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词条 List of musical works in unusual time signatures
释义

  1. Upper number of 1

      {{music|time|1|1}}    {{music|time|1|2}}    {{music|time|1|4}}    {{music|time|1|8}}    {{music|time|1|16}}    {{music|time|1|64}}  

  2. Upper number of 2

     {{music|time|2|1}}  {{music|time|2|16}} 

  3. Upper number of 3

     {{music|time|3|1}}  {{music|time|3|16}}  {{music|time|3|32}} 

  4. Upper number of 4

      {{music|time|4|16}}  

  5. Upper number of 5

  6. Upper number of 6

      {{music|time|6|2}}  

  7. Upper number of 7

  8. Upper number of 8

     {{music|time|8|4}}  {{music|time|8|8}}  {{music|time|8|16}} 

  9. Upper number of 9

      {{music|time|9|4}}    {{music|time|9|8}}    {{music|time|9|32}}    {{music|time|10|4}}    {{music|time|10|8}}    {{music|time|10|16}}  

  10. Upper number of 11

     {{music|time|11|4}}  {{music|time|11|8}} 

  11. Upper number of 12

      {{music|time|12|32}}  

  12. Upper number of 13

     {{music|time|13|4}}  {{music|time|13|8}}  {{music|time|13|16}}  {{music|time|15|8}}  {{music|time|15|16}} 

  13. Upper number of 17

     {{music|time|17|4}}  {{music|time|17|8}} 

  14. Upper number of 18

      {{music|time|18|8}}   {{music|time|18|16}} 

  15. Upper number of 19

     {{music|time|19|4}}  {{music|time|19|8}}  {{music|time|19|16}} 

  16. Upper number between 20 and 29

     20  21  22   23   24  25   26   29 

  17. Upper number between 30 and 39

     30  32  33 

  18. Upper number between 40 and 49

     43  47 

  19. Upper number between 50 and 59

      53  

  20. Fractional time signatures

  21. Irrational time signatures

  22. Combined unusual signatures

  23. See also

  24. Notes and references

  25. Bibliography

{{Dynamic list}}{{citations broken|date=March 2017}}

This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.[1]

The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti.

A perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length but is notated in ordinary {{music|time|4|4}} time, with each variation lasting {{frac|2|3|4}} bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one had done.[2]

{{TOC limit|2}}

Upper number of 1

{{music|time|1|1}}

  • Enigma Variations by Edward Elgar. Variation VII is in Presto {{music|time|1|1}}.[3]
  • Symphony No. 2 by Alexander Borodin. Movement II is in Prestissimo {{music|time|1|1}}, except for the trio section, which is in Allegretto {{music|time|6|4}}.[4]

{{music|time|1|2}}

  • Appalachian Spring, by Aaron Copland. Third bar of rehearsal 46 and third bar of rehearsal 48 are in {{music|time|1|2}}.[5]
  • Decet for wind instruments, Op. 14, by George Enescu. Movement III, Bar 240 (fifth bar before rehearsal number 42) is in {{music|time|1|2}}.[6]
  • Fünf Klavierstücke, Op. 23 by Arnold Schoenberg. Movement II, bar 9 is in {{music|time|1|2}}.[7]
  • Káťa Kabanová, by Leoš Janáček. Act III contains some {{music|time|1|2}} bars between rehearsal numbers 5 and 8.[8]
  • La Langeur, from Le follie francaise ou les dominos from Pieces de Clavecin by Francois Couperin.[9]
  • Nocturne No. 1 by Francis Poulenc, from 8 Nocturnes, FP 56. Bar 27 is in {{music|time|1|2}}.[10]
  • Piano Sonata No. 5, Op. 53, by Alexander Scriabin. Bars 251 to 262 (Presto giocoso) are in {{music|time|1|2}}.[11]
  • Quartet, Op. 22, by Anton Webern. In the second movement, bars 1–3, 5–6, 8–10, 12–14, 16–129, and 131–191 are in {{music|time|1|2}}.[12]
  • Rapsodie negre by Francis Poulenc, third movement, "Honoloulou", contains some bars of {{music|time|1|2}}.[13]
  • String Quartet No. 1, by Béla Bartók. Bars 3, 10, and 22 of the third movement are in {{music|time|1|2}}.[14]
  • Symphony No. 1, by Edward Elgar. Second movement, entirely in {{music|time|1|2}}.[15]
  • Symphony No. 17 in G{{music|sharp}} minor by Nikolay Myaskovsky. Movement I has a {{music|time|1|2}} signature from rehearsal numbers 2–7, 25–35, 42–47, 59–66, and 70–74.[16]

{{music|time|1|4}}

  • Alcancías by Silvestre Revueltas. Movement II, 5 bars after rehearsal 24, second bar of rehearsal 27, first bar of rehearsal 28, third bar of rehearsal 29, one bar before 31, and one bar before 32 are all {{music|time|1|4}}.[17]
  • "The Eynsham Poacher", a traditional song; in the arrangement by Dave Pegg, most of the tune is in {{music|time|12|8}}, but the finale includes one bar of {{music|time|1|4}}.[18]
  • Mädchentotenlieder, by Bo Nilsson. Bars 20, 22–27, 33–36, 38–40, 43, 49, 51, 54, 57, 65, 76–77, 80–81, 86, 90–93, 95, 99, 103–7, 115–16, 118, 120, 122, 124, 126, 130, 134–42, 145, 153, and 158 are in {{music|time|1|4}} time.[19]
  • Metastaseis, by Iannis Xenakis. The first 103 bars are in {{music|time|1|4}}.[20]
  • Metropolis Part 1: The Miracle and the Sleeper, by Dream Theater. Third bar of rehearsal R is in {{music|time|1|4}}.[21]
  • On an Overgrown Path, by Leoš Janáček. There are isolated {{music|time|1|4}} bars in the sixth, tenth, and eleventh movements.[22]
  • Petrushka by Igor Stravinsky, the bar before rehearsal 17 is in {{music|time|1|4}}.[23]
  • Piano Sonata No. 3 by Carlos Chávez. Movement I, bars 13, 15, 19, 52, 54, and 58 are in {{music|time|1|4}} time.[24]

{{music|time|1|8}}

  • Lincolnshire Posy by Percy Grainger. Movement V, "Lord Melbourne", uses {{music|time|1|8}}.[25]{{Failed verification|date=August 2016}}
  • Mädchentotenlieder, by Bo Nilsson. Bar 11 is in {{music|time|1|16}} time, bar 53 is in {{music|time|1|8}} time.[19]
  • A Nightmare to Remember, by Dream Theater. Measure 31 is in {{music|time|1|8}}.[26]
  • On an Overgrown Path, by Leoš Janáček. There are two {{music|time|1|8}} bars in the third movement.[22]
  • Piano Sonata No. 3 by Carlos Chávez. Movement II, bar 176 is in {{music|time|1|8}} time.[27]
  • A próle do bébé, Book 2 by Heitor Villa-Lobos. The fifth piece, "O Cavalinho de páu" (The Little Wooden Horse), bar 68 is in {{music|time|2|[4]}}{{music|time|1|8}} time.[28]

{{music|time|1|16}}

  • Mädchentotenlieder, by Bo Nilsson. Bar 11 is in {{music|time|1|16}} time.[19]
  • The Mirror, by Dream Theater. In {{music|time|1|16}}.[29]

{{music|time|1|64}}

  • "A Headache And A Sixty-Fourth", from Ron Jarzombek's album Solitarily Speaking of Theoretical Confinement, has a constant time signature pattern of {{music|time|4|4}} and {{music|time|1|64}}.[30]

Upper number of 2

{{music|time|2|1}}

  • Five Pieces for Piano, op. 23, by Arnold Schoenberg.[31]
  • Káťa Kabanová, by Leoš Janáček. Act II is in {{music|time|2|1}} from rehearsal number 20 to just before rehearsal number 24; act III is in {{music|time|2|1}} for four bars before rehearsal number 27 and six bars before rehearsal number 28, followed by a mixture of {{music|time|2|1}} and {{music|cut-time}} between rehearsal numbers 28 and 29, and one bar before rehearsal number 36.[8][32]
  • Partita No. 6 in E minor, BWV 830, by Johann Sebastian Bach. The last movement, a gigue, is in {{music|time|2|1}} in the Bischoff edition; however, the symbol (the mensuration sign for "tempus perfectum, prolatio minor, diminutum") appears in the first edition of 1731, and {{music|cut-time}} = {{music|time|2|2}} in the autograph manuscript).[33] This time signature is unusual for gigues, which are usually in {{music|time|6|8}} or {{music|time|12|8}}.[34][35]
  • Pli selon pli by Pierre Boulez. Movement III, "Improvisation II sur Mallarmé".[31]

{{music|time|2|16}}

  • Comme le vent, first of the Douze études dans toutes les tons mineurs, Op. 39, by Charles-Valentin Alkan.[36]
  • The Rite of Spring by Igor Stravinsky. {{music|time|2|16}} is used in the concluding "Sacrificial Dance".[42]

{ \ew PianoStaff << \ew Staff \\relative c { \\set Staff.midiInstrument = #"violin" \\clef treble \\tempo 8 = 126 \\time 3/16 r16 \\f-! r16\\fermata | \\time 2/16 r -! \\time 3/16 r 8-! | r16 8-! | \\time 2/8 16-! ->-![ -! -!] } \ew Staff \\relative c { \\set Staff.midiInstrument = #"violin" \\clef bass \\time 3/16 d,16-! ees,>-! r\\fermata | \\time 2/16 -! ees,>-! | \\time 3/16 d16-! 8-! | r16 8-! | \\time 2/8 d16\\sf-! -!->[ -! -!] } >> }

  • Sketch, Op. 1 No. 10, by Alexei Stanchinsky.[37][38]

Upper number of 3

{{seealso|Triple meter}}

{{music|time|3|1}}

  • "O Fortuna" from Carl Orff's Carmina Burana (first four bars).[39]
  • Symphony No. 3 by Camille Saint-Saëns, in two sections (a total of 21 bars) at the end of the finale.[40]
  • "Um Mitternacht" by Gustav Mahler (Rückert Lieder No. 5). Bar 27 is marked "{{music|time|6|2}} ({{music|time|3|1}})".[41]

{{music|time|3|16}}

  • Piano Sonata No. 1 in C major, Op. 1, by Johannes Brahms. Movement II, bars 47–49 and 51–53.[48]
  • The Rite of Spring by Igor Stravinsky. {{music|time|3|16}} is used in the concluding "Sacrificial Dance".[42]
  • String Quartet, Op. 28, by Anton Webern. Movement III is in {{music|time|3|16}} from bars 40 to 41, and again from bars 44 to 51.[50]
  • Symphonic Studies, Étude IX (first version) by Robert Schumann.[42]
  • Variations for piano, Op. 27, by Anton Webern, movement I.[43]

{{music|time|3|32}}

  • Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann. Movement II, "Lilliputsche Chaconne".[44]
  • Pribaoutki by Igor Stravinsky. The fourth piece, "Starets i zayats", uses {{music|time|3|32}} in bar 15.[45]
  • String Quartet, Op. 28, by Anton Webern: the third movement is in {{music|time|3|32}} from bars 28 to 37.[46]

Upper number of 4

{{music|time|4|16}}

  • Homenaje a Federico García Lorca by Silvestre Revueltas. Movement I, "Baile" (Dance), is entirely in {{music|time|4|16}}, except for one free-rhythm bar at the beginning and two at the end.[47]
  • Piano Sonata No. 1 in C major, Op. 1, by Johannes Brahms. Movement II, bars 46 and 50.[48]
  • Piano Sonata No. 3 in F minor, Op. 5, by Johannes Brahms. Movement II, bars 37–66 and 77–90.[49]
  • Pribaoutki by Igor Stravinsky. The fourth piece, "Starets i zayats", uses {{music|time|4|16}} in bar 16.[45]
  • The Rite of Spring by Igor Stravinsky. {{music|time|4|16}} is used in the concluding "Sacrificial Dance".[42]
  • String Quartet, Op. 28, by Anton Webern: the third movement is in {{music|time|4|16}} from bars 52 to 53.[46]
  • Variations on a Theme by Robert Schumann, Op. 9, by Johannes Brahms. Variation XI.[50]

Upper number of 5

{{main|Quintuple meter}}

Upper number of 6

{{seealso|Sextuple meter}}

{{music|time|6|2}}

  • "Um Mitternacht" by Gustav Mahler (Rückert Lieder No. 5). Bar 27 is marked "{{music|time|6|2}} ({{music|time|3|1}})".[51]

Upper number of 7

{{main|Septuple meter}}

Upper number of 8

Note: {{music|time|8|4}} or {{music|time|8|8}} may refer to an evenly divided compound duple or quadruple meter. While this is arguably extremely common in music, the notations {{music|time|8|4}} and {{music|time|8|8}} themselves are not, so all divisions of this time signature are listed here

{{music|time|8|4}}

  • A Choral Fantasia, op. 51, by Gustav Holst. Bars 36–69, 142–48, 173–78, and 191–98 are in {{music|time|8|4}}.[52]
  • "All You Need Is Love" by The Beatles. The main verse pattern contains a total of 29 beats, split into two {{music|time|7|4}} measures, a single bar of {{music|time|8|4}}, followed by a one bar return of {{music|time|7|4}} before repeating the pattern.[53]
  • "Damage Control" by John Petrucci has several bars in {{music|time|8|4}}.[54]
  • "I Ejaculate Fire" by Dethklok. Bars 81, 83, 85, and 88 are in {{music|time|8|4}}.[55]
  • Musica ricercata for piano, by György Ligeti, movement 2 (Mesto, rigido e cerimoniale) includes a single bar of {{music|time|8|4}}.{{sfn|Ligeti|1995|loc=9, b. 28}}
  • The Rite of Spring by Igor Stravinsky, in the tableau "Mysterious Games of the Maidens", the bar before rehearsal 99 is in {{music|time|8|4}}.[56]
  • De Staat by Louis Andriessen. Bars 686–87 are in {{music|time|8|4}}.[57]
  • String Quartet No. 2, Op. 36 (1945), by Benjamin Britten. Movement I, bars 3 and 12 after rehearsal K are in {{music|time|8|4}}.[58]
  • Symphony No. 3 by Peter Maxwell Davies. Movement I has two bars of {{music|time|8|4}} (divided {{serif|3+2+3}}) at rehearsal N.[59]

{{music|time|8|8}}

  • Concerto for Orchestra by Béla Bartók. Movement IV has three bars of {{music|time|8|8}} in the strings at rehearsal 75.[60]
  • "De elegia prima" from Threni by Igor Stravinsky. Bars 83–84, 91, and 165 are in {{music|time|8|8}}.[61]
  • Diversions for Piano Left Hand and Orchestra, Op. 21, by Benjamin Britten. In Variation IV, bars 171, 175–77, 181, and 187–91 are in {{music|time|8|8}}.[62]
  • Fancy Free by Leonard Bernstein. In the fourth number, "Pas de deux", bars 324–25, 355–57, 359–61 are in {{music|time|8|8}}.[63]
  • Mikrokosmos by Béla Bartók.
    • No. 151, "Six Dances in Bulgarian Rhythm" 4, is in {{music|time|3+2+3|8}}.[64]
    • No. 153, "Six Dances in Bulgarian Rhythm" 6, is in {{music|time|3+3+2|8}}.[65]
  • Music for Strings, Percussion, and Celesta by Béla Bartók.
    • Movement I, bars 1, 3, 5, 7, 9, 11, 13, 15, 19, 22, 26–27, 29, 38–40, 46, 53, 69, 71, 73, 75, 83, and 85 are in {{music|time|8|8}}[66]
    • Movement IV, bars 204, 207, 210, 213 are in {{music|time|8|8}}.[67]
  • Petrushka by Igor Stravinsky. One bar before and five bars after rehearsal 4 superimposes a bar of {{music|time|8|8}} in piccolo 1 & 2, ob. 1 & 2, and trumpet 1, and piccolo 1 & 2, ob. 1–3, cornet 1 & trumpet 1, respectively against {{music|time|3|4}} in the rest of the orchestra.[68]
  • Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in {{music|time|8|8}}.[69]
  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in {{music|time|8|8}}.[70]
  • De Staat by Louis Andriessen. Bars 5, 8, 10, 12–16, 54–57, 83–84, 87–88, 582, 590, 602, 610, 612, 625, 630, 644, 647–48, 650, 663, 695, 707, 851, and 853 are in {{music|time|8|8}}.[57]
  • Symphony No. 1 by Gustav Mahler. In Movement IV, the bar before rehearsal number 40 is in {{music|time|8|8}}.[71]
  • Symphony No. 3 by Peter Maxwell Davies. Third movement has one bar of {{music|time|8|8}} before rehearsal X.[72]

{{music|time|8|16}}

  • The Cry of Anubis, for tuba and orchestra by Harrison Birtwistle. Bars 33, 36, and 45–46 are in {{music|time|8|16}}.[73]
  • The Flood by Igor Stravinsky. Bars 406, 414, 422, 427, 432, 440, and 448 are in {{music|time|8|16}} time, all divided {{serif|3+2+3}}.[74]
  • Histoire du soldat by Igor Stravinsky has one bar in {{music|time|8|16}} time, at the fourth bar following rehearsal 35, in the movement "Ragtime".[75]
  • Requiem Canticles by Igor Stravinsky. The interlude has bar 156 in {{music|time|8|16}} time.[76]

Upper number of 9

Time signatures that group nine beats into {{serif|3+3+3}} are very common in music. This section only lists other groupings, such as {{serif|2+3+2+2}}.

{{music|time|9|4}}

  • "The Count of Tuscany" by Dream Theater. The verse riff is in {{music|time|9|4}}, with a rhythm of {{music|time|3+2+2+3+3+2+3|8}}.[77]

{{music|time|9|8}}

  • "Apocalypse in {{music|time|9|8}}" by Genesis. Penultimate movement of the "Supper's Ready" suite, rhythm section plays a {{music|time|9|8}} riff as {{serif|3+2+4}}, organ solo plays polymetrically over this (sometimes {{music|time|4|4}}, sometimes {{music|time|7|4}}.)[78]
  • "Big Lie Small World", by Sting is in {{music|time|9|8}} with varying division.[79]
  • "Blue Rondo à la Turk" (1959) by the Dave Brubeck Quartet, from the album Time Out – Played as {{serif|2+2+2+3}} and {{serif|3+3+3}}, with some alternating sections of {{music|time|4|4}}.[80]
  • Estancia by Alberto Ginastera. The refrain of "Los peones de hacienda", at rehearsal numbers 62, 65, 67, 68, 69+3, and 70 is marked "{{music|time|9|8}} ({{music|time|3|4}} – {{music|time|3|8}})"; the remainder is variously in {{music|time|6|8}}, {{music|time|3|4}}, {{music|time|5|8}}, and {{music|time|7|8}}.[81]
  • "I Hung My Head", by Sting is in {{music|time|2+3+2+2|8}}.[79]
  • Mikrokosmos by Béla Bartók
    • No. 148, "Six Dances in Bulgarian Rhythm" 1, is in {{music|time|4+2+3|8}}.[82]
    • No. 152, "Six Dances in Bulgarian Rhythm" 5, is in {{music|time|2+2+2+3|8}}.[83]
  • "Niska Banja," SATB choral arrangement by Nick Page of a Serbian Gypsy dance, is in {{music|time|2+2+2+3|8}}.[84]

{{music|time|9|32}}

  • Un Vitrail et des Oiseaux by Olivier Messiaen uses {{music|time|3+2+2+2|32}}.[85]

== Upper number of 10 ==

{{music|time|10|4}}

  • "Crocodile" by This Town Needs Guns is largely in {{music|time|10|4}}.[86]
  • "Everything in its Right Place" by Radiohead. ({{music|time|10|4}} after a pick-up measure of two beats; divided {{serif|4+4+2}})[87]
  • "Just Like You Imagined" by Nine Inch Nails. ({{music|time|10|4}})[88]
  • "Playing in the Band" by the Grateful Dead (notated as {{music|time|4+2+4|4}}). ({{music|time|10|4}})[89]
  • "Rabbit" by This Town Needs Guns has parts in {{music|time|10|4}}.[90]
  • String Quartet No. 2, op. 35 (1945), by Benjamin Britten. Movement I, fourth bar after rehearsal K ("tranquillo, lusingando") is in {{music|time|10|4}}.[91]
  • "Testotyrannosaurus" by Hail the Sun contains some parts in {{music|time|10|4}}, and {{music|time|11|4}}.[92]
  • "Thick as a Brick" by Jethro Tull. The second section of the first part of the song is in {{music|time|10|4}}[93]
  • "Wanderlove" by Mason Williams. ({{music|time|10|4}})[94]

{{music|time|10|8}}

  • "Erotomania" by Dream Theater, the first 3 bars of the intro progression are in {{music|time|10|8}}.[95]
  • "Happiness is a Warm Gun", by The Beatles. The first part includes {{music|time|4|4}}, {{music|time|2|4}}, and {{music|time|5|4}}; the second part includes {{music|time|3|8}}; and third part {{music|time|9|8}} and {{music|time|10|8}}.[96] The finale includes 1 bar of {{music|time|12|4}}. "[T]he changes of meter either between or within every section establish themselves as a kind of leitmotif." (Alan Pollack's 'Notes On' series, no. 136).
  • "Nostalgia" by Yanni. ({{music|time|10|8}})[97]
  • Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in {{music|time|10|8}}.[69]
  • Sketch, Op. 1 No. 7, by Alexei Stanchinsky ({{music|time|10|8}}).[37]
  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in {{music|time|10|8}}.[70]
  • Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky. "Solacium", part 3 of "De Elegia Tertia".[98]

{{music|time|10|16}}

  • Étude, op. 35, no. 12 in E major, for piano, by Charles-Valentin Alkan. ({{music|time|10|16}}, grouped as {{music|time|5|16}} {{serif|+}} {{music|time|5|16}})[99]

Upper number of 11

{{music|time|11|4}}

  • "Cigne je suis" published in the collection Airs a III. IIII. V. et VI. parties (première livre, 1608) by Claude Le Jeune is barred as {{music|time|11|4}}.[100]
  • "Crowned & Kissed" by Esperanza Spalding. The two-bar chorus groove is in {{music|time|11|4}} time.[101]
  • "Eight Ball, Coroner's Pocket" by Hail the Sun, intro is composed in {{music|time|9|4}}, and {{music|time|11|4}}.[102]
  • "Eleven Four", by Paul Desmond and recorded by the Dave Brubeck Quartet ({{music|time|11|4}}).[103]
  • In Nomine IX, for harpsichord, by John Bull. {{music|time|11|4}}, though it is not notated as such, either in the original manuscript or the new edition.[104]
  • Mädchentotenlieder, by Bo Nilsson. Bar 74 is in {{music|time|11|4}} time.[105]
  • The Rite of Spring by Igor Stravinsky. The bar immediately before the section "The Chosen One" is in {{music|time|11|4}}.[106]
  • "Testotyrannosaurus" by Hail the Sun contains some parts in {{music|time|10|4}}, and {{music|time|11|4}}.[92]
  • "Where but for Caravan Would I Be" (1969), by Caravan.[107]
  • "Whipping Post", by The Allman Brothers Band. (Begins with a two-bar {{music|time|11|4}} riff).[108]

{{music|time|11|8}}

  • Bachianas Brasileiras No. 9, by Heitor Villa-Lobos. Movement II is in {{music|time|11|8}}[109]
  • "Blockhead", by Devo. Verses are in {{music|time|11|8}} time, choruses in {{music|time|4|4}}.[110]
  • "The Eleven", by the Grateful Dead.[111][112]
  • "Eleven" by Primus. The song is mainly in {{music|time|11|8}}, the chorus has one bar in {{music|time|9|8}}, and after two bars of {{music|time|11|8}} a bar in {{music|time|12|8}}.[113]
  • Friends, by Led Zeppelin. Main theme.[114]
  • "Here Comes the Sun" (1969), written by The Beatles' George Harrison. The song features common {{music|time|4|4}} time in the verses and a compound sequence of {{music|time|11|8}} {{serif|+}} {{music|time|4|4}} {{serif|+}} {{music|time|7|8}} in the bridge, phrasing interludes that Harrison drew from Indian music influences.{{sfn|Pollack|1999}}{{sfn|Pedler|2003|p=555}}[115]
  • "Larks' Tongues in Aspic, Pt. 1", by King Crimson. The song is in {{music|time|5|4}} until the violin enters. Then, the metre switches to {{music|time|11|8}}. The song shifts between these metres for the remainder of the song.[116]
  • "Losing It" by Rush. Intro and verses are composed out of ten bars in {{music|time|5|8}}, other parts are in {{music|time|11|8}}.[117][118][119]
  • Mario Kart 64 (video game), music by Kenta Nagata, at the [https://www.youtube.com/watch?v=sVdxrERxQo8 race results screen].[120]
  • "Man-Erg" (1971), by Van der Graaf Generator.[121]
  • Piano Sonata No. 2 in G major by Alexei Stanchinsky. Movement II is in {{music|time|11|8}}.[122]
  • A próle do bébé, by Heitor Villa-Lobos. The first and last measures of the fourth movement{{Clarify|date=January 2017}} are in {{music|time|11|8}}, divided into {{music|time|6|8}} or {{music|time|3|4}}, and {{music|time|5|8}}.[123]
  • "Serenade", a wedding recessional by Derek Bourgeois. The beginning and ending sections are in {{music|time|11|8}}.[124][125]
  • Sketch, Op. 1 No. 5, by Alexei Stanchinsky ({{music|time|11|8}}).[37]
  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in {{music|time|11|8}}.[70]

Upper number of 12

{{music|time|12|32}}

  • Piano Sonata No. 32 in C minor, Op. 111, by Ludwig van Beethoven. Movement II is in {{music|time|12|32}} from bars 48 to 64.[85]

Upper number of 13

{{music|time|13|4}}

  • "Golden Brown" by The Stranglers. The song's characteristic opening phrase, repeated later in the song, is in {{music|time|13|4}} ({{serif|3+3+3+4}}).[126]
  • "The Great Divide" by Don Ellis ({{music|time|13|4}}).[127]
  • "Rabbit" by This Town Needs Guns has sections in {{music|time|13|4}}.[90]
  • De Staat by Louis Andriessen. Bars 356 and 517 are in {{music|time|13|4}}.[128]
  • "Starless" (1974), by King Crimson.[129]

{{music|time|13|8}}

  • "The Becoming" by Nine Inch Nails. Begins in a {{music|time|13|8}} time signature and changes to {{music|time|6|8}} at the 3-minute mark.[130]
  • "I Will Be Absorbed", by Egg.[129]
  • "One Word" by Mahavishnu Orchestra has a section in {{music|time|13|8}} after the drum solo (just over eight and a half minutes in).[131]
  • A próle do bébé No. 2, by Heitor Villa-Lobos. A measure in the fourth movement, "O cachorrinho de borracha", is in {{music|time|13|8}}, divided into {{music|time|6|8}} or {{music|time|3|4}}, and {{music|time|7|8}}. Two measures in the ninth movement, "O lobozinho de vidro", are also in {{music|time|13|16}}.[132]
  • "Serenade", a wedding recessional by Derek Bourgeois. The middle section is in {{music|time|13|8}}.[124][125]
  • "Skimbleshanks" from Andrew Lloyd Webber's musical Cats. Introduction and chorus are in {{music|time|13|8}} ({{serif|3+3+3+4}}). Verses in {{music|time|4|4}}.[133]
  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in {{music|time|13|8}}.[70]
  • De Staat by Louis Andriessen. Bars 356 and 517 are in {{music|time|13|4}}, while bar 724 is in {{music|time|13|8}}.[128]
  • "13th August" by FromUz ({{music|time|13|8}}).[134]
  • "Turn It on Again" by Genesis. The verses and choruses are in {{music|time|13|8}}. Other parts are in {{music|time|8|8}}, and {{music|time|5|8}}.[135]

{{music|time|13|16}}

  • "78341316" by deadmau5 uses the time signatures {{music|time|7|8}} and {{music|time|13|16}}.[136]
  • The Terminator main theme, by Brad Fiedel ({{music|time|13|16}}).[137]

== Upper number of 15 ==

See also: Quintuple meter

{{music|time|15|8}}

  • "Chionoblepharou pater Aous" [Father of the bright-eyed Dawn], Hymn to the Sun, by Mesomedes of Crete ({{music|time|15|8}}, grouped {{serif|2+2+2+2+2+3+2}})[138]
  • "Karn Evil 9", 1st Impression, Part 1 (1973), by Emerson, Lake and Palmer includes a passage in {{music|time|15|8}}.[139]
  • "Malibu Shuffle" for jazz band, by Wayne L. Perkins ({{music|time|15|8}}).[140]
  • "Perpetuum Mobile" by the Penguin Cafe Orchestra ({{music|time|15|8}})[141]
  • Sonata Op. 25 No. 2 in E minor, for piano, "Night Wind" (1911) by Nikolai Medtner. Main Allegro section in {{music|time|15|8}}.[142]{{Vague|date=January 2012}}
  • "Strong One" from the Mother 3 soundtrack[143]
  • "Tubular Bells" by Mike Oldfield. The first riff in {{music|time|15|8}} is made of two bars. The first bar is in {{music|time|7|8}}, the second bar is in {{music|time|8|8}}.[144]

{{music|time|15|16}}

  • The Phantom of the Opera (1986) by Andrew Lloyd Webber: "Notes" and "Notes II" each contain multiple sections of {{music|time|15|16}}.{{Clarify|date=March 2018}}[145]
  • Robert Browning Overture, by Charles Ives includes measures in {{music|time|15|16}} time.[146]
  • De Staat by Louis Andriessen. Bars 501 and 535–36 are in {{music|time|15|16}} time, divided {{serif|4+4+4+3}} (in b. 501 some layers are in {{serif|3+3+3+3+3}} and {{serif|3+4+4+3}}).[147]
  • String Quartet No. 1 (1950–51), by Elliott Carter includes measures in {{music|time|15|16}} time.[146]
  • String Quartet No. 1 (1949), by Leon Kirchner includes measures in {{music|time|15|16}} time.[146]
  • String Quartet No. 2 (1959), by Elliott Carter includes measures in {{music|time|15|16}} time.[146]

Upper number of 17

{{music|time|17|4}}

  • "Panda" by This Town Needs Guns includes sections of {{music|time|17|4}} and other meters like {{music|time|3|4}}.[148]
  • "Seven Teens", by Lionel Loueke in {{music|time|17|4}}.[149]
  • "Stories" by William Auerweck includes sections of {{music|time|17|4}}.[150]

{{music|time|17|8}}

  • "Crystalline" by Björk.[151]
  • "Hollow" by Björk.[152]
  • "I Should Live in Salt" by The National. Intro and verses in {{music|time|17|8}}, bridge and chorus in ordinary {{music|time|4|4}}.[153]
  • "Moon" by Björk.[154]
  • Sketch, Op. 1, No. 6, by Alexei Stanchinsky ({{music|time|17|8}}, written as {{music|time|4|8}} {{serif|+}} {{music|time|4|8}} {{serif|+}} {{music|time|5|8}} {{serif|+}} {{music|time|4|8}}, but with the {{music|time|17|8}} time signature written as well).[37]

Upper number of 18

{{see also|Sextuple meter}}

{{music|time|18|8}}

  • "Birds of Fire" by Mahavishnu Orchestra. Guitar plays {{serif|5+5+5+3}} while drums play {{serif|6+6+6}}. Violin from time to time plays {{serif|3+3+2+3+3+2+2}}.[155]
  • 49 Esquisses by Charles-Valentin Alkan. No. 12, Barcarollette, is in {{music|time|18|8}}, as compound sextuple meter.[156]

{{music|time|18|16}}

  • Don Rodrigo by Alberto Ginastera. "Interludium III" is in {{music|time|18|16}} meter, except the last three bars, which are in {{music|time|3|4}}.[157]
  • Four Etudes, op. 2, by Sergei Prokofiev. The second étude uses {{music|time|18|16}} in one hand against {{music|time|4|4}} in the other.[158]
  • Fünf Klavierstücke, Op. 23 by Arnold Schoenberg. Movement III, bars 26 to 30 inclusive are in {{music|time|18|16}}.[159]
  • Goldberg Variations, by Johann Sebastian Bach. Variatio 26, a 2 Clav. uses {{music|time|18|16}} in one hand against {{music|time|3|4}} in the other, exchanging hands at intervals until the last five bars where both hands are in {{music|time|18|16}}.[160]

Upper number of 19

{{music|time|19|4}}

  • "She's Only 19" by Wayne L. Perkins ({{music|time|19|4}}).[161]
  • "33 222 1 222" by Don Ellis ({{music|time|19|4}}).[162]

{{music|time|19|8}}

  • "Keep It Greasy" by Frank Zappa on Joe's Garage (the first verse, some bridges and the guitar solo are counted in {{music|time|19|16}} and the second verse is in {{music|time|21|16}}).[163]{{Failed verification|date=May 2018}}
  • Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in {{music|time|19|8}}.[69]
  • "Rusty Cage" by Soundgarden (third section in {{music|time|19|8}}).[164]

{{music|time|19|16}}

  • "Celestial Terrestrial Commuters" by Mahavishnu Orchestra.[155]{{Page needed|date=March 2008}}
  • "Home" by Dream Theater (ends in {{music|time|19|16}}).[165]
  • "Keep It Greasy" by Frank Zappa on Joe's Garage (the first verse, some bridges and the guitar solo are counted in {{music|time|19|16}} and the second verse is in {{music|time|21|16}}).[163]{{Failed verification|date=May 2018}}

Upper number between 20 and 29

20

  • "Deux moulins", published in the collection Airs a III. IIII. V. et VI. parties (première livre, 1608) by Claude Le Jeune. The third section, Chant à 3, is barred as {{music|time|20|4}}; the rest of the piece is in {{music|time|21|4}}.[166]
  • "Gibbon" by This Town Needs Guns is transcribed partially in {{music|time|20|4}}.[167]
  • Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky In "Sensus spei", part 2 of "De Elegia Tertia", bar 4 is in {{music|time|20|8}} time.[168]

21

{{seealso|Septuple meter}}
  • "The Art Of Dying" by Gojira (2008) cycles from {{music|time|4|4}} to {{music|time|2|4}} to {{music|time|21|16}} (grouped {{serif|5+5+5+3+3}}) and repeats this pattern during the intro and beginning of the song.[169]
  • "Deux moulins" by Claude Le Jeune, published in Airs a III. IIII. V. et VI. parties (première livre, 1608). The first two sections, Rechant à 3 and Réprise à 5, are barred as {{music|time|21|4}}; the last section of the piece is in {{music|time|20|4}}.[166]
  • In the Dead of the Night suite by UK, "contains an instrumental refrain in {{music|time|21|16}}".[129]
  • "Keep It Greasy" by Frank Zappa on Joe's Garage (the first verse, some bridges and the guitar solo are counted in {{music|time|19|16}} and the second verse is in {{music|time|21|16}}).[170]{{Failed verification|date=May 2018}}
  • Sonata for Cello and Piano (1948), by Elliott Carter, includes {{music|time|21|32}} time.[171]

22

  • "The First Circle" from the album First Circle by the Pat Metheny Group. Composed by Pat Metheny and Lyle Mays ({{music|time|22|8}}).[172][173]

23

  • "Low Light" by Jacky Ligon from his Between Moments EP (2013) is in {{music|time|23|4}}.[174]
  • "Baboon" by This Town Needs Guns is mainly in {{music|time|23|4}} with some {{music|time|4|4}}.[175]
  • In Ocarina of Time, Ganondorf's battle theme is mostly in {{music|time|23|16}} (sometimes with {{music|time|17|16}} as a polymeter) with a stray section in {{music|time|4|4}}.[176]
  • "New Millennium Cyanide Christ" by Meshuggah repeats the pattern of five bars of {{music|time|23|16}} and one bar of {{music|time|13|16}} from the start.[177]

24

  • "Brobdingnagische Gigue", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann is in {{music|time|24|1}}.[178]
  • The Well-Tempered Clavier, Book 1 by Johann Sebastian Bach. The upper stave of Prelude No. 15 is in {{music|time|24|16}} (The bottom stave is in {{music|common-time}}).[31]

25

  • "How's This for Openers?" by Don Ellis ({{music|time|25|8}}).[179]
  • "Memory Daydreams Lapses" by OSI ({{music|time|25|16}}).[180]
  • "Tenemos Roads", by National Health includes "some extremely intricate passages in {{music|time|25|16}}".[129]

26

  • "26 Is Dancier than 4" by This Town Needs Guns ({{music|time|26|8}}) (grouped {{serif|5+5+5+5+6}}).[181]

29

  • "Strong One (Masked Man)" from the Mother 3 soundtrack ({{music|time|29|16}})[143]
  • "March of the Pigs" by Nine Inch Nails ({{music|time|29|8}}) (grouped {{serif|7+7+7+8}}, chorus remains {{music|time|4|4}})[182]

Upper number between 30 and 39

30

  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in {{music|time|30|16}}.[70]

32

  • "Variations for Trumpet" by Don Ellis has one section in {{music|time|32|8}}.[183]

33

  • "Blues in {{music|time|33|8}}" by Matt Savage ({{music|time|33|8}}).[184]
  • "Bulgarian Bulge" by Don Ellis ({{music|time|33|8}}).[185]
  • "Split Open and Melt" by Phish has a jam section in {{music|time|33|8}}.[186]

Upper number between 40 and 49

43

  • Study No. 3a for Player Piano by Conlon Nancarrow uses {{music|time|43|16}}.[85]

47

  • Study No. 3a for Player Piano by Conlon Nancarrow uses {{music|time|47|16}}.[85]

Upper number between 50 and 59

53

  • "Interlude V" by Mannheim Steamroller from the album Fresh Aire II contains one measure of {{Music|time|53|8}}.[187]

Fractional time signatures

  • Driftwood Suite, for piano, by Gardner Read uses {{music|time|{{frac|3|1|2}}|4}}, {{music|time|{{frac|4|1|2}}|4}}, and {{music|time|{{frac|5|1|2}}|4}}.[230]
  • Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann. "Reverie der Laputier, nebst ihren Aufweckern" is in {{music|time|{{frac|3|2|2}}|4}}.[188]
  • Lincolnshire Posy by Percy Grainger. In movement V, "Lord Melbourne", some parts mark this measure as {{music|time|{{frac|1|1|2}}|4}} while others mark it as {{music|time|3|8}}. This trombone part has a bar of {{music|time|{{frac|1|1|2}}|4}} on the bottom of page 4.[25] It also contains {{music|time|{{frac|2|1|2}}|4}}.[25]
  • Mädchentotenlieder, by Bo Nilsson.
    • Bar 83 is in {{music|time|{{frac|4|3}}|4}} time.[189]
    • Bar 97 is in {{music|time|{{frac|3|5}}|4}} time.[190]
    • Bars 102 and 123 are in {{music|time|{{2/3}}|4}} time.[191]
    • Bar 112 is in {{music|time|{{frac|4|5}}|4}} time.[192]
  • Le marteau sans maître, by Pierre Boulez. Movement III "L'Artisanat furieux".
    • Bar 3 is in {{music|time|{{frac|4|3}}|2}} time.[193]
    • Bars 24, 35, and 43 are in {{music|time|{{2/3}}|4}} time.[194]
  • Piano Sonata No. 2, Concord, Mass., 1840–1860, by Charles Ives. In movement III "The Alcotts", bar 20 is in {{music|time|{{frac|4|1|2}}|4}} time.[195]
  • Piano Sonata No. 3 by Carlos Chávez. Movement IV has measures in {{music|time|{{frac|2|1|2}}|4}}, {{music|time|{{frac|3|1|2}}|4}}, and {{music|time|{{frac|4|1|2}}|4}}.[196]
  • "Schism" by Tool is described by the band as largely in {{music|time|{{frac|6|1|2}}|8}} and includes numerous other times.[197]
  • Sensemayá by Silvestre Revueltas includes three bars in {{music|time|{{frac|5|1|2}}|8}}.[198]
  • Study in Sonority by Wallingford Riegger contains several {{music|time|{{frac|2|1|2}}|4}} bars.[199]
  • Touch Piece, for piano, by Gardner Read uses {{music|time|{{frac|3|1|2}}|4}}, {{music|time|{{frac|4|1|2}}|4}}, and {{music|time|{{frac|5|1|2}}|4}}.[199]
  • "Upstart" by Don Ellis is in {{music|time|{{frac|3|2|3}}|4}} (originally written in {{music|time|11|8}}).[200]

Irrational time signatures

{{See also|Time signature#Irrational meters}}
  • L'Itoi Variations by Kyle Gann. Bar 275 is in {{music|time|2|3}} time.[201]
  • Piano Sonata No. 3 by Carlos Chávez. In movement IV, bars 47, 49, 107, and 109 are in {{music|time|1|12}}.[202]

Combined unusual signatures

{{See also|Time signature#Mixed meters}}
  • "O cachorrinho de borracha" (The Little Rubber Dog), No. 4 from A próle do bébé No. 2 by Heitor Villa-Lobos mixes {{music|time|11|8}}, {{music|time|13|8}}, {{music|time|5|4}}, and {{music|time|8|4}} with the usual signatures {{music|time|3|4}} and {{music|time|4|4}}.[203]
  • "Firth of Fifth": Introduction, by Tony Banks of Genesis, mixes duple and quadruple meters with {{music|time|13|16}} and {{music|time|15|16}} signatures.[204]
  • "I Say a Little Prayer" by Dionne Warwick uses two measures of {{music|time|4|4}}, one measure of {{music|time|10|4}} and two measures of {{music|time|4|4}} for verses and {{music|time|11|4}} for its chorus.[205]
  • Klavierstück IX (1954–55/61) by Karlheinz Stockhausen uses {{music|time|21|8}}, {{music|time|34|8}}, {{music|time|42|8}}, {{music|time|87|8}}, and {{music|time|142|8}}.[206]
  • Zeitmaße by Karlheinz Stockhausen uses {{music|time|1|2}}, {{music|time|1|8}}, {{music|time|1|16}}, {{music|time|2|16}}, {{music|time|2|32}}, {{music|time|3|16}}, {{music|time|3|32}}, {{music|time|4|16}}, {{music|time|8|8}}, {{music|time|8|32}}, {{music|time|11|16}}, {{music|time|12|32}}, {{music|time|17|32}}, {{music|time|23|32}}, and {{music|time|30|32}}.[85][207]

See also

{{Portal|Music}}{{Refbegin|2}}
  • Bulgarian dances
  • Mathcore
  • Math rock
  • Meter (music)
  • Free time (music)
  • Progressive rock
  • Time signature
  • Greek dances
    • Ai Georgis
    • Kalamatianos
    • Karsilamas
    • Tsakonikos
    • Zeibekiko
{{Refend}}

Notes and references

1. ^Ian Waugh first lists {{music|time|2|2}}, {{music|time|2|4}}, {{music|time|2|8}}, {{music|time|3|2}}, {{music|time|3|4}}, {{music|time|3|8}}, {{music|time|4|2}}, {{music|time|4|4}}, {{music|time|4|8}}, {{music|time|6|4}}, {{music|time|6|8}}, {{music|time|6|16}}, {{music|time|9|4}}, {{music|time|9|8}}, {{music|time|9|16}}, {{music|time|12|4}}, {{music|time|12|8}}, and {{music|time|12|16}} (Waugh 2003, 76), then says "we've listed all the popular time signatures" (Waugh 2003, 77).
2. ^Britten 1945b.
3. ^ 
4. ^Borodin [1888], 44–86.
5. ^Copland 1945, 56–59.
6. ^Enescu 1965, 62.
7. ^http://petruccilibrary.ca/download.php?file=files/imglnks/caimg/0/03/IMSLP00782-Schoenberg_op23_No2.pdf
8. ^1 http://conquest.imslp.info/files/imglnks/usimg/8/8e/IMSLP58460-PMLP119865-Janáček_-_Káťa_Kabanová_-_Act_III_(vocal_score).pdf
9. ^http://cnks.imslp.org/files/imglnks/usimg/4/46/IMSLP99159-PMLP200270-Couperin_-_Pieces_de_clavecin_Bk3.pdf
10. ^http://petruccilibrary.ca/download.php?file=files/imglnks/caimg/7/7b/IMSLP309054-PMLP499658-Poulenc_-_Huit_Nocturnes__piano_.pdf
11. ^{{IMSLP2|work=Piano Sonata No.5, Op.53 (Scriabin, Aleksandr)|cname=Piano Sonata No. 5 (Scriabin)}}. Leipzig: Edition Peters, 1971, plate E.P. 12588.
12. ^{{cite web|url=http://imslp.eu/files/imglnks/euimg/1/11/IMSLP28222-PMLP61954-Webern_-_Quartet__Op._22.pdf|title=Archived copy|archiveurl=https://web.archive.org/web/20160910092556/http://imslp.eu/Files/imglnks/euimg/1/11/IMSLP28222-PMLP61954-Webern_-_Quartet__Op._22.pdf|archivedate=2016-09-10|deadurl=yes|accessdate=2017-03-26|df=}}
13. ^https://imslp.org/wiki/Special:ImagefromIndex/309641/pasw {{Full|date=July 2018}}
14. ^https://www.youtube.com/watch?v=xaQvPhVvQaY
15. ^Edward Elgar, Symphony No. 1 (London: Eulenberg Edition, n.d.), 62–101.
16. ^Myaskovsky 1947, 4–8, 23–30, 41–44, 59–65, 70–73.
17. ^Revueltas 1971, 32, 34–38.
18. ^{{Cite book|title=Fairport Convention Songbook 2 |editor-last=Allcock |editor-first=Maartin |publisher=Woodworm Music |year=1998 |pages=56–59 }}
19. ^1 2 Nilsson 1958, 3–15.
20. ^https://monoskop.org/images/4/48/Xenakis_Iannis_Metastaseis_B_1953-54_score.pdf
21. ^Dream Theater Keyboard Anthology. Transcribed by Chris Romero and Jordan Baker 2004, 30.
22. ^1 http://ks.imslp.net/files/imglnks/usimg/5/50/IMSLP09955-Janacek20On20an20overgrown20path.pdf
23. ^Stravinsky n.d., 26.
24. ^Chávez 1972, 3–4.
25. ^1 2 {{cite web|url=http://imslp.org/wiki/Lincolnshire_Posy_(Grainger,_Percy)|title=Lincolnshire Posy (Grainger, Percy) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music|publisher=}}
26. ^Dream Theater Black Clouds and Silver Linings Authentic Guitar TAB. 2009, 7.
27. ^Chávez 1972, 12.
28. ^Villa-Lobos 1927, 5:4.
29. ^https://tabs.ultimate-guitar.com/tab/dream_theater/the_mirror_tabs_125540.
30. ^{{cite web|url=http://www.ronjarzombek.com/headache.html|title=A Headache And A Sixty-Fourth|accessdate=2010-08-21}}
31. ^1 2 Read 1964, 158.
32. ^http://conquest.imslp.info/files/imglnks/usimg/5/5b/IMSLP58459-PMLP119865-Janáček_-_Káťa_Kabanová_-_Act_II_(vocal_score).pdf
33. ^{{cite web|url=http://bachcellonotes.blogspot.com/2016/02/how-do-we-play-gigue-of-partita-no6.html|title=Bach's Cello Suites, Editor's Notes: How do we play the Gigue of Partita No.6 ?|last=Yokoyama|first=Shin-itchiro|date=21 February 2016|publisher=}}
34. ^http://ks.imslp.net/files/imglnks/usimg/e/e3/IMSLP414162-PMLP667919-Bach_Partita_No_6_Gigue_Comparison.pdf
35. ^{{Cite book|url=https://books.google.com/books?id=_M8RUaKmwYAC&pg=PT84|title=Six Partitas and Overture in French Style|author=Johann Bach|publisher=Alfred Music Publishing|year=1985|isbn=978-0-7692-8604-4|editor=Hans Bischoff|page=92}}
36. ^Alkan n.d. (ca.1861),{{Page needed|date=June 2013}}.
37. ^1 2 3 http://petrucci.mus.auth.gr/imglnks/usimg/f/f3/IMSLP14991-Stanchinksy_-_12_Sketches.pdf
38. ^{{cite web|url=http://imslp.org/wiki/Category:Stanchinsky,_Alexei|title=Category:Stanchinsky, Aleksey|publisher=|accessdate=25 February 2015}}
39. ^{{cite web|url=https://www.youtube.com/watch?v=5owPoSSOa94|title=1.- O Fortuna (Carmina Burana – C. Orff) Score Animation|last=Score'sAnimation|first=|date=7 October 2015|publisher=|via=YouTube}}
40. ^http://ks.imslp.info/files/imglnks/usimg/1/1c/IMSLP29121-PMLP50421-Saint-Saens_-_Symphony_No_3_in_c_Op_78_-_2.pdf
41. ^See any of the scores available on https://imslp.org/wiki/R%C3%BCckert_Lieder_(Mahler%2C_Gustav). Bar 27 is at rehearsal number 4.
42. ^[https://web.archive.org/web/20160304093701/http://conquest.imslp.info/files/imglnks/usimg/9/91/IMSLP289811-PMLP02189-Schumann__Robert_Werke_Breitkopf_Gregg_Serie_7_Band_2_RS_51_Op_13_scan.pdf]
43. ^{{cite web |url=http://imslp.eu/Files/imglnks/euimg/4/4d/IMSLP28271-PMLP04634-Webern_-_Variations__Op._27.pdf |title=Archived copy |accessdate=2016-06-01 |deadurl=yes |archiveurl=https://web.archive.org/web/20160509153731/http://imslp.eu/Files/imglnks/euimg/4/4d/IMSLP28271-PMLP04634-Webern_-_Variations__Op._27.pdf |archivedate=2016-05-09 |df= }}
44. ^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 {{music|time|3|32}} time. . . ."
45. ^1 http://petruccilibrary.us/Scores/scores/Stravinsky_Igor_1971/Stravinsky_-_Pribaoutki_FullScore.pdf
46. ^1 2 {{cite web |url=http://imslp.eu/Files/imglnks/euimg/7/70/IMSLP28223-PMLP61956-Webern_-_String_Quartet__Op._28__score_.pdf |title=Archived copy |accessdate=2016-06-04 |deadurl=yes |archiveurl=https://web.archive.org/web/20160808091650/http://imslp.eu/Files/imglnks/euimg/7/70/IMSLP28223-PMLP61956-Webern_-_String_Quartet__Op._28__score_.pdf |archivedate=2016-08-08 |df= }}
47. ^Revueltas 1958, 3–15.
48. ^1 http://hz.imslp.info/files/imglnks/usimg/4/40/IMSLP06091-Brahms_-_Piano_Sonata_No.1_-_Sauer.pdf
49. ^Brahms 1928, 78–79, 79–80.
50. ^https://imslp.nl/imglnks/usimg/2/2a/IMSLP08431-Brahms_-_Variations_Op.9_-_Sauer.pdf
51. ^See any of the scores available on https://imslp.org/wiki/R%C3%BCckert_Lieder_(Mahler%2C_Gustav). Bar 27 is at rehearsal number 4.
52. ^Holst 1977, 4–6, 18–19, 23–24, 27–30.
53. ^Dean 2014.
54. ^Suspended Animation Authentic Guitar TAB, transcribed by Jordan Baker. 2005, 81–85, 88–89, 105–107
55. ^Dethalbum III Authentic Guitar TAB, transcribed by Jordan Baker. 2013, 10{{Full|date=August 2013}}
56. ^Stravinsky 1970, 99.
57. ^1 Andriessen 1976, 1–4, 82–88, 90, 92, 95–97, 99, 119.
58. ^Britten 1946, 14–15.
59. ^Davies 1985, 48–49.
60. ^Bartók 1993, 72.
61. ^Stravinsky 1958, 11–12 and 19.
62. ^Britten 1941, 30–32.
63. ^Bernstein 1950, 48, 52–54.
64. ^Bartók 1940, 6:45–48.
65. ^Bartók 1940, 6:51–55.
66. ^Bartók 1937, 1–5, 7–8, 10.
67. ^Bartók 1937, 130–33.
68. ^Stravinsky n.d., 11–12.
69. ^1 2 {{cite web|url=https://www.youtube.com/watch?v=J4on2sedCNg&list=RD8cLvxekUaps&index=28|title=Antheil – Piano Sonata No. 2 'The Airplane'|last=musicaignotus|first=|date=14 October 2009|publisher=|via=YouTube}}
70. ^1 2 3 4 {{cite web|url=https://www.youtube.com/watch?v=yTugy32wY5k|title=Kaikhosru Shapurji Sorabji – Sonata No. 1|last=Timothy Smith|first=|date=26 September 2015|publisher=|via=YouTube}}
71. ^http://imslp.eu/files/imglnks/euimg/6/63/IMSLP06376-Mahler_-_Symphony_No.1_Mvt.IV_(complete_score).pdf
72. ^Davies 1985, 202.
73. ^Birtwistle 1996, 6–7 and 9.
74. ^Stravinsky 1962, 54, 56, 58, 60–61, 63, and 66.
75. ^Stravinsky 1924, 50.
76. ^Stravinsky 1967, 19.
77. ^Dream Theater Black Clouds and Silver Linings Authentic Guitar TAB, transcribed by Jordan Baker. 2009, 138
78. ^Seconds Out Songbook 1978 Wise Publications
79. ^1 Gable 2009, 91.
80. ^Dryden, Ken. "[{{Allmusic|class=song|id=t803311|pure_url=yes}} Blue Rondo a la Turk]", Allmusic: "unusual time signature of {{music|time|9|8}}".
81. ^Ginastera 1955, 17–20.
82. ^Bartók 1940, 6:35–38.
83. ^Bartók 1940, 6:48–50.
84. ^Page 1989.
85. ^1 2 3 4 {{cite web|url=http://homes.soic.indiana.edu/donbyrd/CMNExtremes.htm|title=Extremes of Conventional Music Notation|publisher=}}
86. ^{{cite web|author=Tempo controlSlow down the song anytime you need it. |url=http://tp.ultimate-guitar.com/t/this_town_needs_guns/crocodile_tab_online.html |archive-url=https://web.archive.org/web/20130929145756/http://tp.ultimate-guitar.com/t/this_town_needs_guns/crocodile_tab_online.html |dead-url=yes |archive-date=2013-09-29 |title=This Town Needs Guns - Crocodile Tab Online | UG Plus @ Ultimate-Guitar.com |publisher=Tp.ultimate-guitar.com |date= |accessdate=2013-08-01 |df= }}
87. ^http://www.talkbass.com/forum/f22/how-do-you-figure-out-time-signatures-476426/ {{verify credibility|date=April 2013}}
88. ^Banks 2009.
89. ^{{cite web|url=http://stason.org/TULARC/music-bands/grateful-dead/30-The-Eleven-and-Other-Rhythmic-Oddities-Grateful-Dead.html|title=The Eleven and Other Rhythmic Oddities (Grateful Dead)|publisher=|accessdate=25 February 2015}}
90. ^1 Dreiblats 2013.
91. ^Britten 1946, 14.
92. ^1 {{cite web|author=Hail the Sun|title=Testotyrannosaurus.pdf|url=https://app.box.com/s/my54x6y5ihbqcnk5tzy8|publisher=Hail the Sun|accessdate=11 May 2016|format=PDF|date=19 February 2013}}
93. ^{{cite web|url=http://tvtropes.org/pmwiki/pmwiki.php/Main/UncommonTime|title=Uncommon Time|publisher=|accessdate=25 February 2015}}
94. ^Liner notes to The Mason Williams Phonograph Record Warner Brothers LP, WS 1729. Burbank: Warner Brothers-Seven Arts Records, 1968.
95. ^{{Citation|last=TheDeftonesVault|title=Dream Theater- Erotomania [Instrumental]|date=2013-08-21|url=https://www.youtube.com/watch?v=V3JQyV4dUKM|accessdate=2016-03-24}}
96. ^http://i.imgur.com/uGO9LL6.png
97. ^{{Cite book|title=The Best of Yanni; 11 selections from his top recordings|last=Yanni|publisher=Hal Leonard Publishing|year=1993|page=16|authorlink=}}
98. ^Bars 2–5 are in {{music|time|10|8}} time (Stravinsky 1958, 52).
99. ^Eddie 2007, 62.
100. ^Le Jeune 1951–59, 2:85–88.
101. ^{{cite web|url=http://www.bassplayer.com/artists/1171/esperanza-spalding-e-harmony/26667| title=Esperanza Spalding: E-Harmony| author=Jisi, Chris|year=2012 |accessdate=April 29, 2015}}
102. ^{{cite web|author=Hail the Sun|title=Eight Ball, Coroner's Pocket.pdf|url=https://app.box.com/s/n2seb7pdrvdu7jq0urp2|publisher=Hail the Sun|accessdate=11 May 2016|format=PDF|date=13 January 2013}}
103. ^Howard Brubeck (ed.), Dave Brubeck Deluxe Piano Album, (San Francisco: Derry Music Co., 1965), pp. 22–28.
104. ^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.
105. ^Nilsson 1958, 7.
106. ^1 2 3 http://petruccilibrary.us/Scores/scores/Stravinsky_Igor_1971/Stravinsky_-_RiteOfSpring_Piano4Hands.pdf
107. ^Macan 1997, 48.
108. ^{{cite book|author=Randy Poe|title=Skydog: The Duane Allman Story|url=https://books.google.com/books?id=nBC5wukMKXIC&pg=PA131|accessdate=11 April 2012|date=20 September 2006|publisher=Hal Leonard Corporation|isbn=978-0-87930-891-9|page=131}}
109. ^Villa-Lobos 1969, 3–18.
110. ^{{cite web|url=http://dailyvault.com/toc.php5?review=1171|title=The Daily Vault Music Reviews :|publisher=|accessdate=25 February 2015}}
111. ^rec.music.gdead FAQ.{{Verify credibility|date=March 2014}}
112. ^{{cite web|url=http://arts.ucsc.edu/gdead/agdl/eleven.html|title=The Annotated "The Eleven"|publisher=|accessdate=2017-03-08}}
113. ^Primus (musical group), Primus Anthology: A thru N: For Guitar and Bass, transcribed by Jeff Jacobsen (New York: Cherry Lane Music, 2000), 17–20. {{ISBN|1575601540}}.
114. ^{{Cite web|url=https://tabs.ultimate-guitar.com/tab/led_zeppelin/friends_tabs_104415|title=Led Zeppelin – Friends (Tab)|website=tabs.ultimate-guitar.com|language=en|access-date=2019-02-19}}
115. ^"The meters of these three measures are {{music|time|11|8}}, {{music|time|4|4}}, and {{music|time|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).
116. ^{{Cite web|url=http://www.brutalprog.com/artrocktendencies/article/rock-meets-classical-part-4-classical-concepts-king-crimson%E2%80%99s-larks-tongues-aspic|title=Rock Meets Classical, Part 4: Classical Concepts in King Crimson’s 'Larks Tongues in Aspic'|website=www.brutalprog.com|language=en|access-date=2019-03-17}}
117. ^{{cite web|author=Peart, Neil |url=http://www.musicnotes.com/sheetmusic/mtdFPE.asp?ppn=MN0061717 |title=Rush – Losing It Sheet Music (Digital Download) |website=Musicnotes.com |date=2010-10-07 |accessdate=2017-03-08}}
118. ^Haigh n.d.
119. ^{{cite web|url=http://www.drumlessons.com/drummers/neil-peart/ |title=" Neil Peart Biography, Drum Videos and Pictures | Famous Drummers |website=Drumlessons.com |date= |accessdate=2012-04-14}}
120. ^Elroy 2008.{{Verify credibility|date=June 2013}}
121. ^Macan 1997, 48–49.
122. ^[https://web.archive.org/web/20110718113558/http://imslp.info/files/imglnks/usimg/9/9d/IMSLP15483-Stanchinksy_-_Piano_Sonata_No.2.pdf]
123. ^{{cite web|url=http://imslp.org/wiki/A_prole_do_beb%C3%AA_No.2,_W180_(Villa-Lobos,_Heitor)|title=A prole do bebê No.2, W180 (Villa-Lobos, Heitor) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music|publisher=}}
124. ^1 {{cite web|url=http://www.timreynish.com/repcompbourgeois1.html|title=Derek Bourgeois: An Assessment of his music in Two Parts|author=Reynish, Tim|accessdate=2017-03-08}}
125. ^1 {{cite web|url=http://www.howard.andrews.edu/news/113/|title=Pops Concert Program Notes|date=March 8, 2008|publisher=Howard Performing Arts Center, Andrews University|archive-url=https://web.archive.org/web/20110719135119/http://www.howard.andrews.edu/news/113/|archive-date=July 19, 2011|dead-url=yes|accessdate=November 8, 2009}}
126. ^{{cite web|url=http://www.songfacts.com/detail.php?id=5195 |title=Golden Brown by The Stranglers Songfacts |website=Songfacts.com |date= |accessdate=2012-04-14}}
127. ^Perkins 2000, 1:18.
128. ^1 Andriessen 1976, 46, 69, and 101.
129. ^1 2 3 Macan 1997, 49.
130. ^{{cite web|url=http://www.ninwiki.com/The_Becoming#The_Becoming|title=The Becoming|publisher=|accessdate=2017-03-08}}
131. ^Jerry 2014.
132. ^http://imslp.org/wiki/A_prole_do_beb%C3%AA_No.2,_W180_(Villa-Lobos,_Heitor) {{Page needed|date=January 2017}}
133. ^Andrew Lloyd Webber, T. S. Eliot – "Cats" Hal Leonard (HL00359466), {{ISBN|0-88188-447-2}}
134. ^{{cite web|url=http://www.kenwestphal.com/CDart/Overlook8-9.html|title=Ken Westphal Illustration & Design|publisher=|accessdate=25 February 2015}}
135. ^Genesis 2001, 334–337.
136. ^{{cite web|url=https://www.instagram.com/p/5q3mUkux9V/|title=deadmau5 on Instagram}}
137. ^Stevenson 2014.
138. ^Davison and Apel 1974, 9; Pöhlmann and West 2001, 96–99.
139. ^Macan 1997, 49; Chatburn n.d.
140. ^Perkins 2000, 2:18–40 (score).
141. ^{{Citation|last=Jeffes|first=Arthur|title=BBC Proms programme notes, 2010 season concert 73|date=2010-09-08|publisher=BBC}}
142. ^Medtner 1998, 134.
143. ^1 {{cite web|url=http://danbruno.net/writing/mother3/|title=danbruno.net: Battle music in Mother 3|publisher=}}
144. ^{{Cite book|title=Changeling – Autobiography of Mike Oldfield|last=Oldfield|first=Mike|publisher=Virgin Books|year=2007|isbn=978-1-85227-381-1|page=111}}
145. ^{{Cite book|title=The Phantom of the Opera Libretto/ Vocal Score|last=Llyod Webber|first=Andrew|publisher=The Really Useful Group Ltd.|year=1987|isbn=|location=|pages=}}
146. ^1 2 3 Read 1964, 157.
147. ^Andriessen 1976, 65 and 74.
148. ^Dreiblats 2012.
149. ^{{cite web|url=http://jazztimes.com/articles/18114-lionel-loueke-african-american|title=Lionel Loueke: African American|author=Geoffrey Himes|year=2008|accessdate=2017-03-08}}
150. ^https://www.youtube.com/watch?v=4sxJQVFV_T4&t=1113s
151. ^{{cite web|url=http://www.bjork.fr/Crystalline|title=Crystalline|date=|website=bjork.fr|accessdate=2012-04-14}}
152. ^{{cite web|url=http://www.bjork.fr/Hollow|title=Hollow|date=|website=bjork.fr|accessdate=2012-04-14}}
153. ^{{cite web|url=https://chords-and-tabs.net/song/name/the-national-i-should-live-in-salt|title=The National – I Should Live in Salt|accessdate=2018-07-07}}
154. ^{{cite web|url=http://www.bjork.fr/Moon|title=Moon|date=|website=bjork.fr|accessdate=2012-04-14}}
155. ^1 John McLaughlin, John McLaughlin and the Mahavishnu Orchestra: John McLaughlin's Scores to 28 Classic Recordings (Van Nuys: Alfred Publishing, 2006): {{Page needed|date=March 2008}}. {{ISBN|0-7390-4255-6}}.
156. ^Alkan n.d. (ca.1862), 1:25.
157. ^Ginastera 1969, 79–86.
158. ^Prokofiev 1955, 1:9–14.
159. ^http://petruccilibrary.ca/download.php?file=files/imglnks/caimg/c/c8/IMSLP00783-Schoenberg_op23_No3.pdf
160. ^Bach 1968, 98–99.
161. ^Perkins 2000, 2:1–17 (score).
162. ^Fenlon 2002, 112–13.
163. ^1 Flans 1982.
164. ^{{Cite news|url=https://underneaththecover.wordpress.com/2012/04/25/rusty-cage-2/|title=Rusty Cage|date=2012-04-25|work=Underneath the Cover|access-date=2018-03-06|language=en-US}}
165. ^Portnoy, Wallis, and Siegel 1999.{{Page needed|date=March 2012}}
166. ^1 Le Jeune 1951–59, 1:32–33.
167. ^{{cite web|url=http://www.911tabs.com/link/?8059579 |title=Gibbon Guitar Pro by This Town Needs Guns|publisher=911Tabs.Com |date=2013|author=DreiblatsJaanis|accessdate=2017-03-08}}
168. ^Read 1964, 160; Stravinsky 1958, 29.
169. ^Leonard 2011.
170. ^Flans 1982.
171. ^Read 1964, 156.
172. ^{{cite web|url=http://www.allaboutjazz.com/iviews/lmays2.htm |archive-url=https://web.archive.org/web/20021115033553/http://allaboutjazz.com/iviews/lmays2.htm |dead-url=yes |archive-date=15 November 2002 |title=All About Jazz |accessdate=25 February 2015 |df= }}
173. ^{{Citation|last=CPR Classical|title=Scott O'Neil on Pat Metheny's "First Circle"|date=2015-05-01|url=https://www.youtube.com/watch?v=1S5fxErfHW0|accessdate=2018-02-14}}
174. ^{{cite web|url=http://www.xen-arts.com/2013/06/ep-release-jacky-ligon-between-moments.html|archive-url=https://web.archive.org/web/20131004213907/http://www.xen-arts.com/2013/06/ep-release-jacky-ligon-between-moments.html|dead-url=yes|archive-date=2013-10-04|title= Between Moments EP|date= |accessdate=2013-10-03}}{{verify source|date=March 2017}}
175. ^{{cite web|url=http://tabs.ultimate-guitar.com/t/this_town_needs_guns/baboon_guitar_pro.htm |title=Baboon Guitar Pro by This Town Needs Guns @ Ultimate-Guitar.Com |publisher=Tabs.ultimate-guitar.com |date= |accessdate=2013-08-01}}
176. ^{{cite web|title=Ganondorf Battle (Legend of Zelda: Ocarina of Time) Bass/Guitar Tab|url=http://www.gametabs.net/legend-of-zelda-ocarina-of-time/ganondorf-battle|publisher=GameTab|date=August 8, 2009|accessdate=2017-03-08}}
177. ^{{Cite news|url=https://tabs.ultimate-guitar.com/m/meshuggah/new_millenium_cyanide_christ_tab.htm|title=New Millenium Cyanide Christ|access-date=2017-06-28}}
178. ^Telemann 1728, 37; Telemann 1970, 14–15; Zohn 2004, 247: "the ‘Brobdingnagische Gigue’—no doubt inspiredby the English jig Gulliver plays with great effort on a sixty-foot spinet—is danced in giant steps, trudging along in twenty-four semibreves to the bar."
179. ^Fenlon 2002, 90 & 102–106.
180. ^{{cite web|url=http://www.sing365.com/music/lyric.nsf/Office-of-Strategic-Influence-O-S-I-Biography/1BF6334EAAA6DB6048256CF400208FE8|title=OFFICE OF STRATEGIC INFLUENCE (O.S.I.) BIOGRAPHY|publisher=|accessdate=25 February 2015|deadurl=yes|archiveurl=https://web.archive.org/web/20140819212213/http://sing365.com/music/lyric.nsf/Office-of-Strategic-Influence-O-S-I-Biography/1BF6334EAAA6DB6048256CF400208FE8|archivedate=19 August 2014|df=}}
181. ^{{cite web|author=Tempo controlSlow down the song anytime you need it. |url=http://tp.ultimate-guitar.com/t/this_town_needs_guns/26_is_dancier_than_4_tab_online.html |archive-url=https://web.archive.org/web/20130929215111/http://tp.ultimate-guitar.com/t/this_town_needs_guns/26_is_dancier_than_4_tab_online.html |dead-url=yes |archive-date=2013-09-29 |title=This Town Needs Guns - 26 Is Dancier Than 4 Tab Online | UG Plus @ Ultimate-Guitar.com |publisher=Tp.ultimate-guitar.com |date= |accessdate=2013-08-01 |df= }}
182. ^{{Cite web|url=https://www.ultimate-guitar.com/news/wtf/top_10_weirdest_odd-time_signature_songs.html|title=Top 10 Weirdest Odd-Time Signature Songs|website=www.ultimate-guitar.com|language=en|access-date=2019-03-15}}
183. ^Fenlon 2002, 40.
184. ^{{cite web|url=https://www.youtube.com/watch?v=RGD1gl0YtfM |title=Matt Savage plays "Blues in 33/8" in New York |publisher=YouTube |date=2007-01-01 |accessdate=2013-08-01}}
185. ^Fenlon 2002, 41; Fienberg 2004, 228–29 & 231–32.
186. ^{{cite web|title=Split Open and Melt|url=http://phish.net/song/split-open-and-melt/history|publisher=Phish.net|date=April 10, 2013|accessdate=July 20, 2013|quote="SOAM's" complex improv segment is notorious for its time signature, which involves three sections of eight eighth-notes and then a fourth section with nine eighth-notes in a steady pulse (listen to Fishman's hi-hat)}}
187. ^{{Cite book|title=Fresh Aire II|last=Davis|first=Chip|publisher=Dots and Lines Ink|year=1987|isbn=|location=Omaha, Nebraska, United States|pages=55}}
188. ^Telemann 1728, 40; Zohn 2004, 247: "The ‘Reverie der Laputier, nebst ihren Aufweckern’ . . . teases the reader with a nonsensical time signature, {{music|time|{{frac|3|2|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 {{music|time|2|2}}.
189. ^Nilsson 1958, 8; Read 1964, 172.
190. ^Nilsson 1958, 10; Read 1964, 172.
191. ^Nilsson 1958, 10 & 12; Read 1964, 172.
192. ^Nilsson 1958, 11; Read 1964, 172.
193. ^Boulez 1957, 18.
194. ^Boulez 1957, 19–20.
195. ^Ives 1920, 56.
196. ^Chávez 1972, 17–20.
197. ^Wagner 2010, 312–13.
198. ^Revueltas 1949, 36.
199. ^1 2 Read 1964, 170.
200. ^Strait 2000, 56.
201. ^{{cite web|url=http://www.artsjournal.com/postclassic/2008/03/dont_blame_me_it_was_henry_cow.html|title=Don't Blame Me, It Was Henry Cowell's Idea|date=15 March 2008|publisher=}}
202. ^Chávez 1972, 16, 19.
203. ^Villa-Lobos 1927, 4:1–4.
204. ^Banks n.d.
205. ^Sheet music, published by New Hidden Valley Music and Casa David, copyright 1966
206. ^Stockhausen 1967, 1, 6, and 7.
207. ^Stockhausen 1957, 52, 60–62, 66.

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{{Musical repertoire}}

4 : Lists of musical works|Lists of songs|Lists of things considered unusual|Time signatures
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