This is a list of
musical compositions or
pieces of music that have
unusual time signatures. "Unusual" is here defined to be any
time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.[1]
The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti.
A perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from
Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length but is notated in ordinary 4 4 time, with each variation lasting 2+3⁄4 bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one.[2]
Káťa Kabanová, by
Leoš Janáček. Act II is in 2 1 from rehearsal number 20 to just before rehearsal number 24; act III is in 2 1 for four bars before rehearsal number 27 and six bars before rehearsal number 28, followed by a mixture of 2 1 and between rehearsal numbers 28 and 29, and one bar before rehearsal number 36.[17]
Partita No. 6 in E minor, BWV 830, by
Johann Sebastian Bach. The last movement, a
gigue, is in 2 1 in the Bischoff edition; however, the symbol (the
mensuration sign for "tempus perfectum, prolatio minor, diminutum") appears in the first edition of 1731, and = 2 2 in the autograph manuscript.[72] This time signature is unusual for gigues, which are usually in 6 8 or 12 8.[73][74]
Note:8 4or8 8may refer to an evenly divided compound duple or quadruple meter. While this is arguably extremely common in music, the notations 8 4 and 8 8 themselves are not, so all divisions of this time signature are listed here
"
All You Need Is Love" by
the Beatles. The main verse pattern contains a total of 29
beats, split into two 7 4 measures, a single bar of 8 4, followed by a one bar return of 7 4 before repeating the pattern.[107]
Chaconne by Andrew Violette, at measures 55 and 109.[108]
Custer and Sitting Bull by
Kyle Gann, in measure 166 of part 3.[109]
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 8 8
Movement IV, bars 204, 207, 210, 213 are in 8 8.
Petrushka by
Igor Stravinsky. One bar before and five bars after rehearsal 4 superimposes a bar of 8 8 in piccolo 1 & 2, ob. 1 & 2, and trumpet 1, and piccolo 1 & 2, ob. 1–3, cornet 1 & trumpet 1, respectively against 3 4 in the rest of the orchestra.[128]
Piano Sonata No. 2 ("The Airplane"), by
George Antheil. One of the bars is in 8 8.[129]
De Staat by
Louis Andriessen. Bars 5, 8, 10, 12–16, 54–57, 83–84, 87–88, 582, 590, 602, 610, 612, 625, 630, 644, 647–48, 650, 663, 695, 707, 851, and 853 are in 8 8.[117]
"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.)[140]
"Big Lie Small World", by
Sting is in 9 8 with varying division.[141]
20 Caprices and Rhythmic Studies, by
Émile Jaques-Dalcroze, in Nos. 15 and 19 (both beamed as 2+2+2+3).[58]
Estancia by
Alberto Ginastera. The refrain of "Los peones de hacienda", at rehearsal numbers 62, 65, 67, 68, 69+3, and 70 is marked "9 8 (3 4 – 3 8)"; the remainder is variously in 6 8, 3 4, 5 8, and 7 8.[143]
"
Here Comes the Sun" (1969), written by
the Beatles'
George Harrison. The song features 4 4 in the verses and a compound sequence of 11 8+4 4+7 8 in the bridge, phrasing interludes that Harrison drew from Indian music influences.[185][186][187]
Hesapa ki Lakhota ki Thawapi by
Kyle Gann, in several measures.[126]
"
Larks' Tongues in Aspic, Pt. 1", by
King Crimson. The song is in 5 8 when the violin enters, then switches to 11 8. The song shifts between these metres for the remainder of the song.[189]
"Losing It" by
Rush. Intro and verses are composed out of ten bars in 5 8, other parts are in 11 8.[190][191][192]
"War of Kalinga"[206] by
Suraj Synthesist is majorly in a 11 8 . The 11 here works with inverted polyrhythm of 2 over 3 for first 8 beats & 3 over 2 for the last 3 beats. Some section also incorporates a 11 played like 5 1⁄2 (five and a half). The change of moods, breakdown and conclusion are suggested with 4 beat or un-timed parts too.[207][208]
"Lauft... Heisst Das Es Lauft Oder Es Kommt Bald..Lauft" by
Faust.[219]
"Odd Boy" by Mutant-Thoughts, in the verses.[citation needed]
A próle do bébé No. 2, by
Heitor Villa-Lobos. A measure in the fourth movement, "O cachorrinho de borracha". It is divided into 6 8 or 3 4, and 7 8.[67]
American Song Set by Andrew Violette. One of the songs ends in 3 4(18 16) and another song has 18 16 in the piano's right hand against 3 4 in the piano's left hand and voice.[229]
4 Etudes, Op. 2, by
Sergei Prokofiev. The second étude uses 18 16 in one hand against 4 4 in the other.[257]
Goldberg Variations, by
Johann Sebastian Bach. Variation 26 uses 18 16 in one hand against 3 4 in the other, exchanging hands at intervals until the last five bars where both hands are in 18 16.[258]
"Keep It Greasy" by
Frank Zappa on Joe's Garage (the first verse, some bridges and the guitar solo are counted in 19 16 and the second verse is in 21 16).[215]
19 32
Hyperchromatica by
Kyle Gann, in bars 28, 29, and 111 of the movement Ride the Cosmos.[40]
"The Art Of Dying" by
Gojira (2008) cycles from 4 4 to 2 4 to 21 16 (grouped 5+5+5+3+3) and repeats this pattern during the intro and beginning of the song.[265]
3 Danses from L'Oeuvre d'orgue by
Jehan Alain, for one measure in the first dance.[266]
Desert Sonata by
Kyle Gann has 21 16 in the second movement.[216]
Happy Ending (for David Garland) by Kyle Gann. Bars 63 and 124 are in 21 8, and bar 129 is in 21 16.[111]
Hyperchromatica by Kyle Gann. The movements Ride the Cosmos and Busted Grooves have 21 16, and Ride the Cosmos also has 21 32.[40]
American Song Set by Andrew Violette. One of the songs is in 4 4(24 16) and two other songs have some measures in 24 16 in the piano's right hand against 4 4 in the piano's left hand and voice.[229]
Amor dammi quel fazzolettino by Andrew Violette has a passage of 24 16 in the first piano against 6 4 in the second piano.[56]
"Brobdingnagische Gigue", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by
Georg Philipp Telemann is in 24 1.[98]
20 Caprices and Rhythmic Studies, by
Émile Jaques-Dalcroze has 24 16 in Nos. 3 (as 24 (12 )) and 11 (as 8 .).[58]
"Split Open and Melt" by
Phish has a
jam section in 33 8.[286]
35
"Entertain Me" by Tigran Hamasyan contains a repeating melody in 35 16, overlayed on top of the main 256 32 meter.[222]
"Nairian Odyssey" by Tigran Hamasyan contains a solo section in 35 16, divided variously as 6 4 + 5 16 + 3 8 and 6+8+6+9+6 16.[281]
36
American Song Set by Andrew Violette. One of the songs has a measure in 36 16 in the piano's right hand against 6 4 in the piano's left hand and voice and another has the same, but with 3 2 instead of 6 4.[229]
American Song Set by Andrew Violette. One song has a measure of 24 16 in the piano's right hand against 48 32 in the piano's left hand and 4 4 in the voice.[229]
Upper number between 50 and 59
51
Desert Sonata by
Kyle Gann has 51 16 in the first movement.[216]
Hyperchromatica by Kyle Gann has 51 32 in the movement 2.7 Kelvin.[40]
Driftwood Suite, for piano, by
Gardner Read uses 3+1⁄2 4, 4+1⁄2 4, and 5+1⁄2 4.[289]
Hill-Song I and II by
Percy Grainger contain measures of 1+1⁄2 4 and 2+1⁄2 4.[290]
Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by
Georg Philipp Telemann. "Reverie der Laputier, nebst ihren Aufweckern" is in 3+2⁄2 4.[98][291]
Lincolnshire Posy by Percy Grainger. Movement V, "Lord Melbourne", uses 1+1⁄2 4 and 2+1⁄2 4.[63]
Intermezzo by Andrew Violette has 3 16, 4 16, 5 4, 5 8, 5 16, 7 8, 7 16, 8 16, 10 16, 11 16, and 20 16.[322]
I Open and Close, the sixth part of Fictions by
Richard Barrett, has 1 8, 2 16, 3 16, 3 2, 5 8, 5 16, 7 8, 7 16, 7 32, 8 8, 11 16, 13 16, 15 16, 15 32, and 24 8.[309]
Lemma-Icon-Epigram by
Brian Ferneyhough has 1 8, 1 16, 1 32, 1 64 (in an additive time signature), 3 16, 5 8, 5 16, 5 32, 7 8, 7 16, 8 8, 9 16 (in various groupings such as 3+2+2+2), and 11 16.[310]
Lieder vom Wasser, the tenth part of Fictions by
Richard Barrett, has 1 8, 1 16, 2 16, 3 16, 3 32, 5 8, 5 16, 5 32, 7 8, 7 16, 8 8, 11 16, 13 16, 15 16, and 43 16.[325]
The Long and the Short by
Charles Wuorinen has 1 4, 1 8, 1 16 (in additive time signatures such as 5 4+1 16), 3 16, 4 4 (subdivided as 3 32+7 16+3 8+3 32), 4+1⁄4 4, 5 4, 5 8, 5 16, 7 4, 7 8, 7 16, 7+1⁄4 4, 8 4, 9 32, 11+1⁄2 4, 12 4, 13 32, 24 4, 25 4, and 40 4.[326]
Love Duet by Andrew Violette has 1 4, 5 4, 9 4 (grouped 2+2+2+3), 15 8, 18 8, and 21 8.[327]
Organ Sonata by Andrew Violette has 5 4, 5 8, 18 8, and 24 16.[328]
Pastorale by Andrew Violette has 20 16 and 24 16.[329]
Salve Regina, the second of 4 Madrigals by Andrew Violette, has 5 4, 5 8, 7 4, 7 8, 9 8 (4 4+1 8), 13 8, and 18 8 (3+4+5+6 8).[343]
Sonata for Cello and Piano by
Elliott Carter has 5 4, 5 8, 5 16, 7 16, 14 32, and 21 32.[344]
Storm Suite from
The Tempest (also known as The Tempest Symphony) has 1 8, 5 4, 5 8, 7 4, and 7 8.[345]
String Quartet No. 1 by
Elliott Carter has 2 16 (as part of an additive time signature), 4 16, 5 4, 5 8, 5 16, 7 8, 7 16, 8 16, 9 32 (written as 3 .), 10 8, 10 16, 12 32 (written as 4 .), 14 16, 15 8, 15 16, 18 8, 18 16, 20 16, and 21 8.[346]
String Quartet No. 2 by Elliott Carter has 4 16, 5 4, 5 8, 15 8, 7 16, 10 8, 10 16, 14 16, 15 8, 15 16, and 21 16.[347]
String Quartet No. 3 by Elliott Carter has 3 16, 3 32 (in an additive time signature), 5 4, 5 8, 5 16, 7 8, 7 16, 9 32, 11 16, 12 32 (in an additive time signature), 24 16, 24 32, and 27 32.[348]
^Howard Brubeck (ed.), Dave Brubeck Deluxe Piano Album, (San Francisco: Derry Music Co., 1965), pp. 22–28.
^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.
^Browne, David; Cummings, Corinne; Grow, Kory; Hermes, Will; Marchese, David; Sheffield, Rob; Wolk, Douglas (6 August 2020).
"Jerry Garcia's 50 Greatest Songs". Rolling Stone Australia. Rolling Stone. Retrieved 24 June 2022.
^Primus (musical group), Primus Anthology: A thru N: For Guitar and Bass, transcribed by Jeff Jacobsen (New York: Cherry Lane Music, 2000), 17–20.
ISBN1575601540.
^Fripp, Robert (1 April 2020).
"Bredonborough".
Archived from the original on 15 March 2021. Retrieved 15 March 2021. Happy With What You Have To Be Happy With is very nicely in 11/8 which fits the music and
Adrian's particularly upbeat American take on that's life! that's fate! and c'est la vie.
^"The meters of these three measures are 11 8, 4 4, and 7 8, respectively." (Alan Pollack's "Notes On" series,
no. 183Archived 30 April 2008 at the
Wayback Machine).
^
ab"Pops Concert Program Notes". Howard Performing Arts Center, Andrews University. 8 March 2008. Archived from
the original on 19 July 2011. Retrieved 8 November 2009.
^
ab"Bio". Archived from
the original on 24 November 2002. Retrieved 22 March 2021. "Trapped in the Wake of a Dream", for example, boasts verses written in 17/8, choruses in 11/8 and a bridge that mixes both time signatures
^
abc"13 iconic tracks played in crazy time signatures". Mixdown.
Archived from the original on 3 March 2021. Retrieved 3 March 2021. Trent Reznor certainly isn't inexperienced when it comes to odd time signatures – "The Becoming" kicks off in 13/8 [...] The first verse, a number of sections in the bridge and the guitar solo in "Keep It Greasy" are counted in the head-scratching signature of 19/16, while the second verse takes things up a notch by going to 21/16.
^Andy Wilson (18 June 2009).
"1974: Faust: Faust IV". Faust Pages.
Archived from the original on 13 October 2021. Retrieved 13 October 2021. (aka Lauft (Alt), Psalter, Psalter (slow), 13/8, Psalter (5 May 1994), Psalter)
^Andrew Lloyd Webber, T. S. Eliot – "Cats" Hal Leonard (HL00359466),
ISBN0-88188-447-2
^
abcdHamasyan, Tigran (17 February 2015).
"Mockroot Track by Track". Nonesuch Records.
Archived from the original on 4 December 2020. Retrieved 2 March 2021. The working title for [Song for Melan and Rafik] was "Forty-Two," because it's actually in the unusual time signature of 42/16 [...] I think if you worked [Entertain Me] out it would be in a time signature of 256/32. There is a melody that is grouped in 35/16 that repeats seven times and then resets. [...] [To Negate is] in the same key as "To Love," but in a different mode—an odd, Armenian mode—and in the time signature of 13/8.
^
abJohn McLaughlin, John McLaughlin and the Mahavishnu Orchestra: John McLaughlin's Scores to 28 Classic Recordings (Van Nuys: Alfred Publishing, 2006): 58-64.
ISBN0-7390-4255-6.
^
abBruce, David (2 April 2019).
"The Rhythms of Tigran Hamasyan". YouTube.
Archived from the original on 13 December 2021. Retrieved 4 March 2021. [Vardavar] also contains a long pattern of 32 notes, or two bars of 4 4, but this is completely split up into more unusual sub-groupings: It's 5+5+3+5+5+4+5. [...] The thirty-five beat cycle [of Nairian Odyssey] is generally divided up into a 6 4, a 5 16, and 3 8.
^"Split Open and Melt". Phish.net. 10 April 2013.
Archived from the original on 15 August 2013. Retrieved 20 July 2013. "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)
^Serene Dominic (2003).
Burt Bacharach, song by song. Schirmer Trade Books.
ISBN9780857122599. Bacharach was now calling the shots, and anyone covering this tune after it became a monster hit would grudgingly have to switch from 5/4 to 4/4 and 7/8.
^Bolcom, William (1988). 12 New Etudes for Piano. Edward B. Marks Music Company.
Banks, Evan. 2009. "
Humming the Bassline: Just Like You Imagined". American Observer: American University's Graduate Journalism Magazine (29 September) (Archive from 3 August 2012, accessed 26 February 2015).
Barber, Samuel. 1943. String Quartet, Op. 11. G. Schirmer's Edition of Study Scores of Orchestral Works and Chamber Music 28. New York: G. Schirmer.
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.
Billmann, Budynek, Jacobson, and Stocker (transcribers). 2010. Jeff Beck – Blow by Blow. Guitar Recorded Versions. Milwaukee: Hal Leonard Corporation.
ISBN1-4234-9443-1.
Birtwistle, Harrison. 1996. The Cry of Anubis, for tuba and orchestra. Hawkes Pocket Scores 1292. London: Boosey & Hawkes Music Publishers Limited.
Bois, Rob du. 1979. Concert voor twee violen en orkest. Amsterdam: Donemus.
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.
Britten, Benjamin. 1945a. Old Joe Has Gone Fishing. London: Boosey & Hawkes. ISMN 9790060014864
Britten, Benjamin. 1945b. Passacaglia, opus 33b, from the opera Peter Grimes. 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.
Davies, Peter Maxwell. 1985. Symphony No. 3. Hawkes Pocket Scores 1114. London, Paris, Bonn, Johannesburg, Sydney, Tokyo, Toronto, and New York: 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.
ISBN0-674-39300-7.
Doe, Paul (ed.). 1988. Elizabethan Consort Music: II. Musica Britannica 45. London: Stainer and Bell, published for the Musica Britannica Trust.
Fenlon, Sean. 2002. "The Exotic Rhythms of Don Ellis". DMA diss. Baltimore: Johns Hopkins University, Peabody Institute.
ISBN0-493-60448-0.
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.
ISBN0-496-86817-9.
Fujita, Tetsuya, Yuji Hagino, Hajime Kubo, and Goro Sato (transcribers). 1993. The Beatles Complete Scores. London: Hal Leonard Publishing Corporation.
ISBN0-7935-1832-6
Gable, Christopher. 2009. The Words and Music of Sting. The Praeger Singer-Songwriter Collection. Westport: Praeger Publishers.
ISBN0275993604.
Genesis (musical group). 2001. Anthology. Milwaukee: Hal Leonard.
ISBN0-634-02063-3.
Genesis (musical group). 2002. Genesis Guitar Anthology. Hal Leonard Guitar Recorded Version. [United States]: EMI Music Pub.; Milwaukee: Hal Leonard Corporation.
ISBN0-634-02067-6.
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. 1969. Don Rodrigo: Opera in Three Acts and Nine Scenes, Op. 31. Vocal Score. London: Boosey& Hawkes Music Publishers Limited.
Ginastera, Alberto. 1974. Harp Concerto, opus 25. Hawkes Pocket Scores 1185. London: Boosey & Hawkes.
Hiley, David. 2001. "Quintuple Metre". The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell, vol. 20:682–683. London: Macmillan.
Hocker, Jürgen. n.d. "
Conlon Nancarrow: List of Works (English Version)". In Der Komponist Conlon Nancarrow: Leben und Werk eines mexikanischen Einsiedlers, With many English Contributions (accessed 15 July 2013).
Holst, Gustav. 1977. A Choral Fantasia, Op. 51, edited by Imogen Holst. London, Zürich, Mainz, and New York: Ernst Eulenburg Ltd.
Howard, Patricia. 1969. The Operas of Benjamin Britten: An Introduction. New York and Washington: Frederick A. Praeger, Publishers.
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.
ISBN0-88188-541-X
Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1979. Evita, vocal score, selections. Melville, N.Y.: Leeds Music Corp—sole selling agent, MCA Music.
Macan, Edward. 1997. Rocking the Classics: English Progressive Rock and the Counterculture. New York: Oxford University Press.
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ISBN0-300-09914-2* Page, Nick. 1989. Niska Banja: Serbian Gypsy Dance, arranged for SATB choir. Doreen Rao's Building Bridges. Common Roots Choral Music. London: Boosey & Hawkes.
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This is a list of
musical compositions or
pieces of music that have
unusual time signatures. "Unusual" is here defined to be any
time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.[1]
The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti.
A perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from
Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length but is notated in ordinary 4 4 time, with each variation lasting 2+3⁄4 bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one.[2]
Káťa Kabanová, by
Leoš Janáček. Act II is in 2 1 from rehearsal number 20 to just before rehearsal number 24; act III is in 2 1 for four bars before rehearsal number 27 and six bars before rehearsal number 28, followed by a mixture of 2 1 and between rehearsal numbers 28 and 29, and one bar before rehearsal number 36.[17]
Partita No. 6 in E minor, BWV 830, by
Johann Sebastian Bach. The last movement, a
gigue, is in 2 1 in the Bischoff edition; however, the symbol (the
mensuration sign for "tempus perfectum, prolatio minor, diminutum") appears in the first edition of 1731, and = 2 2 in the autograph manuscript.[72] This time signature is unusual for gigues, which are usually in 6 8 or 12 8.[73][74]
Note:8 4or8 8may refer to an evenly divided compound duple or quadruple meter. While this is arguably extremely common in music, the notations 8 4 and 8 8 themselves are not, so all divisions of this time signature are listed here
"
All You Need Is Love" by
the Beatles. The main verse pattern contains a total of 29
beats, split into two 7 4 measures, a single bar of 8 4, followed by a one bar return of 7 4 before repeating the pattern.[107]
Chaconne by Andrew Violette, at measures 55 and 109.[108]
Custer and Sitting Bull by
Kyle Gann, in measure 166 of part 3.[109]
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 8 8
Movement IV, bars 204, 207, 210, 213 are in 8 8.
Petrushka by
Igor Stravinsky. One bar before and five bars after rehearsal 4 superimposes a bar of 8 8 in piccolo 1 & 2, ob. 1 & 2, and trumpet 1, and piccolo 1 & 2, ob. 1–3, cornet 1 & trumpet 1, respectively against 3 4 in the rest of the orchestra.[128]
Piano Sonata No. 2 ("The Airplane"), by
George Antheil. One of the bars is in 8 8.[129]
De Staat by
Louis Andriessen. Bars 5, 8, 10, 12–16, 54–57, 83–84, 87–88, 582, 590, 602, 610, 612, 625, 630, 644, 647–48, 650, 663, 695, 707, 851, and 853 are in 8 8.[117]
"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.)[140]
"Big Lie Small World", by
Sting is in 9 8 with varying division.[141]
20 Caprices and Rhythmic Studies, by
Émile Jaques-Dalcroze, in Nos. 15 and 19 (both beamed as 2+2+2+3).[58]
Estancia by
Alberto Ginastera. The refrain of "Los peones de hacienda", at rehearsal numbers 62, 65, 67, 68, 69+3, and 70 is marked "9 8 (3 4 – 3 8)"; the remainder is variously in 6 8, 3 4, 5 8, and 7 8.[143]
"
Here Comes the Sun" (1969), written by
the Beatles'
George Harrison. The song features 4 4 in the verses and a compound sequence of 11 8+4 4+7 8 in the bridge, phrasing interludes that Harrison drew from Indian music influences.[185][186][187]
Hesapa ki Lakhota ki Thawapi by
Kyle Gann, in several measures.[126]
"
Larks' Tongues in Aspic, Pt. 1", by
King Crimson. The song is in 5 8 when the violin enters, then switches to 11 8. The song shifts between these metres for the remainder of the song.[189]
"Losing It" by
Rush. Intro and verses are composed out of ten bars in 5 8, other parts are in 11 8.[190][191][192]
"War of Kalinga"[206] by
Suraj Synthesist is majorly in a 11 8 . The 11 here works with inverted polyrhythm of 2 over 3 for first 8 beats & 3 over 2 for the last 3 beats. Some section also incorporates a 11 played like 5 1⁄2 (five and a half). The change of moods, breakdown and conclusion are suggested with 4 beat or un-timed parts too.[207][208]
"Lauft... Heisst Das Es Lauft Oder Es Kommt Bald..Lauft" by
Faust.[219]
"Odd Boy" by Mutant-Thoughts, in the verses.[citation needed]
A próle do bébé No. 2, by
Heitor Villa-Lobos. A measure in the fourth movement, "O cachorrinho de borracha". It is divided into 6 8 or 3 4, and 7 8.[67]
American Song Set by Andrew Violette. One of the songs ends in 3 4(18 16) and another song has 18 16 in the piano's right hand against 3 4 in the piano's left hand and voice.[229]
4 Etudes, Op. 2, by
Sergei Prokofiev. The second étude uses 18 16 in one hand against 4 4 in the other.[257]
Goldberg Variations, by
Johann Sebastian Bach. Variation 26 uses 18 16 in one hand against 3 4 in the other, exchanging hands at intervals until the last five bars where both hands are in 18 16.[258]
"Keep It Greasy" by
Frank Zappa on Joe's Garage (the first verse, some bridges and the guitar solo are counted in 19 16 and the second verse is in 21 16).[215]
19 32
Hyperchromatica by
Kyle Gann, in bars 28, 29, and 111 of the movement Ride the Cosmos.[40]
"The Art Of Dying" by
Gojira (2008) cycles from 4 4 to 2 4 to 21 16 (grouped 5+5+5+3+3) and repeats this pattern during the intro and beginning of the song.[265]
3 Danses from L'Oeuvre d'orgue by
Jehan Alain, for one measure in the first dance.[266]
Desert Sonata by
Kyle Gann has 21 16 in the second movement.[216]
Happy Ending (for David Garland) by Kyle Gann. Bars 63 and 124 are in 21 8, and bar 129 is in 21 16.[111]
Hyperchromatica by Kyle Gann. The movements Ride the Cosmos and Busted Grooves have 21 16, and Ride the Cosmos also has 21 32.[40]
American Song Set by Andrew Violette. One of the songs is in 4 4(24 16) and two other songs have some measures in 24 16 in the piano's right hand against 4 4 in the piano's left hand and voice.[229]
Amor dammi quel fazzolettino by Andrew Violette has a passage of 24 16 in the first piano against 6 4 in the second piano.[56]
"Brobdingnagische Gigue", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by
Georg Philipp Telemann is in 24 1.[98]
20 Caprices and Rhythmic Studies, by
Émile Jaques-Dalcroze has 24 16 in Nos. 3 (as 24 (12 )) and 11 (as 8 .).[58]
"Split Open and Melt" by
Phish has a
jam section in 33 8.[286]
35
"Entertain Me" by Tigran Hamasyan contains a repeating melody in 35 16, overlayed on top of the main 256 32 meter.[222]
"Nairian Odyssey" by Tigran Hamasyan contains a solo section in 35 16, divided variously as 6 4 + 5 16 + 3 8 and 6+8+6+9+6 16.[281]
36
American Song Set by Andrew Violette. One of the songs has a measure in 36 16 in the piano's right hand against 6 4 in the piano's left hand and voice and another has the same, but with 3 2 instead of 6 4.[229]
American Song Set by Andrew Violette. One song has a measure of 24 16 in the piano's right hand against 48 32 in the piano's left hand and 4 4 in the voice.[229]
Upper number between 50 and 59
51
Desert Sonata by
Kyle Gann has 51 16 in the first movement.[216]
Hyperchromatica by Kyle Gann has 51 32 in the movement 2.7 Kelvin.[40]
Driftwood Suite, for piano, by
Gardner Read uses 3+1⁄2 4, 4+1⁄2 4, and 5+1⁄2 4.[289]
Hill-Song I and II by
Percy Grainger contain measures of 1+1⁄2 4 and 2+1⁄2 4.[290]
Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by
Georg Philipp Telemann. "Reverie der Laputier, nebst ihren Aufweckern" is in 3+2⁄2 4.[98][291]
Lincolnshire Posy by Percy Grainger. Movement V, "Lord Melbourne", uses 1+1⁄2 4 and 2+1⁄2 4.[63]
Intermezzo by Andrew Violette has 3 16, 4 16, 5 4, 5 8, 5 16, 7 8, 7 16, 8 16, 10 16, 11 16, and 20 16.[322]
I Open and Close, the sixth part of Fictions by
Richard Barrett, has 1 8, 2 16, 3 16, 3 2, 5 8, 5 16, 7 8, 7 16, 7 32, 8 8, 11 16, 13 16, 15 16, 15 32, and 24 8.[309]
Lemma-Icon-Epigram by
Brian Ferneyhough has 1 8, 1 16, 1 32, 1 64 (in an additive time signature), 3 16, 5 8, 5 16, 5 32, 7 8, 7 16, 8 8, 9 16 (in various groupings such as 3+2+2+2), and 11 16.[310]
Lieder vom Wasser, the tenth part of Fictions by
Richard Barrett, has 1 8, 1 16, 2 16, 3 16, 3 32, 5 8, 5 16, 5 32, 7 8, 7 16, 8 8, 11 16, 13 16, 15 16, and 43 16.[325]
The Long and the Short by
Charles Wuorinen has 1 4, 1 8, 1 16 (in additive time signatures such as 5 4+1 16), 3 16, 4 4 (subdivided as 3 32+7 16+3 8+3 32), 4+1⁄4 4, 5 4, 5 8, 5 16, 7 4, 7 8, 7 16, 7+1⁄4 4, 8 4, 9 32, 11+1⁄2 4, 12 4, 13 32, 24 4, 25 4, and 40 4.[326]
Love Duet by Andrew Violette has 1 4, 5 4, 9 4 (grouped 2+2+2+3), 15 8, 18 8, and 21 8.[327]
Organ Sonata by Andrew Violette has 5 4, 5 8, 18 8, and 24 16.[328]
Pastorale by Andrew Violette has 20 16 and 24 16.[329]
Salve Regina, the second of 4 Madrigals by Andrew Violette, has 5 4, 5 8, 7 4, 7 8, 9 8 (4 4+1 8), 13 8, and 18 8 (3+4+5+6 8).[343]
Sonata for Cello and Piano by
Elliott Carter has 5 4, 5 8, 5 16, 7 16, 14 32, and 21 32.[344]
Storm Suite from
The Tempest (also known as The Tempest Symphony) has 1 8, 5 4, 5 8, 7 4, and 7 8.[345]
String Quartet No. 1 by
Elliott Carter has 2 16 (as part of an additive time signature), 4 16, 5 4, 5 8, 5 16, 7 8, 7 16, 8 16, 9 32 (written as 3 .), 10 8, 10 16, 12 32 (written as 4 .), 14 16, 15 8, 15 16, 18 8, 18 16, 20 16, and 21 8.[346]
String Quartet No. 2 by Elliott Carter has 4 16, 5 4, 5 8, 15 8, 7 16, 10 8, 10 16, 14 16, 15 8, 15 16, and 21 16.[347]
String Quartet No. 3 by Elliott Carter has 3 16, 3 32 (in an additive time signature), 5 4, 5 8, 5 16, 7 8, 7 16, 9 32, 11 16, 12 32 (in an additive time signature), 24 16, 24 32, and 27 32.[348]
^Howard Brubeck (ed.), Dave Brubeck Deluxe Piano Album, (San Francisco: Derry Music Co., 1965), pp. 22–28.
^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.
^Browne, David; Cummings, Corinne; Grow, Kory; Hermes, Will; Marchese, David; Sheffield, Rob; Wolk, Douglas (6 August 2020).
"Jerry Garcia's 50 Greatest Songs". Rolling Stone Australia. Rolling Stone. Retrieved 24 June 2022.
^Primus (musical group), Primus Anthology: A thru N: For Guitar and Bass, transcribed by Jeff Jacobsen (New York: Cherry Lane Music, 2000), 17–20.
ISBN1575601540.
^Fripp, Robert (1 April 2020).
"Bredonborough".
Archived from the original on 15 March 2021. Retrieved 15 March 2021. Happy With What You Have To Be Happy With is very nicely in 11/8 which fits the music and
Adrian's particularly upbeat American take on that's life! that's fate! and c'est la vie.
^"The meters of these three measures are 11 8, 4 4, and 7 8, respectively." (Alan Pollack's "Notes On" series,
no. 183Archived 30 April 2008 at the
Wayback Machine).
^
ab"Pops Concert Program Notes". Howard Performing Arts Center, Andrews University. 8 March 2008. Archived from
the original on 19 July 2011. Retrieved 8 November 2009.
^
ab"Bio". Archived from
the original on 24 November 2002. Retrieved 22 March 2021. "Trapped in the Wake of a Dream", for example, boasts verses written in 17/8, choruses in 11/8 and a bridge that mixes both time signatures
^
abc"13 iconic tracks played in crazy time signatures". Mixdown.
Archived from the original on 3 March 2021. Retrieved 3 March 2021. Trent Reznor certainly isn't inexperienced when it comes to odd time signatures – "The Becoming" kicks off in 13/8 [...] The first verse, a number of sections in the bridge and the guitar solo in "Keep It Greasy" are counted in the head-scratching signature of 19/16, while the second verse takes things up a notch by going to 21/16.
^Andy Wilson (18 June 2009).
"1974: Faust: Faust IV". Faust Pages.
Archived from the original on 13 October 2021. Retrieved 13 October 2021. (aka Lauft (Alt), Psalter, Psalter (slow), 13/8, Psalter (5 May 1994), Psalter)
^Andrew Lloyd Webber, T. S. Eliot – "Cats" Hal Leonard (HL00359466),
ISBN0-88188-447-2
^
abcdHamasyan, Tigran (17 February 2015).
"Mockroot Track by Track". Nonesuch Records.
Archived from the original on 4 December 2020. Retrieved 2 March 2021. The working title for [Song for Melan and Rafik] was "Forty-Two," because it's actually in the unusual time signature of 42/16 [...] I think if you worked [Entertain Me] out it would be in a time signature of 256/32. There is a melody that is grouped in 35/16 that repeats seven times and then resets. [...] [To Negate is] in the same key as "To Love," but in a different mode—an odd, Armenian mode—and in the time signature of 13/8.
^
abJohn McLaughlin, John McLaughlin and the Mahavishnu Orchestra: John McLaughlin's Scores to 28 Classic Recordings (Van Nuys: Alfred Publishing, 2006): 58-64.
ISBN0-7390-4255-6.
^
abBruce, David (2 April 2019).
"The Rhythms of Tigran Hamasyan". YouTube.
Archived from the original on 13 December 2021. Retrieved 4 March 2021. [Vardavar] also contains a long pattern of 32 notes, or two bars of 4 4, but this is completely split up into more unusual sub-groupings: It's 5+5+3+5+5+4+5. [...] The thirty-five beat cycle [of Nairian Odyssey] is generally divided up into a 6 4, a 5 16, and 3 8.
^"Split Open and Melt". Phish.net. 10 April 2013.
Archived from the original on 15 August 2013. Retrieved 20 July 2013. "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)
^Serene Dominic (2003).
Burt Bacharach, song by song. Schirmer Trade Books.
ISBN9780857122599. Bacharach was now calling the shots, and anyone covering this tune after it became a monster hit would grudgingly have to switch from 5/4 to 4/4 and 7/8.
^Bolcom, William (1988). 12 New Etudes for Piano. Edward B. Marks Music Company.
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