Examine individual changes

'{{Dynamic list}} <!--********************************************************************************************** BEFORE YOU ADD ANY NEW PIECES, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE RHYTHM YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER! Please list unsourced material on the talk list linked on the Talk Page. It is a good resource for people who are confident enough to count for themselves. *************************************************************************************************--> Listed here are [[musical composition]]s or [[Musical piece|piece]]s in Western music that have [[Time signature#Complex time signatures|unusual time signatures]]. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.<ref name="musictechmag">Ian Waugh first lists 2/2, 2/4, 2/8, 3/2, 3/4, 3/8, 4/2, 4/4, 4/8, 6/4, 6/8, 6/16, 9/4, 9/8, 9/16, 12/4, 12/8, and 12/16 (Waugh 2003, 76), then says "we've listed all the popular time signatures" (Waugh 2003, 77).</ref> The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to signify visually tempo for slow movements in symphonies, sonatas, and concerti. The Piano Sonata No. 14 in C-sharp minor "Quasi una fantasia", Op. 27, No. 2, by Ludwig van Beethoven, popularly known as the [[Moonlight Sonata]], includes two examples: in the relatively slow first movement the predominant rhythm is in triplet [[eighth notes]] (quavers), whereas in the second movement the basic tempo is faster but the music is notated in [[quarter notes]] (crotchets) and [[half notes]] (minims), giving a visual clue to the nature of the phrasing. The first movement could be written in 12/8 and still convey the same rhythm, phrasing, and tempo. Similarly, the second movement could be notated in 3/8 instead of 3/4 without changing the phrasing.<ref>Ted Ross, ''The Art of Music Engraving and Processing: A Complete Manual, Reference and Text Book on Preparing Music for Reproduction and Print'', 3rd edition, revised (Miami: Hansen Books; Santa Rosa, CA: NPC Imaging/Shattinger International Music Corporation, 2001),{{Page needed|date=December 2008}}<!--Book has 278 pages, plus 10 pages of prefatory material.-->.</ref> More to the point of the present article, a perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from [[Benjamin Britten|Britten's]] opera ''[[Peter Grimes]]'' consists of variations over a recurring bass line eleven beats in length, but is notated in ordinary 4/4 time, with each variation lasting 2¾ bars, and therefore commencing each time one crotchet earlier than the preceding one.<ref>Britten 1945b.</ref> These examples are grouped by time signature, and listed alphabetically by title. ==⅔/2 and ⅔/4== ===Partially in ⅔/2 or ⅔/4=== * "L'Artisanat furieux", third movement of ''[[Le marteau sans maître]]'', by [[Pierre Boulez]]. Bars 24, 35, and 43 are in ⅔/4 time.<ref>Boulez 1957, 19–20.</ref> * ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 102 is in ⅔/2; bar 123 is in ⅔/4 time.<ref>Nilsson 1958, 10 & 12; Read 1964, 172.</ref> ==⅗/4== ===Partially in ⅗/4=== * ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 97 is in ⅗/4 time.<ref>Nilsson 1958, 10; Read 1964, 172.</ref> ==⅘/4== ===Partially in ⅘/4=== * ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 112 is in ⅘/4 time.<ref>Nilsson 1958, 11; Read 1964, 172.</ref> ==<small>⁴/₃</small>/2 or <small>⁴/₃</small>/4== ===Partially in <small>⁴/₃</small>/2 or <small>⁴/₃</small>/4=== * "L'Artisanat furieux", third movement of ''[[Le marteau sans maître]]'', by [[Pierre Boulez]]. Bar 3 is in <small>⁴/₃</small>/2 time.<ref>Boulez 1957, 18.</ref> * ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 83 is in <small>⁴/₃</small>/4 time.<ref>Nilsson 1958, 8; Read 1964, 172.</ref> ==1/1, 1/2, 1/4, 1/8, or 1/16== ===Partially in 1/1, 1/2, 1/4, 1/8, or 1/16=== * [[Piano Sonata No. 5 (Scriabin)|Piano Sonata No. 5]], Op. 53, by [[Alexander Scriabin]]. Bars 251 to 262 (''Presto giocoso'') are in 1/2.<ref>{{IMSLP2|id=Piano Sonata No.5, Op.53 (Scriabin, Aleksandr)|cname=Piano Sonata No. 5 (Scriabin)}}. Leipzig: Edition Peters, 1971, plate E.P. 12588.</ref> * ''[[Appalachian Spring]]'', by [[Aaron Copland]]. Third bar of rehearsal 46 and third bar of rehearsal 48 are in 1/2.<ref>Copland 1945, 56–59.</ref> * "Improvisation sur Mallarmé 2", from ''Pli selon pli'' by [[Pierre Boulez]].<ref name="Read158">Read 1964, 158.</ref> * ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 11 is in 1/16 time, bar 53 is in 1/8 time, bars 20, 22–27, 33–36, 38–40, 43, 49, 51, 54, 57, 65, 76–77, 80–81, 86, 90–93, 95, 99, 103–7, 115–16, 118, 120, 122, 124, 126, 130, 134–42, 145, 153, and 158 are in 1/4 time.<ref>Nilsson 1958, 3–15.</ref> * ''Metropolis Part 1: The Miracle and the Sleeper'', by [[Dream Theater]]. Third bar of rehearsal R is in 1/4.<ref>Dream Theater Keyboard Anthology. Transcribed by Chris Romero and Jordan Baker 2004, 30.</ref> * ''A Nightmare to Remember'', by [[Dream Theater]]. Measure 31 is in 1/8. <ref>Dream Theater Black Clouds and Silver Linings Authentic Guitar TAB. 2009, 7</ref> * "Scherzo" (2nd Movement) from [[Alexander Borodin]]'s [[Symphony No. 2 (Borodin)|Symphony No. 2]] is in Prestissimo 1/1, except for the [[ternary form|trio]] section, which is in Allegretto 6/4.<ref>Borodin [n.d., ca. 1920], 51–94. [http://imslp.org/wiki/Symphony_No.2_%28Borodin%2C_Alexander_Porfirevich%29 IMSLP scans available.]</ref> ==√2/2== * "No. 33" from ''Study for Player Piano'' by [[Conlon Nancarrow]] has a meter whose numerator is the [[square root]] of 2.<ref name="conlon">{{cite web|title=List of Works|url=http://www.nancarrow.de/list_of_works_english_version.htm|publisher=Nancarrow.de|accessdate=July 15, 2013}}</ref> ==2/1== * "Gigue", last movement of [[Partitas, BWV 825-830|6th Partita in E minor, BWV 830]], by [[Johann Sebastian Bach]].<ref>{{Cite book|author= Johann Bach |editor= Hans Bischoff |year= 1985 |publisher= Alfred Music Publishing |isbn= 978-0-7692-8604-4 |title= Six Partitas and Overture in French Style |url= http://books.google.com/?id=_M8RUaKmwYAC&pg=PT84 |page= 92}}</ref> ===Partially in 2/1=== * ''Five Pieces for Piano'', op. 23, by [[Arnold Schoenberg]].<ref name="Read158" /> * "Improvisation sur Mallarmé 2", from ''Pli selon pli'' by [[Pierre Boulez]].<ref name="Read158" /> ==2/16== * ''[[Comme le vent]]'', first of the ''Douze études dans toutes les tons mineurs'', Op. 39, by [[Charles-Valentin Alkan]].<ref>Alkan n.d. (ca.1861),{{Pn|date=June 2013}}<!--Only of marginal importance, considering the nature of the publication, but for the sake of consistency with other references.-->.</ref> * [[Alexei Stanchinsky]]'s Sketch, Op. 1 No. 10.<ref name="stanchinskyop1">http://petrucci.mus.auth.gr/imglnks/usimg/f/f3/IMSLP14991-Stanchinksy_-_12_Sketches.pdf 12 Sketches, Op. 1 by [http://imslp.org/wiki/Category:Stanchinsky,_Alexei Alexei Stanchinsky] at the [[International Music Score Library Project]]</ref> ==2½/4== ===Partially in 2½/4=== * ''Study in Sonority'' by [[Wallingford Riegger]] contains several 2½/4 bars.<ref name="Read170">Read 1964, 170.</ref> ==e/π== * "No. 40" from ''Study for Player Piano'' by Conlon Nancarrow contains the mathematical constant [[e (number)|e]] beats of [[pi]].<ref name="conlon"/> ==3/32== * "Lilliputsche Chaconne", from ''Intrada, nebst burlesquer Suite'', for two violins (the so-called "Gulliver Suite") by [[Georg Philipp Telemann]].<ref>Telemann 1728, 32; Telemann 1970, 13; Zohn 2004, 247: "The ‘Lilliputsche Chaconne’ is anything but stately as it flashes by (at least on the page) in a blur of demisemiquavers in 3/32 time. . . ."</ref> ==3½/4== ===Partially in 3½/4=== * ''Driftwood Suite'', for piano, by [[Gardner Read]] uses 3½/4 time.<ref name="Read170" /> * ''Touch Piece'', for piano, by [[Gardner Read]] uses 3½/4 time.<ref name="Read170" /> ==<small>3²/₂</small>/4== * "Reverie der Laputier, nebst ihren Aufweckern", from ''Intrada, nebst burlesquer Suite'', for two violins (the so-called "Gulliver Suite") by [[Georg Philipp Telemann]].<ref>Telemann 1728, 40; Zohn 2004, 247: "The ‘Reverie der Laputier, nebst ihren Aufweckern’ . . . teases the reader with a nonsensical time signature, <small>3²/₂</small>/4, in an apparent allusion to the Laputians’ love for, and incompetence in, mathematics." Dietz Degan, the editor of Telemann 1970, transcribes this piece simply in 2/2.</ref> ==3⅔/4== * "Upstart" by [[Don Ellis]] (originally written in 11/8).<ref>Strait 2000, 56.</ref> ==4½/4== ===Partially in 4½/4=== * ''Driftwood Suite'', for piano, by [[Gardner Read]] uses 4½/4 time.<ref name="Read170" /> * ''Touch Piece'', for piano, by [[Gardner Read]] uses 4½/4 time.<ref name="Read170" /> ==5/1, 5/2, 5/4, 5/8, 5/16, 5/32, 5/64, 5/128, or 5/256== <!--Add new pieces to the list at [[Quintuple meter]].--> See [[Quintuple meter]]. ==5½/4== ===Partially in 5½/4=== * ''Driftwood Suite'', for piano, by [[Gardner Read]] uses 5½/4 time.<ref name="Read170" /> * ''Touch Piece'', for piano, by [[Gardner Read]] uses 5½/4 time.<ref name="Read170" /> ==6/2== ===Partially in 6/2=== *"In the First Pentatonic Major Mode (En el 1er modo pentáfono mayor)", no. 12 from ''12 American Preludes'' for piano (1944) by [[Alberto Ginastera]] (bar 23 in 6/2).<ref>Ginastera 1946, 1:12–13.</ref> *"Molto adagio" (Adagio for Strings), second movement of Samuel Barber’s String Quartet, op. 11, bars 15 and 26 are in 6/2.<ref>Barber 1943, 11–12.</ref> ==7/1, 7/2, 7/4, 7/8, 7/16, 7/32, 7/64, 7/128, or 7/256== See [[Septuple meter]] ==8/8 (not evenly divided)== * "Six Dances in Bulgarian Rhythm" 4, from Béla Bartók's ''Mikrokosmos'' (no. 151), is in 3 + 2 + 3.<ref>Bartók 1940, 6:45–48.</ref> * "Six Dances in Bulgarian Rhythm" 6, from Béla Bartók's ''Mikrokosmos'' (no. 153), is in 3 + 3 + 2.<ref>Bartók 1940, 6:51–55.</ref> ==8/4 (not evenly divided)== ===Partially in 8/4=== * "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 36 (1945), by Benjamin Britten. Bars 3 and 12 after rehearsal '''K''' are in 8/4.<ref>Britten 1946, 14–15.</ref> * ''A Choral Fantasia'', op. 51, by [[Gustav Holst]]. Bars 36–69, 142–48, 173–78, and 191–98 are in 8/4.<ref>Holst 1977, 4–6, 18–19, 23–24, 27–30.</ref> * "Damage Control" by [[John Petrucci]] has several bars in 8/4.<ref>Suspended Animation Authentic Guitar TAB, transcribed by Jordan Baker. 2005, 81-85, 88-89, 105-107</ref> * "I Ejaculate Fire" by [[Dethklok]]. Bars 81, 83, 85, and 88 are in 8/4.<ref>Dethalbum III Authentic Guitar TAB, transcribed by Jordan Baker. 2013, 10</ref> ==9/8 (not ordinary triple-compound)== <!--********************************************************************************************** BEFORE YOU ADD ANY NEW SONGS, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE TIMING YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER! *************************************************************************************************--> * "Niska Banja," SATB choral arrangement by Nick Page of a Serbian Gypsy dance, is in 2 + 2 + 2 + 3<ref>Page 1989.</ref> * "Six Dances in Bulgarian Rhythm" 1, from Béla Bartók's ''Mikrokosmos'' (no. 148), is in 4 + 2 + 3.<ref>Bartók 1940, 6:35–38.</ref> * "Six Dances in Bulgarian Rhythm" 5, from Béla Bartók's ''Mikrokosmos'' (no. 152), is in 2 + 2 + 2 + 3.<ref>Bartók 1940, 6:48–50.</ref> ===Partially in 9/8, 9/4, or 9/2=== <!--********************************************************************************************** BEFORE YOU ADD ANY NEW SONGS, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE TIMING YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER! *************************************************************************************************--> * "Apocalypse in 9/8" by [[Genesis (band)|Genesis]]. Penultimate movement of the "[[Supper's Ready]]" suite, rhythm section plays a 9/8 riff as 3+2+4, organ solo plays polymetrically over this (sometimes 4/4, sometimes 7/4.)<ref>Seconds Out Songbook 1978 Wise Publications</ref> * "[[Blue Rondo à la Turk]]" (1958) by [[Dave Brubeck|the Dave Brubeck Quartet]], from the album ''[[Time Out (album)|Time Out]]'' - Played as 2+2+2+3 and 3+3+3, with some alternating sections of 4/4<ref>Dryden, Ken. "[{{Allmusic|class=song|id=t803311|pure_url=yes}} Blue Rondo a la Turk]", Allmusic: "unusual time signature of 9/8".</ref> * "[[Under the Iron Sea#Broken Toy|Broken Toy]]" (2006) by [[Keane (band)|Keane]], from the album ''[[Under the Iron Sea]]''. First and second verses are marked 9/8 (although choruses use 6/8 or either 3/4).<ref>''Under the Iron Sea'' Songbook 2006 Wise Publication, p.52</ref>{{Vague|date=August 2012}}<!--9/4 meter is not unusual unless the division is irregular; if the subdivision of the meter in this song is the ordinary 3+3+3, then it does not belong in this list.--> * "The Count of Tuscany" by [[Dream Theater]]. The verse riff is in 9/4, with a rhythm of 3+2+2+3+3+2+3/8.<ref> Dream Theater Black Clouds and Silver Linings Authentic Guitar TAB, transcribed by Jordan Baker. 2009, 138</ref> * "[[Happiness Is A Warm Gun]]" by John Lennon and Paul McCartney, as transcribed by Fujita et al.<ref>Fujita et al. 1993{{Citation needed|date=March 2008}}<!--Page numbers needed-->.</ref>{{Vague|date=August 2012}}<!--9/4 meter is not unusual unless the division is irregular; if the subdivision of the meter in this song is the ordinary 3+3+3, then it does not belong in this list.--> * "Peasant in the Big Shitty" by [[The Stranglers]] is in 9/4.<ref>Hugh Cornwell and Jim Drury, ''Song by Song''. Sanctuary Publishing (2001).{{Pn|date=August 2012}}</ref>{{Vague|date=August 2012}}<!--9/4 meter is not unusual unless the division is irregular; if the subdivision of the meter in this song is the ordinary 3+3+3, then it does not belong in this list.--> * "Los peones de hacienda", from the ballet ''Estancia'' by [[Alberto Ginastera]]. The refrain, at rehearsal numbers 62, 65, 67, 68, 69+3, and 70 is marked "9/8 (3/4 - 3/8)"; the remainder is variously in 6/8, 3/4, 5/8, and 7/8.<ref>Ginastera 1955, 17–20.</ref> * "Voices" by [[Dream Theater]]. Opening riff in 9/8 broken down as 4/4 + 1/8.<ref name="dtrefs">[http://video.aol.com/video-detail/mike-portnoy-odd-time-signatures-demonstration/1272405019 Odd time signatures demonstration by Mike Portnoy]</ref> ==10/4, 10/8 or 10/16== <!--********************************************************************************************** BEFORE YOU ADD ANY NEW SONGS, PLEASE MAKE SURE YOU CITE A RELIABLE SOURCE! TRYING TO INTERPRET THE TIMING YOURSELF, NO MATTER HOW SURE YOU ARE, COUNTS AS ORIGINAL RESEARCH! (see [[WP:OR]]) IF YOU WISH TO CITE A SOURCE, PLEASE SEE [[WP:CITE]] - ANY UNSOURCED ADDITIONS WILL BE REMOVED! DO NOT USE ANOTHER WIKIPEDIA PAGE AS A SOURCE EITHER! *************************************************************************************************--> * Étude, op. 35, no. 12 in E major, for piano, by [[Charles-Valentin Alkan]]. (10/16, grouped as 5/16 + 5/16)<ref>Eddie 2007, 62.</ref> * "[[Just Like You Imagined]]" by [[Nine Inch Nails]]. (10/4)<ref>Evan Banks, "[http://inews6.americanobserver.net/content/humming-bassline-just-you-imagined Humming the Bassline: Just Like You Imagined]. ''American Observer'' (29 September 2009).</ref> * "Nostalgia" by [[Yanni]]. (10/8)<ref name="yanni">{{Cite book| last =| first =Yanni| authorlink =| coauthors =| title =The Best of Yanni; 11 selections from his top recordings| publisher =[[Hal Leonard Publishing]]| year = 1993| page = 16}}</ref> * "[[Playing in the Band]]" by the [[Grateful Dead]] (notated as 4/4 + 4/4 + 2/4). (10/4)<ref>John J. Wood, Eric Nay and Ihor Slabicky, "[http://stason.org/TULARC/music-bands/grateful-dead/30-The-Eleven-and-Other-Rhythmic-Oddities-Grateful-Dead.html The Eleven and Other Rhythmic Oddities (Grateful Dead)]", from the ''Grateful Dead FAQ''</ref> * "Wanderlove" by [[Mason Williams]]. (10/4)<ref>Liner notes to ''The Mason Williams Phonograph Record'' Warner Brothers LP, WS 1729. Burbank: Warner Brothers-Seven Arts Records, 1968.</ref> * "Everything in its Right Place" by [[Radiohead]]. (10/4 after pick-up measure of 2 beats; 4 + 4 + 2 = 10)<ref>"[http://www.talkbass.com/forum/f22/how-do-you-figure-out-time-signatures-476426/ TalkBass.com]".{{verify credibility|date=April 2013}}<!--This appears to be nothing but a blog.--></ref> ===Partially in 10/4, 10/8 or 10/16=== * [[Alexei Stanchinsky]]'s Sketch, Op. 1 No. 7 (10/8).<ref name="stanchinskyop1" /> * "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 35 (1945), by [[Benjamin Britten]]. Fourth bar after rehearsal '''K''' ("tranquillo, ''lusingando''") is in 10/4.<ref>Britten 1946, 14.</ref> * "Solacium", part 3 of "De Elegia Tertia" from ''[[Threni (Stravinsky)|Threni, id est Lamentationes Jeremiae Prophetae]]'', by [[Igor Stravinsky]].<ref>Bars 2–5 are in 10/8 time (Stravinsky 1958, 52).</ref> * "[[Thick As A Brick]]" by [[Jethro Tull (band)|Jethro Tull]]. The second section of the first part of the song is in 10/4<ref>Uncommon Time - Television Tropes & Idioms, "[http://tvtropes.org/pmwiki/pmwiki.php/Main/UncommonTime]".</ref> * "[[Memory (Cats song)|Memory]]" from ''[[Cats (musical)|Cats]]'' by Andrew Lloyd Webber is in 12/8 except for bar 7 of every verse, which is 10/8.<ref>[http://www.scribd.com/doc/9491593/Sheet-Music-Cats-Memory Score on scribd]</ref> * "Crocodile" by [[This Town Needs Guns]] is largely in 10/4.<ref>http://tp.ultimate-guitar.com/t/this_town_needs_guns/crocodile_tab_online.html</ref> ==11/4 or 11/8== * "Cigne je suis", from ''Airs a III. IIII. V. et VI. parties'' (première livre, 1608) by [[Claude Le Jeune]] (barred as 11/4).<ref>Le Jeune 1951–59, 2:85–88.</ref> * ''Eleven Four'', by [[Paul Desmond]] and recorded by the [[Dave Brubeck Quartet]].<ref>Howard Brubeck (ed.), ''Dave Brubeck Deluxe Piano Album'', (San Francisco: Derry Music Co., 1965), pp. 22-28.</ref> * "Fugue", second movement of ''Bachianas brasileiras no. 9'', by [[Heitor Villa-Lobos]]. (11/8)<ref>Villa-Lobos 1969, 3–18.</ref> * ''In Nomine IX'', for harpsichord, by [[John Bull (composer)|John Bull]]. (11/4)<ref>J. A. Fuller Maitland and W. Barclay Squire (eds.), ''The Fitzwilliam Virginal Book'', vol. 2 (Leipzig: Breitkopf und Härtel, 1899; reprinted New York: Dover Publications, Inc., 1963), 34–39.</ref> * ''[[Mario Kart 64]]'' (video game), music by Kenta Nagata, at the [http://www.youtube.com/watch?v=sVdxrERxQo8 race results screen].<ref>Elroy 2008.{{Verify credibility|date=June 2013}}<!--As a blog, is this really a Reliable Source?--></ref> *"Man-Erg" (1971), by [[Van der Graaf Generator]].<ref>Macan 1997, 48–49.</ref> * "Presto", second movement of [[Alexei Stanchinsky]]'s Piano Sonata No. 2 in G major (11/8).<ref>http://imslp.info/files/imglnks/usimg/9/9d/IMSLP15483-Stanchinksy_-_Piano_Sonata_No.2.pdf Piano Sonata No. 2 by [http://imslp.org/wiki/Category:Stanchinsky,_Alexei Alexei Stanchinsky] at the [[International Music Score Library Project]]</ref> * [[Alexei Stanchinsky]]'s Sketch, Op. 1 No. 5 (11/8).<ref name="stanchinskyop1" /> *"Pantagruel's Nativity" (1971), by [[Gentle Giant]].<ref name="Macan49">Macan 1997, 49.</ref> *"Where but for Caravan Would I Be" (1969), by [[Caravan (band)|Caravan]].<ref name="Macan">Macan 1997, 48.</ref> ===Partially in 11/4 or 11/8=== * "Blockhead", by [[Devo]]. Verses are in 11/8 time, choruses in 4/4.<ref>[http://dailyvault.com/toc.php5?review=1171 Mark Feldman 2000].</ref> * "Eleven", by [[Primus (band)|Primus]]. Song is mainly in 11/8, the chorus has one bar in 9/8, and after two bars of 11/8 a bar in 12/8.<ref>Primus (musical group), ''Primus Anthology: A thru<!--NB: misspelled exactly this way in the printed title of the book.--> N: For Guitar and Bass'', transcribed by Jeff Jacobsen (New York: Cherry Lane Music, 2000), 17–20. ISBN 1575601540.</ref> * ''Mädchentotenlieder'', by [[Bo Nilsson]]. Bar 74 is in 11/4 time.<ref>Nilsson 1958, 7.</ref> * "Serenade" by [[Derek Bourgeois]]. The beginning and ending sections are in 11/8.<ref name=reynish>{{cite web| url=http://www.timreynish.com/repcompbourgeois1.html| title=Derek Bourgeois: An Assessment of his music in Two Parts| author=Reynish, Tim| accessdate=November 8, 2009}}</ref><ref name=howardpac>{{cite web| url=http://www.howard.andrews.edu/news/113/| title=Pops Concert Program Notes| publisher=Howard Performing Arts Center, Andrews University| date=March 8, 2008| accessdate=November 8, 2009}}</ref> * "[[Whipping Post (song)|Whipping Post]]", by [[The Allman Brothers Band]]. (Begins with a two-bar 11/4 riff).<ref name="Poe2006">{{cite book|author=Randy Poe|title=Skydog: The Duane Allman Story|url=http://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}}</ref> ==12/4 (not evenly divided)== * "26 Is Dancier than 4" by [[This Town Needs Guns]].<ref>http://tp.ultimate-guitar.com/t/this_town_needs_guns/26_is_dancier_than_4_tab_online.html</ref>{{Failed verification|date=July 2013}}<!--First, there is not time signature shown at all, second, there are exactly 13 quarter notes in the illustrated measure.--> ==13/4 or 13/8== * "The Great Divide" by [[Don Ellis]] (13/4).<ref>Perkins 2000, 1:18.</ref> * "[[13th August(instrumental)|13th August]]" by [[FromUz]] (13/8).<ref>[http://www.kenwestphal.com/CDart/Overlook8-9.html FROMUZ - "Overlook" booklet], 8–9.</ref> ===Partially in 13/4 or 13/8=== * "The Becoming" by [[Nine Inch Nails]]. Begins in a 13/8 time signature and changes to 6/8 at the 3-minute mark. <ref>{{cite web|url=http://www.ninwiki.com/The_Becoming#The_Becoming |title=The Becoming |work=www.ninwiki.com |date= |accessdate=2012-05-18}}</ref> * "[[Golden Brown]]" by [[The Stranglers]]. The song's characteristic opening phrase, repeated later in the song, is in 13/4 (3+3+3+4) <ref>{{cite web|url=http://www.songfacts.com/detail.php?id=5195 |title=Golden Brown by The Stranglers Songfacts |work=Songfacts.com |date= |accessdate=2012-04-14}}</ref> * "I Will Be Absorbed", by [[Egg (band)|Egg]].<ref name="Macan49" /> * "[[Metropolis Pt. 1: The Miracle and the Sleeper]]" by [[Dream Theater]]. Beginning of instrumental section in 13/8, broken down as 6/8 + 7/8, and later as 4/4 + 5/8.<ref name="dtrefs" /> * "Serenade" by [[Derek Bourgeois]]. The middle section is in 13/8.<ref name=reynish/><ref name=howardpac/> * "Skimbleshanks" from [[Andrew Lloyd Webber]]'s musical ''[[Cats (musical)|Cats]]''. Introduction and chorus are in 13/8 (3+3+3+4). Verses in 4/4.<ref>Andrew Lloyd Webber, T. S. Eliot - "Cats" ''Hal Leonard'' (HL00359466), ISBN 0-88188-447-2</ref> *"[[Starless]]" (1974), by [[King Crimson]].<ref name="Macan49" /> * "[[Thick as a Brick]]" (1972), by [[Jethro Tull (band)|Jethro Tull]].<ref name="Macan49" /> * "[[Turn It on Again]]" by [[Genesis (band)|Genesis]]. The verses and choruses are in 13/8. Other parts are in 8/8, and 5/8.<ref>Genesis 2001, {{Page needed|date=June 2010}}.</ref> ==15/8 or 15/16== <!--Add new compund-quintuple pieces to the list at [[Quintuple meter]].--> Other than compound [[Quintuple meter]] (which see). * "Bloodmeat" by [[Protest the Hero]] (15/16).<ref>Protest the Hero, Fortress, Guitar Music: A Two Guitar Transcription.{{Full|date=July 2013}}<!--Author, place, publisher, ISBN, inclusive page numbers needed.--></ref>{{Clarify|date=July 2013}}<!--If this is in compound-quintuple meter, then it belongs in the [[Quintuple meter]] article instead of here (see editorial note at head of this section).--> * "Chionoblepharou pater Aous" [Father of the bright-eyed Dawn], Hymn to the Sun, by [[Mesomedes|Mesomedes of Crete]] (15/8, grouped 2+2+2+2+2+3+2)<ref>Davison and Apel 1974, 9; Pöhlmann and West 2001, 96–99.</ref> * "Malibu Shuffle" for jazz band, by Wayne L. Perkins (15/8).<ref>Perkins 2000, 2:18–40 (score).</ref> * "Perpetuum Mobile" by the [[Penguin Cafe Orchestra]] (15/8)<ref>{{Citation|first=Arthur |last=Jeffes |title=BBC Proms programme notes, 2010 season concert 73 |date=2010-09-08 |publisher=BBC}}</ref> ===Partially in 15/4, 15/8, or 15/16=== Apart from examples in compound [[quintuple meter]]: * "[[A Change of Seasons (song)|A Change of Seasons]]" by [[Dream Theater]]. First verse in 15/8 broken down as 3/4 + 9/8, second verse in 15/8 broken down as 6/8 + 6/8 + 3/8.<ref name="dtrefs" /> * ''Robert Browning Overture'', by [[Charles Ives]] includes measures in 15/16 time.<ref name="Read157">Read 1964, 157.</ref> * Sonata Op. 25 No. 2 in E minor, for piano, "Night Wind" (1911) by [[Nikolai Medtner]]. Main Allegro section in 15/8.<ref>Medtner 1998, 134.</ref>{{Vague|date=January 2012}}<!--non-quintuple division of the bars needs to be specified; otherwise this example belongs in the article on [[Quintuple meter]], not here.--> * String Quartet No. 1 (1950–51), by [[Elliott Carter]] includes measures in 15/16 time.<ref name="Read157" /> * String Quartet No. 1 (1949), by [[Leon Kirchner]] includes measures in 15/16 time.<ref name="Read157" /> * String Quartet No. 2 (1959), by [[Elliott Carter]] includes measures in 15/16 time.<ref name="Read157" /> * "[[Tubular Bells]]" by [[Mike Oldfield]]. The first riff in 15/8 is made of two bars. The first bar is in 7/8, the second bar is in 8/8.<ref>{{Cite book| last = Oldfield| first = Mike| title = Changeling - Autobiography of Mike Oldfield| publisher = Virgin Books| isbn = 978-1-85227-381-1| year = 2007| page = 111}}</ref> ==17/4 or 17/8== * "[[(Theme from) Valley of the Dolls]]" by [[André Previn]] and [[Dory Previn]]. Verse changes every measure 4/4 + 3/4 + 2/4 + 4/4 + 4/4 <ref>{{cite web|url=http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0035333# |title=Theme from "Valley of the Dolls |publisher=Musicnotes, Inc. |date= |accessdate=2012-04-14}}</ref> * [[Alexei Stanchinsky]]'s Sketch, Op. 1 No. 6 (17/8, written as 4/8 + 4/8 + 5/8 + 4/8, but with the 17/8 time signature written as well).<ref name="stanchinskyop1" /> ===Partially in 17/4 or 17/8=== * "[[Crystalline (song)|Crystalline]]" by [[Björk]].<ref>{{cite web|url=http://www.bjork.fr/Crystalline |title=Crystalline |work=bjork.fr |date= |accessdate=2012-04-14}}</ref> * "Hollow" by [[Björk]].<ref>{{cite web|url=http://www.bjork.fr/Hollow |title=Hollow |work=bjork.fr |date= |accessdate=2012-04-14}}</ref> * "Moon" by [[Björk]].<ref>{{cite web|url=http://www.bjork.fr/Moon |title=Moon |work=bjork.fr |date= |accessdate=2012-04-14}}</ref> * "Panda" by [[This Town Needs Guns]] includes sections of 17/4 and other meters like 3/4.<ref>http://www.911tabs.com/link/?8059591</ref> ==18/8 or 18/16== {{see also|Sextuple meter}} * ''Barcarollette'', No. 12 of the [[Esquisses (Alkan)|''49 Esquisses'']] by [[Charles-Valentin Alkan]] (18/8, as compound sextuple meter).<ref>Alkan n.d. (ca.1862),{{Pn|date=June 2013}}<!--Only of marginal importance, considering the nature of the publication, but for the sake of consistency with other references.-->.</ref> * "Birds of Fire" by [[Mahavishnu Orchestra]]. Guitar plays 5+5+5+3 while drums play 6+6+6. Violin from time to time plays 3+3+2+3+3+2+2.<ref name="mahavishnu">John McLaughlin, ''John McLaughlin and the Mahavishnu Orchestra: John McLaughlin's Scores to 28 Classic Recordings'' (Van Nuys: Alfred Publishing, 2006).{{Citation needed|date=March 2008}}<!--This book has got 152 pages in it—surely this one song or the documentation of its meter doesn't occupy all of them!--> ISBN 0-7390-4255-6</ref> * "Moderato", no. 2 (1909) from ''Four Etudes'', op. 2, by [[Sergei Prokofiev]] (18/8 in one hand against 4/4 in the other).<ref>Prokofiev 1955, 1:9–14.</ref> * "Variatio 26, a 2 Clav.", from the ''Clavierübung'', Vierter Theil, ''Aria mit 30 Veränderungen'' ["[[Goldberg Variations#Variatio 26. a 2 Clav.|Goldberg Variations]]"], by [[Johann Sebastian Bach]]. (18/16 in one hand against 3/4 in the other, exchanging hands at intervals until the last five bars where both hands are in 18/16).<ref>Bach 1968, 98–99.</ref> ==19/4, 19/8, or 19/16== * "Celestial Terrestrial Commuters" by [[Mahavishnu Orchestra]].<ref name="mahavishnu" />{{Page needed|date=March 2008}}<!--Like the other ref(s) to this book, this needs a page number or numbers--> * ''Consort for Piano and Strings'' by [[John Vincent (composer)|John Vincent]].<ref>Read 1964, 159.</ref> * "19 Days" by [[Gavin Harrison]].<ref>Bernhard Castiglioni ''[http://www.drummerworld.com/Videos/gavinharrison2.html Gavin Harrison Part II (video)]''. Videos and Pictures from the Musikmesse Frankfurt 2007. www.drummerworld.com (Accessed 6 June 2010).</ref> * "She's Only 19" by Wayne L. Perkins (19/4).<ref>Perkins 2000, 2:1–17 (score).</ref> * "33 222 1 222" by [[Don Ellis]] (19/4).<ref>Fenlon 2002, 112–13.</ref> ===Partially in 19/4, 19/8, or 19/16=== * "Home" by [[Dream Theater]] (ends in 19/16). <ref>Portnoy, Wallis, and Siegel 1999.{{Page needed|date=March 2012}}<!--Not so much a page number, but at least the volume number and, preferably, an approximate time-point on the tape or DVD volume where this information is located.--></ref> ==20/4 or 20/8== ===Partially in 20/4 or 20/8=== * "Deux moulins", from ''Airs a III. IIII. V. et VI. parties'' (première livre, 1608) by [[Claude Le Jeune]] (third section, Chant à 3, is barred as 20/4; the rest of the piece is in 21/4).<ref name="Le Jeune 1951–59, 1:32–33">Le Jeune 1951–59, 1:32–33.</ref> * "Gibbon" by [[This Town Needs Guns]] is partially in 20/4.<ref>http://www.911tabs.com/link/?8059579</ref> * "Sensus spei", part 2 of "De Elegia Tertia" from [[Threni (Stravinsky)|''Threni, id est Lamentationes Jeremiae Prophetae'']], by [[Igor Stravinsky]] (bar 4 is in 20/8 time).<ref>Read 1964, 160; Stravinsky 1958, 29.</ref> ==21/4, 21/8, 21/16, or 21/32== See also: [[Septuple meter]] ===Partially in 21/4, 21/8, 21/16, or 21/32=== * "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. <ref>Leonard 2011.</ref> * "Deux moulins", from ''Airs a III. IIII. V. et VI. parties'' (première livre, 1608) by [[Claude Le Jeune]] (first two sections, Rechant à 3 and Réprise à 5, are barred as 21/4; the last section of the piece is in 20/4).<ref name="Le Jeune 1951–59, 1:32–33"/> * ''In the Dead of the Night'' suite by [[UK (band)|UK]], "contains an instrumental refrain in 21/16".<ref name="Macan49" /> * "Keep It Greasy" by [[Frank Zappa]] (On the studio album, first verse and guitar solo are counted in 19/16 and another part is in 21/16).<ref name="flans">Flans 1982.</ref> * ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. Bars 6, 17, 120, and 149 are in 21/8 time.<ref>Stockhausen 1967, 1, 6, and 7.</ref> * Sonata for Cello and Piano (1948), by [[Elliott Carter]], includes 21/32 time.<ref>Read 1964, 156.</ref> ==22/8== * "The First Circle" from the album ''[[First Circle (album)|First Circle]]'' by the [[Pat Metheny Group]]. Composed by [[Pat Metheny]] and [[Lyle Mays]].<ref>[http://www.allaboutjazz.com/iviews/lmays2.htm Interview with Lyle Mays] by Mike Brannon for allaboutjazz.com, May 2001. "'First Circle' does have a little different kind of time signature. We called it 22/8…You could think of it as a bar of 12 and a bar of 10."</ref> ==23/4== ===Partially in 23/4=== * "Baboon" by [[This Town Needs Guns]] is mainly in 23/4 with some 4/4.<ref>http://tabs.ultimate-guitar.com/t/this_town_needs_guns/baboon_guitar_pro.htm</ref> ==24/1 or 24/16== * "Brobdingnagische Gigue", from ''Intrada, nebst burlesquer Suite'', for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann is in 24/1.<ref>Telemann 1728, 37; Telemann 1970, 14–15; Zohn 2004, 247: "the ‘Brobdingnagische Gigue’—no doubt inspired by the English jig Gulliver plays with great effort on a sixty-foot spinet—is danced in giant steps, trudging along in twenty-four semibreves to the bar."</ref> * "Prelude no. 15" from ''[[The Well-Tempered Clavier]]'' by [[Johann Sebastian Bach]] is in 24/16<ref name="Read158" /> ==25/8 or 25/16== * "How's This for Openers?" by [[Don Ellis]] (25/8).<ref>Fenlon 2002, 90 & 102–106.</ref> ===Partially in 25/8 or 25/16=== *"Tenemos Roads", by [[National Health]] includes "some extremely intricate passages in 25/16".<ref name="Macan49" /> ==32/8== ===Partially in 32/8=== * "Variations for Trumpet" by [[Don Ellis]] has one section in 32/8.<ref>Fenlon 2002, 40.</ref> ==33/8== *"Blues in 33/8" by [[Mat Savage]] (33/8). <ref> https://www.youtube.com/watch?v=RGD1gl0YtfM </ref> *"Bulgarian Bulge" by [[Don Ellis]] (33/8).<ref>Fenlon 2002, 41; Fienberg 2004, 228–29 & 231–32.</ref> ==34/8== ===Partially in 34/8=== * ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. The last two bars are in 34/8 time.<ref>Stockhausen 1967, 7.</ref> ==42/8== ===Partially in 42/8=== * ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. Bar 3 is in 42/8 time.<ref name="stockhausen1">Stockhausen 1967, 1.</ref> ==59/48== ===Partially in 59/48=== *''Evol'' by [[Damian LeGassick]] alternates a rhythm notated as five beats in the time of seven with another in 59/48 time.<ref>Gilmore 1994, 4.</ref> ==87/8== ===Partially in 87/8=== * ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. Bar 2 is in 87/8 time.<ref name="stockhausen1" /> ==142/8== ===Partially in 142/8=== * ''[[Klavierstücke (Stockhausen)#Klavierstück IX|Klavierstück IX]]'' (1954–55/61) by [[Karlheinz Stockhausen]]. Bar 1 is in 142/8 time.<ref name="stockhausen1" /> ==Unusual time signature combinations== * "Autopsy," from [[Fairport Convention]]'s album ''[[Unhalfbricking]]'', switches between 5/4, 3/4 and 4/4.<ref> Pamela Winters, "[http://www.pastemagazine.com/articles/2003/06/richard-thompson.html Richard Thompson: Plunging the Knife in Deeper]", ''Paste Magazine'' (9 June 2003).</ref> * "Bastard" by [[Ben Folds]]. A combination of the time signatures 3/2, 3/4, 4/4, 5/4, 6/4, and 7/4.<ref>Ben Folds-"Songs for Silverman, piano/vocal transcriptions [[Hal Leonard Corporation]]{{Citation needed|date=March 2008}}<!--Place, year, page numbers?-->.</ref> * "[[The Dance of Eternity]]" by [[Dream Theater]]. This instrumental contains mixtures of faster and slower beat groupings in 8, 7, 6, 5, and 4. It goes through over 128 time signature changes in just over six minutes.<ref>{{cite web| url = http://www.youtube.com/watch?v=H7jikeIyKaE| title = Mike Portnoy - The dance of eternity time signature & solo 1| accessdate = 2009-02-28}}</ref> * "The Eynsham Poacher", a traditional song; in the arrangement by [[Dave Pegg]], most of the tune is in 12/8, but there are five other time signatures: several single bars at 9/8 occur in the refrain and elsewhere; the bridge has a six-bar phrase of three bars at 2/4, one at 6/8, then two at 2/4; whilst the 9/8 finale includes a bar each of 1/4 and 4/4.<ref>{{Cite book|title=Fairport Convention Songbook 2 |editor-last=Allcock |editor-first=Maartin |publisher=Woodworm Music |year=1998 |pages=56–59 }}</ref> * "[[Firth of Fifth]]": Introduction, by Anthony Banks of [[Genesis (band)|Genesis]], mixes duple and quadruple meters with 13/16 and 15/16 signatures.<ref>Banks n.d.</ref> * "Fish On" by [[Primus (band)|Primus]]. The intro has a free time feel, but is transcribed as: 4/4, 2/4, 4/4, 3/4, 4/4, 2/4, 4/4, 2/4, 7/8, 12/8, 14/8, 4/4, 4/4, 12/8 (7 times) and 6/8.<ref>Primus (musical group), ''Primus Anthology: A thru<!--NB: misspelled exactly this way in the printed title of the book.--> N: For Guitar and Bass'', transcribed by Jeff Jacobsen (New York: Cherry Lane Music, 2000), 21. ISBN 1575601540.</ref> * "A Headache And A Sixty-Fourth", from [[Ron Jarzombek]]'s album ''[[Solitarily Speaking Of Theoretical Confinement|Solitarily Speaking of Theoretical Confinement]]'', has a constant time signature pattern of 4/4 and 1/64.<ref>{{cite web| url = http://www.ronjarzombek.com/headache.html| title = A Headache And A Sixty-Fourth| accessdate = 2010-08-21}}</ref> * "[[Here Comes the Sun]]", by The Beatles. The bridge can be transcribed as 11/8 + 4/4 + 7/8<ref>"The meters of these three measures are 11/8, 4/4, and 7/8, respectively. The special effect of running even eighth notes accented as if triplets against the grain of the underlying backbeat is carried to a point more reminiscent of Stravinsky than of the Beatles" (Alan Pollack's 'Notes On' series, [http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/hcts.shtml no. 183]).</ref> * "[[Hey Ya!]]" by [[OutKast]]. Emulates 11/4<ref>{{cite web| url = http://www.rollingstone.com/news/story/6596025/hey_ya| title = Hey Ya! - Outkast| work = [[Rolling Stone]]| date = 2004-12-09| accessdate = 2008-03-23}}</ref> by using a cadential six-[[bar (music)|measure]] [[phrase (music)|phrase]] consisting of three 4/4 measures, a 2/4 measure, and two 4/4 measures.<ref name="sheet">Sheet music for "Hey Ya!" [[Hal Leonard Corporation]], 2003.{{Full|date=March 2008}}<!--Author, place of publication? Not only that, but 3× 4 + 2 + 2 × 4 = 22, not 11.--></ref> * "[[I Say a Little Prayer]]" by [[Dionne Warwick]] uses 10/4 for verses and 11/4 for its chorus.<ref>Sheet music, published by New Hidden Valley Music and Casa David, copyright 1966</ref> * "[[Limelight (song) |Limelight]]" by [[Rush (band)|Rush]]. Intro is 4/4 and 3/4 alternating (can be transcribed as 7/4 therefore), verse is 3/4, 3/4, 4/4, 2/4, 4/4, 2/4, 3/4, 3/4, 4/4 (3 times). The chorus is 7 times 3/4, 3 times 4/4.<ref>Guitar School March 1994, ""Geddy Lee Bass Clinic""{{Full|date=June 2010}}<!--Presumably this is a magazine citation to something called ''Guitar School March'', published in 1994. If so, at least the inclusive page numbers are needed. If it is a book, then, the place and publisher are also needed. In either case, the author's name should come first, then the title, etc.--></ref> * "Losing It" by [[Rush (band)|Rush]]. Intro and verses are composed out of ten bars in 5/8, other parts are in 11/8.<ref>{{cite web|author=Peart, Neil |url=http://www.musicnotes.com/sheetmusic/mtdFPE.asp?ppn=MN0061717 |title=Rush - Losing It Sheet Music (Digital Download) |work=Musicnotes.com |date=2010-10-07 |accessdate=2012-04-14}}</ref><ref>{{cite web|url=http://www.fiddlingaround.co.uk/rock%20violin/index.html |title=Rock Violin |work=Fiddlingaround.co.uk |date= |accessdate=2012-04-14}}</ref><ref>{{cite web|url=http://www.drumlessons.com/drummers/neil-peart/ |title=» Neil Peart Biography, Drum Videos and Pictures &#124; Famous Drummers |work=Drumlessons.com |date= |accessdate=2012-04-14}}</ref> * "On the Floor" by [[Maartin Allcock]]. A tune where passages of mixed time signatures (5/4, 4/4, 3/4, 6/8, 6/4, 7/4 - with no more than two consecutive bars in the same time) alternate with longer passages in 4/4.<ref>{{Cite book|title=Fairport Convention Songbook 2 |editor-last=Allcock |editor-first=Maartin |publisher=Woodworm Music |year=1998 |page=81 }}</ref> * "[[Jesus Christ Superstar (album)|Trial Before Pilate (Including the Thirty-Nine Lashes)]]", from the musical ''[[Jesus Christ Superstar]]'' by [[Andrew Lloyd Webber]], includes 4/4, 3/4, 5/8, 2/4, 6/8, 6/4, 5/4, 7/4, 7/8, and 2/8, and the time signature in the piece varies a total of 41 times.<ref>Lloyd Webber and Rice 1970.</ref> * "[[Bird_Noises|No Time for Games]]" by [[Midnight Oil]] has an introduction and various other parts in 7/4 and verse and chorus in 4/4. <ref>http://www.drumscore.com/pages/score.php?artist=Midnight-Oil&song=No-Time-For-Games</ref> <ref>http://www.midnight-oil.info/powderworks/2003-May/008842.html</ref> ==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]] **[[Karşılama|Karsilamas]] **[[Tsakonikos]] **[[Zeibekiko]] {{Refend}} ==Notes and references== {{Linkrot|date=July 2013}} {{Reflist|2}} ==Bibliography== * Alkan, Charles Valentin. n.d. (ca. 1861). {{IMSLP2|id=12 Etudes in All the Minor Keys, Op.39 (Alkan, Charles-Valentin)|cname=''Douze études dans toutes les tons mineurs'', Op.39}}. Paris. Simon Richault. Plate 13171.R. * Alkan, Charles Valentin. n.d. (ca. 1862). {{IMSLP2|id=Esquisses, Op.63 (Alkan, Charles-Valentin)|cname=''Esquisses'', Op. 63}}. Paris. Simon Richault. Plate 13476.R. * Bach, Johann Sebastian. 1968. ''The Musical Offering [and] The "Goldberg Variations"''. Kalmus Study Scores no. 720. [N.p.]: Edwin F. Kalmus, Publisher of Music. Reprinted Melville, NY: Belwin Mills Publishing Corp. * Banks, Anthony. n.d. "[http://www.scribd.com/doc/14157836/Firth-of-Fifth-Genesis Firth of Fifth: Introduction]". Scribd.com (Accessed 22 March 2012). * 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. * Bartók, Béla. 1940. 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