barred as 21/4; the last section of the piece is in 20/4).[141]

22/8

24/1

  • "Brobdingnagische Gigue", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann.[143]

  • "Reverie der Laputier, nebst ihren Aufweckern", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann.[144]

Unusual time signature combinations

  • "Bastard" by Ben Folds. A combination of the time signatures 4/4, 3/2, 7/4, 6/4, 3/4, and 5/4.[145]
  • "Here Comes the Sun", by The Beatles. The bridge is in 11/8 + 4/4 + 7/8.[146]
  • "Hey Ya!" by OutKast. Emulates 11/4[147] by using a cadential six-measure phrase consisting of three 4/4 measures, a 2/4 measure, and two 4/4 measures.[148]

Unspecified time signatures

This section should contain only cited listings.

See also

Notes and references

  1. ^ Ian Waugh first lists 2/2, 2/4, 2/8, 3/2, 3/4, 3/8, 4/2, 4/4, 4/8, 6/4, 6/8, 6/16, 9/4, 9/8, 9/16, 12/4, 12/8, and 12/16 (Waugh 2003, 76), then says "we've listed all the popular time signatures" (Waugh 2003, 77).
  2. ^ 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].
  3. ^ Boulez 1957, 19–20.
  4. ^ Boulez 1957, 18.
  5. ^ Copland 1945, 56–59.
  6. ^ 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. . . ."
  7. ^ Tschaikowsky [n.d.], 58–87; Hiley 2001
  8. ^ Meter 5/2 (Hiley 2001).
  9. ^ Bartók 1940, 4:36–37.
  10. ^ Franklin Taylor, "Quintuple Time", in A Dictionary of Music and Musicians (A.D. 1450-1889), in four volumes, edited by Sir George Grove, D.C.L. (London and New York: The Macmillan Company, 1890), 3:61. "This may fairly be considered an example of genuine quintuple rhythm, for instead of the usual division of the bar into two parts, such as might be expressed by alternate bars of 3-4 and 2-4, or 2-4 and 3-4, tbere are five distinct beats in every bar, each consisting of an accent and a non-accent. This freedom from the ordinary alternation of two and three is well expressed by the grouping of the accompaniment, which varies throughout the movement. . . ."
  11. ^ Time signature 5/1 (Hiley 2001).
  12. ^ Pope and Knighton 2001 identify meter as "quintuple"; Hiley 2001 specifies time signature is 5/2).
  13. ^ Gutmann 2003.
  14. ^ Time signature 5/1 (Hiley 2001).
  15. ^ Mathis-Lilley, Ben (2006-06-18). "Secrets of the Radiohead Set List". New York. Retrieved 2008-03-23. {{cite web}}: Check date values in: |date= (help)
  16. ^ Anton Reicha, 36 Fugen für Klavier, edited by Václav Jan Sýkora (Kassel: Bärenreiter, 1973), vol. 2, pp. 35–40.
  17. ^ a b c d e f g h i j k l m n o p q r Pandora presents Meters & Time Signatures. Cite error: The named reference "pandora_meters" was defined multiple times with different content (see the help page).
  18. ^ "I listened to the Thrice podcast about this song and one of the main points they wanted to get across was that they had previous jumped around with time signatures but on this song they were really trying to get into a groove but in an interesting time signature. That signature happens to be 5/4." Sputnikmusic Review for Vheissu, by Nick Greer, (posted 10-17-2005 | accessed 7-7-2008).
  19. ^ a b c Eddie 2007, 104: "in five time"; MacDonald 2001: "in quintuple time".
  20. ^ Bartók 1940, 2:13.
  21. ^ Tye 1967, 39–42, transcribed in 5/4 throughout by the editor, Robert W. Weidner. Paul Doe (1988, 105–107), transcribes the same piece in 5/4 except for one passage of 40 beats, which he renders as ten bars of 4/4 instead of eight bars of 5/4, on the grounds that "repeated notes in the CF permit a harmonic structure based on a normal duple metre" (Doe 1988, 150).
  22. ^ Holst 1973, 13–14.
  23. ^ Frédéric Chopin, Sonaten, kritisch revidiert von Herrmann Scholtz, Neue Ausgabe von Bronislaw von Pozniak (Frankfurt and New York: C.F. Peters, 1976): 19–21.
  24. ^ Holst 1979, 1–31
  25. ^ "time signature 5/2" (Hiley 2001).
  26. ^ Daish, Tom. "Mission: Impossible - Then and Now". Soundtrack Express. Retrieved 2008-03-23. the most famous TV theme ever composed in 5/4 time
  27. ^ Time signature C5/2 (Hiley 2001).
  28. ^ Prokofiev 1926, 8–9; Nice 2003, 50; first four bars.
  29. ^ Hiley 2001.
  30. ^ Hansell and Steffan 2001 identify the meter as 5/4, but do not name the piece; Hiley 2001 names the aria and the opera, but only identifies the meter as "quintuple time".
  31. ^ Richards 1987, 568.
  32. ^ Bartók 1940 6:42–44.
  33. ^ Richard Taruskin, "Life for the Tsar, A [Zhizn’ za tsarya; Ivan Susanin]", The New Grove Dictionary of Opera, edited by Stanley Sadie (London: Macmillan Press, 1992). Mikhail Glinka, Жизнь за царя [Zhizno za tsaria], forward by Nikolai Rimsky-Korsakov and Alexander Glazunov (Leipzig: M. P. Belaieff, 1907): 262–64.
  34. ^ "All this from a straight-ahead jazz quartet playing in 5/4, an odd time signature." Sony Music listing for Take Five
  35. ^ a b "Irregular meters made their appearance in the late 1950s... Examples included Paul Desmond’s Take Five (on Dave Brubeck’s album Time Out, 1959, Col. CL1397), which is in 5/4, and Brubeck’s Blue Rondo a la Turk (on the same album), which is alternately in 7/8 and 9/8... [David Sanchez] excels at improvising on sambas in such odd meters as 7/8." Barry Kernfeld: 'Beat: 1. Meter', Grove Music Online ed. L. Macy (Accessed 9 November 2007)
  36. ^ Time signature 32/52 [sic] (Hiley 2001).
  37. ^ Bernstein 1994, 40.
  38. ^ Bernstein 1993, 12–16.
  39. ^ "Rolling Stone's 100 Greatest Guitar Songs of All Time [1]
  40. ^ Helmore 1879, 15; Hiley 2001. Specific time signature not specified in either of these two sources, though Helmore implies it is 5/4.
  41. ^ Britten 1946, 15.
  42. ^ Heitor Villa-Lobos, Bachianas Brasilerias No. 5, for soprano and orchestra of violoncelli (1938) (New York: Associated Music Publishers, 1947).
  43. ^ Bernstein 1994, 180–85.
  44. ^ Holst 1977, 3, 30–31.
  45. ^ Britten 1956, 1, 9, and 15.
  46. ^ Lloyd Webber and Rice 1970, 12–17.
  47. ^ Led Zeppelin Complete, SuperHype Publishing, 1973.
  48. ^ "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.
  49. ^ Shiraki, Scott (2001). "Handy Man: How Justin Chancellor Frames Tool's Metal Madness". Bass Player: 6. Retrieved 2007-05-02. The first riff in 5/4 is driving, but it's almost like a straight 4/4 line to me. {{cite journal}}: Unknown parameter |coauthors= ignored (|author= suggested) (help); Unknown parameter |month= ignored (help)
  50. ^ Fujita et al. 1993, 353–58.
  51. ^ Ginastera 1946, 1:12–13.
  52. ^ "The crazed hero believes himself to have entered Charon’s boat on the River Styx and sings the words ‘Già solco l’onde’ (‘Already I am cleaving the waves’) to five rising quavers, in unison with the strings, which immediately repeat the figure twice in descending sequence, thus giving three bars of 5/8 time; the figure recurs two bars later" (Hiley 2001).
  53. ^ Barber 1943, 2–4, 9–10.
  54. ^ Barber 1943, 11–13.
  55. ^ Barber 1943, 14.
  56. ^ Ginastera 1955, 18.
  57. ^ "includes a 5/4 Zorzico dance as an episode (Eddie 2007, 110).
  58. ^ Mussorgsky 1914, 2–3, 7, 12, 18, 24–25.
  59. ^ Holst 1973, 17–18, 22.
  60. ^ Ginastera 1974, 101.
  61. ^ Fujita et al. 1993, 1037–48
  62. ^ Ginastera 1946, 1:12–13.
  63. ^ Barber 1943, 11–12.
  64. ^ Lloyd Webber and Rice 1979, 40–45.
  65. ^ Bartók 1940, 4:32–33.
  66. ^ Dreaming in Metaphors at musicroom.com
  67. ^ Apablaza, Gastón O. "Christian Gálvez". Suena (in Spanish). Retrieved 2008-03-20.
  68. ^ "The song's unusual 7/4 time signature also made it one of Garcia's favorites out of the entire Weir catalog." What a Long, Strange Trip, by Stephen Peters, Thunder's Mouth Press, 1999 (p. 160).
  69. ^ Anton Reicha, 36 Fugen für Klavier, edited by Václav Jan Sýkora (Kassel: Bärenreiter, 1973), vol. 2, pp. 56–58.
  70. ^ Eddie 2007, 12 & 104; MacDonald 2001.
  71. ^ Ginastera 1946, 1:9.
  72. ^ Keefe, Jonathan. "Sam Bush: Laps in Seven". Retrieved 2008-05-18.
  73. ^ a b c The Best of Yanni; 11 selections from his top recordings. Hal Leonard Publishing. 1993. pp. p. 16. {{cite book}}: |first= missing |last= (help); |pages= has extra text (help); Cite has empty unknown parameter: |coauthors= (help)
  74. ^ Britten 1945. Sample page.
  75. ^ Prokofiev 1955, 2:199–207.
  76. ^ Genesis. Guitar Anthology. Hal Leonard.
  77. ^ Silvestre Revueltas, Sensemayá (New York: G. Schirmer, 1949)
  78. ^ Sakamoto, John (2005-08-20). "The Anti-Hit List". Toronto Star. p. H6. {{cite news}}: Cite has empty unknown parameter: |1= (help); Italic or bold markup not allowed in: |publisher= (help)
  79. ^ Bartók 1940, 6:39–41.
  80. ^ Sander, Ed (1999-12-08). "IQ: Subterranea". DPRP. Retrieved 2008-03-07. {{cite web}}: Check date values in: |date= (help)
  81. ^ Heitor Villa-Lobos, Fantasia, for saxophone, 3 horns, and string orchestra (New York: Southern Music Publishing Co., Inc.; Hamburg: Peer Musikverlag G.m.b..H, 1963), 25–36.
  82. ^ Kamien, Roger (1980). Music: An Appreciation (2nd ed. ed.). New York: McGraw-Hill. pp. p. 40. ISBN 0070332797. {{cite book}}: |edition= has extra text (help); |pages= has extra text (help); Cite has empty unknown parameter: |coauthors= (help)
  83. ^ Bernstein 1993, 40–43.
  84. ^ Bernstein 1994, 186–93. Article “Candide” on the official Leonard Bernstein website (Accessed 30 December 2007) states that this number was added to Candide in 1971.
  85. ^ The history of this classic Beatles song "About.com: Oldies Music"
  86. ^ Britten 1946, 14–15.
  87. ^ Brahms 1972, 134–37 of the score (= piano part).
  88. ^ Author unknown/uncredited (1978). "Bacharach and David", 'Bacharach and David'. Almo Productions.
  89. ^ Greenwald, Matthew "Anyone Who Had a Heart", Allmusic.
  90. ^ Choral Performance Bernstein Chichester Psalms
  91. ^ Holst 1977, 7–11, 25–26, 31.
  92. ^ Genesis Guitar Anthology (New York: Hal Leonard, 2002). ISBN 0634020676.
  93. ^ http://findarticles.com/p/articles/mi_qn4158/is_19960211/ai_n14030670
  94. ^ Lloyd Webber and Rice 1970, 6–7 and 9.
  95. ^ Jon Pareles. Understated Showcase for Sting's New Songs. New York Times. Mar. 4, 1996. [2]
  96. ^ Teachout, Terry (2001-05-27). "MUSIC; Bluegrass That Can Twang And Be Cool, Too (page 2 of 3)". The New York Times. Retrieved 2007-11-28.
  97. ^ Steve Huey Jocko Homo
  98. ^ Meters & Time Signatures, Kevin Seal and Adam Blum, Pandora Podcast Series, Episode 20, starting at 4:25.
  99. ^ Bernstein 1994, 42–47.
  100. ^ Huey, Steve. "Outshined". Allmusic. Retrieved 2008-03-23. The song's main riff is in 7/4 time
  101. ^ Ginastera 1955, 18.
  102. ^ Ligeti 1973, flute p. 6, oboe pp. 4–5, clarinet pp. 6–7, horn pp. 4–5, bassoon pp. 6–7.
  103. ^ Mussorgsky 1914, 18, 24–25.
  104. ^ "Spoonman: Main Riffs". Discover Guitar Online. Retrieved 2008-03-23. An interesting aspect of the main riff is that is in an odd time signature, 7/4
  105. ^ "Substance Marks Pretenders II". New York Times. Retrieved 2008-08-14. Tattooed Love Boys, for example, grafted a section in 7/4 time onto a section with a kind of modified Bo Diddley beat in 4/4; James Honeyman Scott's ringing guitar figures held the piece together
  106. ^ Holst 1973, 18, 21–22.
  107. ^ Bartók 1940, 6:45–48.
  108. ^ Bartók 1940, 6:51–55.
  109. ^ Britten 1946, 14–15.
  110. ^ Holst 1977, 4–6, 18–19, 23–24, 27–30.
  111. ^ Bartók 1940, 6:35–38.
  112. ^ Bartók 1940, 6:48–50.
  113. ^ Seconds Out Songbook 1978 Wise Publications
  114. ^ Dryden, Ken. "Blue Rondo a la Turk", Allmusic: "unusual time signature of 9/8".
  115. ^ Under the Iron Sea Songbook 2006 Wise Publication, p.52
  116. ^ Fujita et al. 1993[citation needed].
  117. ^ Ginastera 1955, 17–20.
  118. ^ Harrison, Gavin. http://drummerworld.com/forums/showthread.php?t=698&page=6
  119. ^ a b c Odd time signatures demonstration by Mike Portnoy
  120. ^ Eddie 2007, 62.
  121. ^ 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"
  122. ^ Britten 1946, 14.
  123. ^ Harrison, Gavin. http://drummerworld.com/forums/showthread.php?t=698&page=16%7Cwork=%7C
  124. ^ Bars 2–5 are in 10/8 time (Stravinsky 1958, 52).
  125. ^ Le Jeune 1951–59, 2:85–88.
  126. ^ Lindsay Planer, "Live/Dead", Allmusic: "instrumental rhythmic excursion titled "The Eleven" after the jam's tricky time signature".[citation needed]
  127. ^ Villa-Lobos 1969, 3–18.
  128. ^ 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.
  129. ^ Getting Around And Utilizing Odd Meters In Polyrhythmic Technique
  130. ^ Genesis - "Anthology," Published by Hal Leonard. (HL.306370), ISBN 0634020633
  131. ^ Andrew Lloyd Webber, T. S. Eliot - "Cats" Hal Leonard (HL00359466), ISBN 0881884472
  132. ^ Brahms 1972, 134–37 of the score (= piano part).
  133. ^ 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.
  134. ^ "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.
  135. ^ Oldfield, Mike (2007). Changeling - Autobiography of Mike Oldfield. Virgin Books. p. p. 111. ISBN 978-1852273811. {{cite book}}: |page= has extra text (help)
  136. ^ a b John McLaughlin, John McLaughlin and the Mahavishnu Orchestra: John McLaughlin's Scores to 28 Classic Recordings (Van Nuys: Alfred Publishing, 2006).[citation needed] ISBN 0739042556
  137. ^ Prokofiev 1955, 1:9–14.
  138. ^ Vinnie Colaiuta, interviewed by Robyn Flans. Modern Drummer (November 1982). http://www.vinniecolaiuta.com/articles/moderndrummer82.aspx.
  139. ^ Le Jeune 1951–59, 1:32–33.
  140. ^ Bar 4 is in 20/8 time (Stravinsky 1958, 29).
  141. ^ Le Jeune 1951–59, 1:32–33.
  142. ^ 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."
  143. ^ 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."
  144. ^ Telemann 1728, 40; Zohn 2004, 247: "The ‘Reverie der Laputier, nebst ihren Aufweckern’ . . . teases the reader with a nonsensical time signature, , 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.
  145. ^ Ben Folds-"Songs for Silverman, piano/vocal transcriptions Hal Leonard Corporation[citation needed].
  146. ^ "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).
  147. ^ "Hey Ya! - Outkast". Rolling Stone. 2004-12-09. Retrieved 2008-03-23. {{cite web}}: Check date values in: |date= (help)
  148. ^ Sheet music for "Hey Ya!" Hal Leonard Corporation, 2003.[citation needed]
  149. ^ Planer, Lindsay. "My Human Gets Me Blues". Allmusic. Retrieved 2008-03-23. complex time signature
  150. ^ Parisien. "Prize". Allmusic. Retrieved 2008-03-23. unconventional time signature {{cite web}}: Unknown parameter |fist= ignored (help)
  151. ^ Smith, Michael B. "Life Before Insanity". Allmusic. Retrieved 2008-03-23. oddball time signature

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