• Source: List of musical works in unusual time signatures

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.
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 44 time, with each variation lasting 2+3⁄4 bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one.




Upper number of 1






= 11

=
Enigma Variations by Edward Elgar, in Variation VII.
Entr'actes and Sappho Fragments by Harrison Birtwistle.
Leopardi Fragments by Peter Maxwell Davies.
Mixtur by Karlheinz Stockhausen.
Pli selon pli by Pierre Boulez, in the third movement.
Rhythmicana by Henry Cowell, for the entire first two movements.
String Quartet No. 2 by Easley Blackwood Jr.
Symphony No. 2 by Alexander Borodin. Movement II is in Prestissimo 11, except for the trio section, which is in Allegretto 64.




= 12

=
Air - Homage to Sibelius by Thomas Adès.
Appalachian Spring, by Aaron Copland, at the third bar of rehearsal 46 and the third bar of rehearsal 48.
Apaisement, Op. 13 No. 1, by Ernest Chausson.
Canon with Sustained Notes, No. 60 from Mikrokosmos by Béla Bartók, in one measure.
Carmina Burana by Carl Orff, in some bars of some movements.
Decet for wind instruments, Op. 14, by George Enescu, at bar 240 of the third movement (fifth bar before rehearsal number 42).
Fünf Klavierstücke, Op. 23 by Arnold Schoenberg, at bar 9 of the second piece.
3 Gesänge aus 'Viae Inviae', Op. 23, by Anton Webern, in some parts of the second song.
Káťa Kabanová, by Leoš Janáček, for some measures in Act III between rehearsal numbers 5 and 8.
La Langeur, from Le follie francaise ou les dominos from Pièces de Clavecin by François Couperin.
Mladi by Leoš Janáček, at measure 68 of the second movement.
8 Nocturnes, FP 56 by Francis Poulenc, at bar 27 of No. 1.
Piano Sonata, Op. 43, by Harry Farjeon for a few bars in the first movement.
Piano Sonata No. 3, Op. 105, by Sigfrid Karg-Elert.
Piano Sonata No. 5, Op. 53, by Alexander Scriabin, at bars 251 to 262 (Presto giocoso).
Pli selon pli by Pierre Boulez, in the fifth movement.
Quartet, Op. 22, by Anton Webern, in many bars of the second movement.
Rapsodie nègre by Francis Poulenc, for some bars in the third movement, "Honoloulou".
String Quartet No. 1, by Béla Bartók, in bars 3, 10, and 22 of the third movement.
Symphony No. 1, by Edward Elgar, in the second movement.
Symphony No. 17 in G♯ minor by Nikolay Myaskovsky, in many parts of the first movement.




= 14

=
Adagio 1972 by Kyle Gann, in measure 66.
Alcancías by Silvestre Revueltas, in the second movement, for some bars between rehearsal marks 24 and 32.
Carmina Burana by Carl Orff, in the movement Swaz hie gat umbe.
Clarinet Sonata by Andrew Violette, at measure 97 of the first movement.
Concerto for Piano and Wind Instruments by Igor Stravinsky, just before rehearsal mark 83.
The Death of the Hired Man by Andrew Violette.
Divided Arpeggios, No. 143 from Mikrokosmos by Béla Bartók, for one bar, but incorrectly written as 12.
"Etincelles," the first movement of Suite Bizarre by Joseph Achron.
"The Eynsham Poacher", a traditional song; in the arrangement by Dave Pegg, most of the tune is in 128, but the finale includes one bar of 14.
Fantasy on Themes from Mozart's Figaro and Don Giovanni, S. 697, by Franz Liszt and completed by Leslie Howard. Bar 431/427 is in 14 time.
Fleurs mélodiques des Alpes, the second part of Franz Liszt's Album d'un voyageur, S. 156, in one section of the sixth piece (S. 156/13).
Valse à capriccio sur deux motifs de Lucia et Parisina, S. 401, written by Franz Liszt, contains a section in 14 time in the right hand.
Hovenweep by Kyle Gann, in bar 116.
How Miraculous Things Happen by Kyle Gann, in bar 109.
Hyperchromatica by Kyle Gann, in the movements Futility Row, Delta Oracle, and Galactic Jamboree.
Iberia by Isaac Albéniz, in the movement Jerez.
Lonely Child (1980) by Claude Vivier, at bar 56.
Mädchentotenlieder, by Bo Nilsson, in many bars.
Metastaseis, by Iannis Xenakis, in the first 103 bars.
Metropolis Part 1: The Miracle and the Sleeper, by Dream Theater, at the third bar of rehearsal R.
On an Overgrown Path, by Leoš Janáček, for some bars in the sixth, tenth, and eleventh movements.
Petrushka by Igor Stravinsky, for the bar before rehearsal 17.
Piano Concerto No. 2 by Sergei Prokofiev, in two measures in the second movement.
Piano Sonata by Béla Bartók, in the third movement.
Piano Sonata no. 2 by Roger Sessions, at measure 178.
Piano Sonata No. 3 by Carlos Chávez, in six bars of the first movement.
The first version of Piano Sonata No. 5 by Sergei Prokofiev, for one measure in the third movement.
Pli selon pli by Pierre Boulez, in all movements except the fourth.
Tzigane by Maurice Ravel, in four measures, the first of which is right before rehearsal 27.
Zipangu (1980) by Claude Vivier in several measures.




= 18

=
Alchymia by Thomas Adès has a measure of 44+18.
Amor dammi quel fazzolettino by Andrew Violette, for one measure in the left hand of the second piano part.
Black Tea by Andrew Violette.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 9.
Caprice Variations by George Rochberg, in variation 19.
Carmina Burana by Carl Orff, in the movement Fortune plango vulnera.
Charon by Richard Barrett, in bars 51 and 68.
The Death of the Hired Man by Andrew Violette.
Fantasy by Andrew Violette.
Last Dance by Andrew Violette.
Lincolnshire Posy by Percy Grainger, in the fifth movement, "Lord Melbourne".
Lonely Child (1980) by Claude Vivier, in several measures.
Mädchentotenlieder, by Bo Nilsson, at bar 53.
A Nightmare to Remember, by Dream Theater, in bar 31.
On an Overgrown Path, by Leoš Janáček, for two bars in the third movement.
Piano Sonata No. 1 by Charles Wuorinen, at bar 84 of part 1.
Piano Sonata no. 2 by Roger Sessions, at bar 223.
Piano Sonata No. 3 by Carlos Chávez, at bar 165 of the second movement.
Pli selon pli by Pierre Boulez, in the first and fourth movements.
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 2[4]18 time.
String Trio, Op. 20 by Anton Webern.




= 116

=
Bicinium by Charles Wuorinen, at bars 49 and 82.
Mädchentotenlieder, by Bo Nilsson, at bar 11.
Piano Sonata no. 2 by Roger Sessions, at measure 257.




= 132

=
Bicinium by Charles Wuorinen, at bars 9, 27, 56, and 69.
Contrapunctus by Mark Andre.
Mädchentotenlieder, by Bo Nilsson, in bar 9.
Piano Sonata No. 1 by Charles Wuorinen, in bar 43 of part 1.




= 164

=
"A Headache And A Sixty-Fourth", from Ron Jarzombek's album Solitarily Speaking of Theoretical Confinement, has a constant time signature pattern of 44 and 164.




Upper number of 2






= 21

=
Káťa Kabanová, by Leoš Janáček. Act II is in 21 from rehearsal number 20 to just before rehearsal number 24; act III is in 21 for four bars before rehearsal number 27 and six bars before rehearsal number 28, followed by a mixture of 21 and between rehearsal numbers 28 and 29, and one bar before rehearsal number 36.
5 Motets by Peter Maxwell Davies.
Partita No. 6 in E minor, BWV 830, by Johann Sebastian Bach. The last movement, a gigue, is in 21 in the Bischoff edition; however, the symbol (the mensuration sign for "tempus perfectum, prolatio minor, diminutum") appears in the first edition of 1731, and = 22 in the autograph manuscript. This time signature is unusual for gigues, which are usually in 68 or 128.
Piano Sonata No. 3 by Sigfrid Karg-Elert, in one measure.
Pli selon pli by Pierre Boulez, in the first and third movements.




= 216

=
Bicinium by Charles Wuorinen, at bar 75.
Comme le vent, first of the Douze études dans toutes les tons mineurs, Op. 39, by Charles-Valentin Alkan.
Douze études pour Caisse-Claire by Jacques Delécluse, in some measures of the last piece.
Pli selon pli by Pierre Boulez, in the first movement.
Requiem Canticles by Igor Stravinsky, for the last measure of the Prelude.
The Rite of Spring by Igor Stravinsky. 216 is used in the concluding "Sacrificial Dance".

Sketch, Op. 1 No. 10, by Alexei Stanchinsky.




= 232

=
Bicinium by Charles Wuorinen, at bar 47.




Upper number of 3






= 31

=
Chaconne in D major by Samuel Capricornus.
5 Motets by Peter Maxwell Davies.
"O Fortuna" from Carl Orff's Carmina Burana (first four bars).
Passacaglia in D minor by Johann Philipp Krieger.
Piano Sonata No. 3 by Sigfrid Karg-Elert, in one measure.
Poème des Montagnes, Op. 15 by Vincent d'Indy, in the first and last movements.
Rosary Sonatas, by Heinrich Ignaz Franz Biber, for part of No. 11.
Symphony No. 3 by Camille Saint-Saëns, in two sections (a total of 22 bars) at the end of the finale.
Symphony No. 4 by Charles Ives.
"Um Mitternacht" by Gustav Mahler (Rückert-Lieder No. 5). Bar 27 is marked "62 (31)".




= 316

=
Abraham and Isaac by Igor Stravinsky.
Apollo by Igor Stravinsky, near rehearsal mark 23.
Bicinium by Charles Wuorinen, at bars 1, 6, 11, 18, 23, 40, 50, 54, 58, 74, and 83.
Cantata No. 1 by Anton Webern, in the second movement.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 10.
Concerto for Piano and Wind Instruments by Igor Stravinsky, after rehearsal mark 39.
Concerto for Two Pianos by Igor Stravinsky, in the second movement.
Concerto in E-flat by Igor Stravinsky has a measure of 28+316 a few measures after rehearsal mark 4.
Donna Diana Overture, by Emil von Reznicek.
Douze études pour Caisse-Claire by Jacques Delécluse, in some measures of the last piece.
Hyperchromatica by Kyle Gann, in the movements Ride the Cosmos and Galactic Jamboree.
Mädchentotenlieder, by Bo Nilsson, at bar 114.
Piano Sonata No. 1 in C major, Op. 1, by Johannes Brahms. Movement II, bars 47–49 and 51–53.
Piano Sonata No. 1 by Charles Wuorinen, at measure 29 of part 1.
Pli selon pli by Pierre Boulez, in the first, second, and fourth movements.
Requiem Canticles by Igor Stravinsky.
The Rite of Spring by Igor Stravinsky, in the concluding "Sacrificial Dance".
String Quartet, Op. 28, by Anton Webern in bars 40-41 and 44-51 of the third movement.
String Trio, Op. 20 by Anton Webern.
Symphonic Studies, Étude IX (first version) by Robert Schumann.
Toccata, Op. 10, by Niels Viggo Bentzon, in a single measure.
Variations for piano, Op. 27, by Anton Webern, movement I.




= 332

=
Bicinium by Charles Wuorinen, at bars 5, 36–37, 39, 52, 65, 77, and 80.
Contrapunctus by Mark Andre.
Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann. Movement II, "Lilliputsche Chaconne".
Mädchentotenlieder, by Bo Nilsson, at bar 3.
Piano Sonata No. 1 by Charles Wuorinen, at measure 13 of part 1.
Pribaoutki by Igor Stravinsky, for bar 15 of the fourth piece, "Starets i zayats".
String Quartet, Op. 28, by Anton Webern in bars 28-37 of the third movement.




Upper number of 4






= 41⁄2

=
Carmina Burana by Carl Orff has a measure of 4|||| at the start of the movement Ecce gratum.




= 41

=
5 Motets by Peter Maxwell Davies.
Pli selon pli by Pierre Boulez, in the third movement.
Poème des Montagnes, Op. 15 by Vincent d'Indy, in the first and last movements.




= 416

=
Abraham and Isaac by Igor Stravinsky.
Bicinium by Charles Wuorinen, at bars 8 and 29.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 10.
Le chant du rossignol by Igor Stravinsky, at the measure before rehearsal mark 37.
Homenaje a Federico García Lorca by Silvestre Revueltas, for the entire first movement, "Baile" (Dance), except for one free-rhythm bar at the beginning and two at the end.
Piano Sonata No. 1 in C major, Op. 1, by Johannes Brahms. Movement II, bars 46 and 50.
Piano Sonata No. 3 in F minor, Op. 5, by Johannes Brahms. Movement II, bars 37–66 and 77–90.
Pli selon pli by Pierre Boulez, in the first movement.
Pribaoutki by Igor Stravinsky, for bar 16 of the fourth piece, "Starets i zayats".
Requiem Canticles by Igor Stravinsky, for two measures near the end of the Prelude movement.
The Rite of Spring by Igor Stravinsky, in the concluding "Sacrificial Dance".
String Quartet, Op. 28, by Anton Webern, in bars 52 and 53 of the third movement.
Variations on a Theme by Robert Schumann, Op. 9, by Johannes Brahms. Variation XI.




= 432

=
Bicinium by Charles Wuorinen, at bars 38 and 42.




Upper number of 5






Upper number of 6






= 62

=
Cantata No. 1 by Anton Webern, in the first movement.
Carmina Burana by Carl Orff, in the movement Ave formossisima.
Hyperchromatica by Kyle Gann, in the movement Liquid Mechanisms.
Piano Sonata No. 1 by Charles Wuorinen, in its last two measures.
Salvation is Created by Pavel Chesnokov is written without time signatures in the original Jurgenson edition, but the Choral Public Domain Library's edition adds more barlines as well as time signatures, and has two bars of 62.
Symphony No. 4 by Charles Ives, for bar 102 of the third movement.
"Um Mitternacht" by Gustav Mahler (Rückert-Lieder No. 5). Bar 27 is marked "62 (31)".




= 632

=
Bicinium by Charles Wuorinen, at bar 45.
Piano Sonata No. 1 by Charles Wuorinen, at measure 162 in part 1 (written 2.).




Upper number of 7






Upper number of 8


Note: 84 or 88 may refer to an evenly divided compound duple or quadruple meter. While this is arguably extremely common in music, the notations 84 and 88 themselves are not, so all divisions of this time signature are listed here




= 81

=
Pli selon pli by Pierre Boulez, in the third movement.




= 82

=
Carmina Burana by Carl Orff, in the movement Reie.




= 84

=
A Choral Fantasia, Op. 51, by Gustav Holst, for bars 36–69, 142–148, 173–178, and 191–198.
Agon by Igor Stravinsky, at measure 164.
"All You Need Is Love" by the Beatles. The main verse pattern contains a total of 29 beats, split into two 74 measures, a single bar of 84, followed by a one bar return of 74 before repeating the pattern.
Chaconne by Andrew Violette, at measures 55 and 109.
Custer and Sitting Bull by Kyle Gann, in measure 166 of part 3.
"Damage Control" by John Petrucci has several bars in 84.
Happy Ending (for David Garland) by Kyle Gann, in several sections.
Hyperchromatica by Kyle Gann, in the movements Delta Oracle, 2.7 Kelvin, and Liquid Mechanisms.
"I Ejaculate Fire" by Dethklok. Bars 81, 83, 85, and 88 are in 84.
Lamentations and Consolations by Sergei Bortkiewicz, in some bars of Lamentation No. 1 and Consolation No. 4 (Sorrento).
Lincoln, The Great Commoner by Charles Ives.
Lonely Child (1980) by Claude Vivier has several measures of 84 (m. 143, 182 etc.).
Mädchentotenlieder, by Bo Nilsson, at bar 73.
Musica ricercata for piano, by György Ligeti, movement 2 (Mesto, rigido e cerimoniale) includes a single bar of 84.
L'Oeuvre d'orgue by Jehan Alain, in the first movement of the Suite and in the third of the Trois Danses.
Piano Sonata by Béla Bartók, in three measures of the second movement.
A próle do bébé No. 2ba, by Heitor Villa-Lobos, for one measure in the fourth movement.
The Rite of Spring by Igor Stravinsky, in the tableau "Mysterious Games of the Maidens", the bar before rehearsal 99 is in 84.
De Staat by Louis Andriessen. Bars 686–87 are in 84.
String Quartet No. 2, Op. 36 (1945), by Benjamin Britten. Movement I, bars 3 and 12 after rehearsal K are in 84.
Study No. 22 by Charles Ives, in measures 3-4 and 18–19.
Symphony No. 3 by Peter Maxwell Davies. Movement I has two bars of 84 (divided 3+2+3) at rehearsal N.




= 88

=
Bicinium by Charles Wuorinen, at bar 90.
Cantata No. 1 by Anton Webern, at measure 51 in the third movement.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 3, 6, 8, 9, 11, 15, 19, and 20.
Charon by Richard Barrett, in bars 8-14 and 67.
Concertino by Igor Stravinsky, at rehearsal mark 14.
Concerto for Orchestra by Béla Bartók. Movement IV has three bars of 88 in the strings at rehearsal 75.
Diversions for Piano Left Hand and Orchestra by Benjamin Britten.
Fancy Free by Leonard Bernstein. In the fourth number, "Pas de deux", bars 324–25, 355–57, 359–61 are in 88.
36 Fugues, Op. 36 by Anton Reicha. No. 28 is in 6+28.
Hesapa ki Lakhota ki Thawapi by Kyle Gann, in several measures.
Hovenweep by Kyle Gann, in bars 35, 37, and 42.
Mikrokosmos by Béla Bartók.
No. 103, "Minor and Major," has two measures, the first grouped 2+3+3 and the second as 3+2+3.
No. 140, "Free Variations," in some places.
No. 151, "Six Dances in Bulgarian Rhythm" 4, is in 3+2+38.
No. 153, "Six Dances in Bulgarian Rhythm" 6, is in 3+3+28.
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 88
Movement IV, bars 204, 207, 210, 213 are in 88.
Petrushka by Igor Stravinsky. One bar before and five bars after rehearsal 4 superimposes a bar of 88 in piccolo 1 & 2, ob. 1 & 2, and trumpet 1, and piccolo 1 & 2, ob. 1–3, cornet 1 & trumpet 1, respectively against 34 in the rest of the orchestra.
Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in 88.
Pli selon pli by Pierre Boulez, in the first movement.
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 88.
Symphony No. 1 by Gustav Mahler. In Movement IV, the bar before rehearsal number 40 is in 88.
Symphony No. 3 by Peter Maxwell Davies. Third movement has one bar of 88 before rehearsal X.
Threni by Igor Stravinsky. Bars 83–84, 91, and 165 are in 88.




= 816

=
Abraham and Isaac by Igor Stravinsky, at measure 159.
Agon by Igor Stravinsky. Measure 423 is in parenthesized 816.
Canticum Sacrum by Igor Stravinsky, at measures 71–72.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 3, 5, 10, and 16.
The Cry of Anubis, for tuba and orchestra by Harrison Birtwistle. Bars 33, 36, and 45–46 are in 816.
The Flood by Igor Stravinsky. Bars 406, 414, 422, 427, 432, 440, and 448 are in 816 time, all divided 3+2+3.
Histoire du soldat by Igor Stravinsky has one bar in 816 time, at the fourth bar following rehearsal 35, in the movement "Ragtime".
Pli selon pli by Pierre Boulez, in the second movement.
Poème des Montagnes, Op. 15 by Vincent d'Indy, in the movement "Danses Rhythmiques".
Requiem Canticles by Igor Stravinsky. The interlude has bar 156 in 816 time.




Upper number of 9


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




= 94

=
Agon by Igor Stravinsky, at measure 167. Although other measures of 94 in the same section are subdivided 3+3+3, this measure is 3+2+2+2.
Concertino by Igor Stravinsky, one measure after rehearsal mark 14 (subdivided 4+3+2).
"The Count of Tuscany" by Dream Theater. The verse riff is in 94, with a rhythm of 3+2+2+3+3+2+38.
"I Wanna Be a Movie Star" by Bill Wurtz. The main groove is in 94, but also includes measures in 114,124,134,74, and 1216.
"Kissing the Beehive" by Wolf Parade has its verses in 94.
Lonely Child (1980) by Claude Vivier has 94 in measure 142.
"The Start of Somethin Beautiful" by Porcupine Tree. The verses are in 94.
Requiem Canticles by Igor Stravinsky has a measure of 94, grouped as 2+3+4, in the movement Libera Me.




= 98

=
"Apocalypse in 98" by Genesis. Penultimate movement of the "Supper's Ready" suite, rhythm section plays a 98 riff as 3+2+4, organ solo plays polymetrically over this (sometimes 44, sometimes 74.)
"Big Lie Small World", by Sting is in 98 with varying division.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 15 and 19 (both beamed as 2+2+2+3).
"The Crunge" by Led Zeppelin. The main groove is in 98, grouped 58 + 48.
Estancia by Alberto Ginastera. The refrain of "Los peones de hacienda", at rehearsal numbers 62, 65, 67, 68, 69+3, and 70 is marked "98 (34 – 38)"; the remainder is variously in 68, 34, 58, and 78.
"I Hung My Head", by Sting is in 2+3+2+28.
Mikrokosmos by Béla Bartók
No. 148, "Six Dances in Bulgarian Rhythm" 1, is in 4+2+38.
No. 152, "Six Dances in Bulgarian Rhythm" 5, is in 2+2+2+38.
"Niška Banja", SATB choral arrangement by Nick Page of a Serbian Gypsy dance, is in 2+2+2+38.
"Scatterbrain" by Jeff Beck, from the album Blow by Blow, contains multiple sections in 98.
"VROOOM VROOOM" by King Crimson contains a few measures in 98 during the bridge.
"The Cool, Cool River" by Paul Simon is mainly in 98.
"Blue Rondo à la Turk" by Dave Brubeck is mainly in 98, grouped as both 2+2+2+38 and 3+3+38.




= 916

=
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 3 (grouped 5+4).
How Miraculous Things Happen by Kyle Gann, in bars 127 and 134 (grouped 4+5).
Hyperchromatica by Kyle Gann, in bars 6, 21, 173, and 188 of the movement Ride the Cosmos (all grouped 5+4).
Piano Sonata no. 2 by Roger Sessions, at measure 337 (grouped 4+5).
Requiem Canticles by Igor Stravinsky has a measure of 916 grouped as 3+4+2.




= 932

=
Hyperchromatica by Kyle Gann, in bar 39 of the movement Ride the Cosmos.
Un Vitrail et des Oiseaux by Olivier Messiaen uses 3+2+2+232.




Upper number of 10






= 102

=
Hyperchromatica by Kyle Gann, in bar 12 of the movement Liquid Mechanisms.




= 104

=
Adagio 1972 by Kyle Gann, in measure 34.
Apparition by Kyle Gann, in measures 6, 54, and 58.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 4.
Concertino by Igor Stravinsky, two measures after rehearsal mark 14.
The vocal coda section of "The ConstruKction of Light" by King Crimson has verses in 104.
"Just Like You Imagined" by Nine Inch Nails.
Lonely Child (1980) by Claude Vivier has 104 in measure 141.
"Playing in the Band" by the Grateful Dead (notated as 4+2+44).
"Rabbit" by This Town Needs Guns has parts in 104.
"Retreat! Retreat!", by 65daysofstatic is partially in 104.
String Quartet No. 2, Op. 36 (1945), by Benjamin Britten. Movement I, fourth bar after rehearsal K ("tranquillo, lusingando") is in 104.
"Testostyrannosaurus" by Hail the Sun, in some parts.
"Unisphere" (1964) by The Dave Brubeck Quartet.
"Wanderlove" by Mason Williams.
"Diagonals" and "Parsec" by Stereolab are both in 104.




= 108

=
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 1, 4, 8, 9, 11, and 19.
Charon by Richard Barrett, in bars 36–42.
3 Danses from L'Oeuvre d'orgue by Jehan Alain, in the second dance.
Hesapa ki Lakhota ki Thawapi by Kyle Gann, in several measures.
Hovenweep by Kyle Gann, in bars 28 and 44–45.
Hyperchromatica by Kyle Gann, in bar 200 of the movement Ride the Cosmos.
"Nostalgia" by Yanni.
Piano Sonata No. 1 by Charles Wuorinen, at measure 170 of part 2.
Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in 108.
Piano Sonata no. 2 by Roger Sessions, at measure 230.
Poème des Montagnes, Op. 15 by Vincent d'Indy, in the movement "Danses Rhythmiques".
Sketch, Op. 1 No. 7, by Alexei Stanchinsky.
Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky. "Solacium", part 3 of "De Elegia Tertia".
"Burden of Lives" by Suraj Synthesist, Intro, verse and most solos/leads are in 108 or a complex 5 beat




= 1016

=
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 3 and 16.
Concerto for Piano, Clarinet, and String Quartet by Roy Harris.
The Death of the Hired Man by Andrew Violette.
Étude, Op. 35, no. 12 in E major, for piano, by Charles-Valentin Alkan. (grouped as 5+5)
Etude No. 1 by Tigran Hamasyan.
How Miraculous Things Happen by Kyle Gann, in bar 97.
Poème des Montagnes, Op. 15 by Vincent d'Indy, in the movement "Danses Rhythmiques".
String Quartet No. 2 by Heitor Villa-Lobos, in a section of the last movement (incorrectly printed as 108)




= 1032

=
Hyperchromatica by Kyle Gann, in bars 50 and 158 of the movement Ride the Cosmos.




Upper number of 11






= 114

=
Adagio 1972 by Kyle Gann, in measures 11, 36, and 46.
Apparition by Kyle Gann, in measure 3, 56, and 60.
"Awaken" by Yes (first section).
Concertino by Igor Stravinsky, just before rehearsal mark 15.
Concerto in E-flat by Igor Stravinsky, just before rehearsal mark 25.
"Crowned & Kissed" by Esperanza Spalding. The two-bar chorus groove is in 114 time.
Custer and Sitting Bull by Kyle Gann, in some measures (70, 72, 75, etc.) of part 3 and the beginning of part 4.
"Eight Ball, Coroner's Pocket" by Hail the Sun, intro is composed in 94, and 114.
"Eleven Four", by Paul Desmond and recorded by the Dave Brubeck Quartet.
How Miraculous Things Happen by Kyle Gann, in many measures.
In Nomine IX, for harpsichord, by John Bull. 114, though it is not notated as such, either in the original manuscript or the new edition.
Mädchentotenlieder, by Bo Nilsson, in bar 74.
Requiem Canticles by Igor Stravinsky, in the first bar of the Libera Me.
The Rite of Spring by Igor Stravinsky. The bar immediately before the section "The Chosen One" is in 114.
"Testostyrannosaurus" by Hail the Sun, in some parts.
"Whipping Post", by the Allman Brothers Band, begins with a two-bar 114 riff.




= 118

=
Adagio 1972 by Kyle Gann, in measures 13 and 28.
Bachianas Brasileiras No. 9, by Heitor Villa-Lobos. Movement II is in 118, grouped as 58 + 68.
"Blockhead", by Devo. The verses are in 118 time.
2 Canzonas with Dances, Op. 43, by Nikolai Medtner, in Canzona No. 1.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 4.
Composure by Kyle Gann, in measures 180 and 196.
Custer and Sitting Bull by Kyle Gann, in measure 162 of part 1 and some measures (m. 19, 61, etc.) of parts 3 and 4.
Cyclic Aphorism No. 2 by Kyle Gann, in bars 1-17 and 31–37.
3 Danses from L'Oeuvre d'orgue by Jehan Alain, in the second dance.
"The Eleven" (1969) by the Grateful Dead.
"Eleven" by Primus. The song is mainly in 118, the chorus has one bar in 98, and after two bars of 118 a bar in 128.
Happy Ending (for David Garland) by Kyle Gann, in bars 52, 54, and 61.
"Happy With What You Have To Be Happy With" by King Crimson contains sections in 118.
"Here Comes the Sun" (1969), written by the Beatles' George Harrison. The song features 44 in the verses and a compound sequence of 118 + 44 + 78 in the bridge, phrasing interludes that Harrison drew from Indian music influences.
Hesapa ki Lakhota ki Thawapi by Kyle Gann, in several measures.
Hovenweep by Kyle Gann, in several measures.
How Miraculous Things Happen by Kyle Gann, in bars 115, 120, 135, and 137.
Hyperchromatica by Kyle Gann, in the movements Andromeda Memories, Busted Grooves, and 2.7 Kelvin.
"In Re Con Moto Et Al" by Charles Ives uses 118.
"Larks' Tongues in Aspic, Pt. 1", by King Crimson. The song is in 58 when the violin enters, then switches to 118. The song shifts between these metres for the remainder of the song.
"Losing It" by Rush. Intro and verses are composed out of ten bars in 58, other parts are in 118.
The race results screen from Mario Kart 64, composed by Kenta Nagata.
"Man-Erg" (1971), by Van der Graaf Generator.
Piano Sonata No. 2 in G major by Alexei Stanchinsky. Movement II is in 118.
A próle do bébé No. 2, by Heitor Villa-Lobos. The first and last measures of the fourth movement are in 118, divided into 68 or 34, and 58.
The chorus of "ProzaKc Blues" by King Crimson includes measures of 138 and 118.
"Puedo Escribir" by Sixpence None The Richer.
Sagat's theme from Street Fighter II (video game), composed by Isao Abe is entirely in 118.
"Serenade", a wedding recessional by Derek Bourgeois. The beginning and ending sections are in 118.
Sketch, Op. 1 No. 5, by Alexei Stanchinsky.
"Skrting on the Surface" by the Smile.
"7empest" by Tool mostly alternates between 54 and 118 time.
"Trapped in the Wake of a Dream" by Mudvayne (chorus in 118)
"Upstart" written by Don Ellis and performed by the Don Ellis Orchestra
"Where but for Caravan Would I?" by Caravan.
"Herd Culling" by Porcupine Tree.
"War of Kalinga" by Suraj Synthesist is majorly in a 118 . 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.




= 1116

=
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 3 and 16.
Charon by Richard Barrett, in bar 65.
Concerto for Piano, Clarinet, and String Quartet by Roy Harris.
Custer and Sitting Bull by Kyle Gann, in some measures (m. 13, 15, 28, etc.) of parts 3 and 4.
Earth-Preserving Chant by Kyle Gann, in measures 17, 300, and 314–315.
How Miraculous Things Happen by Kyle Gann, in bar 136.
Hyperchromatica by Kyle Gann, in the movements Ride the Cosmos and Spacecat.
Lonely Child (1980) by Claude Vivier, in several measures (m. 95, 105, etc.).
Piano Sonata no. 2 by Roger Sessions, for some measures in the first movement.




= 1132

=
Bicinium by Charles Wuorinen, at bars 46 and 78.




= 1164

=
Bicinium by Charles Wuorinen, at bar 31.




Upper number of 12






= 122

=
Concerto for Piano, Clarinet, and String Quartet by Roy Harris, in one measure of the second movement.




= 1232

=
Bicinium by Charles Wuorinen, at bar 28.
Piano Sonata No. 1 by Charles Wuorinen, at measure 161 of part 1 (written 4.).
Piano Sonata No. 32 in C minor, Op. 111, by Ludwig van Beethoven. Movement II from bars 48 to 64.




Upper number of 13






= 134

=
Adagio 1972 by Kyle Gann, in measure 20.
Custer and Sitting Bull by Kyle Gann, in measures 147 and 151 of part 3.
"The Great Divide" by Don Ellis.
How Miraculous Things Happen by Kyle Gann, in several measures.
Hyperchromatica by Kyle Gann, for most of the movement Delta Oracle.
Lonely Child (1980) by Claude Vivier, measure 1.
"Rabbit" by This Town Needs Guns, in some sections.
Requiem Canticles by Igor Stravinsky, in measure 276 (grouped 2+9+2)
De Staat by Louis Andriessen. Bars 356 and 517.
"Starless" (1974), by King Crimson.
"World's Fair" (1964) by The Dave Brubeck Quartet.




= 138

=
Adagio 1972 by Kyle Gann, in measure 45.
"The Becoming" by Nine Inch Nails begins in this time signature.
Custer and Sitting Bull by Kyle Gann, in measures 194-204 of part 4.
Desert Sonata by Kyle Gann, in the first movement.
"Electric Sunrise" by Plini
Hovenweep by Kyle Gann, in several measures.
Hyperchromatica by Kyle Gann, in the movements Andromeda Memories, Ride the Cosmos, and Spacecat.
"I Will Be Absorbed", by Egg.
"Lauft... Heisst Das Es Lauft Oder Es Kommt Bald..Lauft" by Faust.
"Odd Boy" by Mutant-Thoughts, in the verses.
A próle do bébé No. 2, by Heitor Villa-Lobos. A measure in the fourth movement, "O cachorrinho de borracha". It is divided into 68 or 34, and 78.
The chorus of "ProzaKc Blues" by King Crimson in some measures.
"Serenade", a wedding recessional by Derek Bourgeois, the middle section.
"Skimbleshanks, The Railway Cat" from Andrew Lloyd Webber's musical Cats. Introduction and chorus as (3+3+3+4). Verses in 44.
De Staat by Louis Andriessen. Bar 724.
"13th August" by FromUz.
"To Negate" by Tigran Hamasyan.
"Turn It on Again" by Genesis. The verses and choruses.
"Jóga" (1997) by Björk (chorus only).
"Mission" by Suraj Synthesist is completely in a 138.




= 1316

=
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 16.
Charon by Richard Barrett, in bar 57.
Custer and Sitting Bull by Kyle Gann, in some measures (m. 48, 64, etc.) of parts 3 and 4.
Earth-Preserving Chant by Kyle Gann, in measure 209.
Hyperchromatica by Kyle Gann, in the movements Ride the Cosmos and Spacecat.
Piano Sonata no. 2 by Roger Sessions, at measure 154 of the first movement.
A próle do bébé No. 2, by Heitor Villa-Lobos, for two measures in the ninth movement.
The Terminator main theme, by Brad Fiedel.




= 1332

=
Hyperchromatica by Kyle Gann, in several bars of the movement Ride the Cosmos.




Upper number of 14






= 144

=
Polychromatics by Louis Gruenberg. No. 7, "Invocation," in one measure.




= 148

=
Adagio 1972 by Kyle Gann, in measure 30.
Chicago Spiral by Kyle Gann.




= 1416

=
American Song Set by Andrew Violette, for two measures in one of the songs.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 3 and 16.
Concerto for Piano, Clarinet, and String Quartet by Roy Harris.
Hyperchromatica by Kyle Gann, in bars 4-5 and 171-172 of the movement Ride the Cosmos.
Poème des Montagnes, Op. 15 by Vincent d'Indy, in the movement "Danses Rhythmiques".




Upper number of 15






= 154

=
Hyperchromatica by Kyle Gann, in bar 41 of the movement Delta Oracle.




= 158

=
Adagio 1972 by Kyle Gann, in measure 39.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 3, 6, and 9.
Charon by Richard Barrett, in bar 69.
"Chionoblepharou pater Aous" [Father of the bright-eyed Dawn], Hymn to the Sun, by Mesomedes of Crete (grouped 2+2+2+2+2+3+2)
Concerto for Piano, Clarinet, and String Quartet by Roy Harris.
Could Ye Loan Me Ten Pence? by Kyle Gann, in measures 22 and 57.
Sections of "Endless Dream" by Yes.
Happy Ending (for David Garland) by Kyle Gann, in bars 65 and 126.
Hyperchromatica by Kyle Gann, in the movements Ride the Cosmos and 2.7 Kelvin.
Passage of "Karn Evil 9", 1st Impression, Part 1 (1973), by Emerson, Lake and Palmer.
"Limo Wreck" by Soundgarden.
"Perpetuum Mobile" by the Penguin Cafe Orchestra.
Piano Sonata Op. 25 No. 2, "Night Wind", by Nikolai Medtner.
"Tubular Bells" by Mike Oldfield. The first riff in 158 is made of two bars. The first bar is in 78, the second bar is in 88.
"The Eight Miracle" by Bob Curnow, in measures 1-81, 129–161, 249–281, and 393–422.




= 1516

=
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 3, 16, and 20.
Concerto for Piano, Clarinet, and String Quartet by Roy Harris.
Concerto rotondo per violoncello solo (2000) by Giovanni Sollima, movement 4, bars 1–17, divided 5+3+4+3.
Custer and Sitting Bull by Kyle Gann, in measure 131 of part 3 and some measures (m. 38, 58, 79, etc.) of part 4.
Earth-Preserving Chant by Kyle Gann, in measure 215.
Hovenweep by Kyle Gann, in bars 133 and 141.
How Miraculous Things Happen by Kyle Gann, in several measures.
Hyperchromatica by Kyle Gann, in the movements Ride the Cosmos and Busted Grooves.
Lonely Child (1980) by Claude Vivier, in measure 104.
The Phantom of the Opera (1986) by Andrew Lloyd Webber: "Notes" and "Notes II" each contain multiple sections, divided 4+4+4+3
Piano Sonata no. 2 by Roger Sessions, at measure 100 of the first movement.
Robert Browning Overture, by Charles Ives, in measure 330.
De Staat by Louis Andriessen. Bars 501 and 535–36, divided 4+4+4+3 (in b. 501 some layers are in 3+3+3+3+3 and 3+4+4+3).
String Quartet No. 1 (1949), by Leon Kirchner.




= 1532

=
Custer and Sitting Bull by Kyle Gann, in measure 76 of part 3.
Hyperchromatica by Kyle Gann, in five bars of the movement Ride the Cosmos.
Piano Sonata No. 1 by Charles Wuorinen, at measure 163 of part 1 (written 5.).




Upper number of 16






= 164

=
Custer and Sitting Bull by Kyle Gann, in measures 153, 157, and 162 of part 3.




= 168

=
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 4.
Desert Sonata by Kyle Gann, in the second movement.




= 1616

=
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 5.
Concerto for Piano, Clarinet, and String Quartet by Roy Harris.
Earth-Preserving Chant by Kyle Gann, in measure 210.
Hyperchromatica by Kyle Gann, in bar 27 of the movement Ride the Cosmos.




Upper number of 17






= 174

=
Adagio 1972 by Kyle Gann, in measure 12.
Desert Sonata by Kyle Gann, in the first movement.
"Panda" by This Town Needs Guns, in some verse section (subdivided 4+4+4+5=17). It also includes other meters like 34.
"Seven Teens", by Lionel Loueke.




= 178

=
Adagio 1972 by Kyle Gann, in measure 52.
"The Alien" by Dream Theater.
The intro of "Changes" by Yes.
"The Hole Pt. 1" by Noisia is described by the band as being "more or less" in this time signature.
"Hollow" by Björk.
"Moon" by Björk.
Sketch, Op. 1, No. 6, by Alexei Stanchinsky (written as 48 + 48 + 58 + 48, but with the 178 time signature written as well).
"Trapped in the Wake of a Dream" by Mudvayne, verses




= 1716

=
Concerto for Piano, Clarinet, and String Quartet by Roy Harris.
Desert Sonata by Kyle Gann, in the first movement.
Earth-Preserving Chant by Kyle Gann, in measures 30, 34, 51, 71, 75, 90, 115, 143, 147, 161, 201, 207, 242, 281, 285, and 309.
Hovenweep by Kyle Gann, in bars 29 and 33.
Hyperchromatica by Kyle Gann, in bars 2, 8, and 175 of the movement Ride the Cosmos.
Sections of the instrumental Discipline by King Crimson, among other signatures.
Mladi by Leoš Janáček, in the second movement.
Piano Sonata No. 2 by Andrew Violette.




= 1732

=
Hyperchromatica by Kyle Gann, in bars 99, 101, and 102 of the movement Ride the Cosmos.




Upper number of 18






= 188

=
"Birds of Fire" by Mahavishnu Orchestra. The guitar plays 5+5+5+3 while the drums play 6+6+6. The violin from time to time plays 3+3+2+3+3+2+2.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 6.
3 Danses from L'Oeuvre d'orgue by Jehan Alain, in the first and third dances.
49 Esquisses by Charles-Valentin Alkan. No. 12, Barcarollette, as compound sextuple meter.
The first 38 bars of Nocturne No. 7, Op. 74 by Gabriel Fauré.




= 1816

=
American Song Set by Andrew Violette. One of the songs ends in 34(1816) and another song has 1816 in the piano's right hand against 34 in the piano's left hand and voice.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 3 and 20.
The Death of the Hired Man by Andrew Violette.
Desert Sonata by Kyle Gann, in the second movement.
Diversions for Piano Left Hand and Orchestra by Benjamin Britten.
Don Rodrigo by Alberto Ginastera. "Interludium III", except the last three bars, which are in 34.
4 Etudes, Op. 2, by Sergei Prokofiev. The second étude uses 1816 in one hand against 44 in the other.
Goldberg Variations, by Johann Sebastian Bach. Variation 26 uses 1816 in one hand against 34 in the other, exchanging hands at intervals until the last five bars where both hands are in 1816.
5 Klavierstücke, Op. 23 by Arnold Schoenberg, third piece, measures 26 to 30.




= 1832

=
Hyperchromatica by Kyle Gann, in five bars of the movement Ride the Cosmos.




Upper number of 19






= 194

=
"33 222 1 222" by Don Ellis. Its title represents the subdivision: 3+3+2+2+2+1+2+2+24




= 198

=
"Hell's Bells" by Bruford, variously subdivided as 7+7+58 and 4+4+4+4+38 throughout the song.
Piano Sonata No. 2 ("The Airplane"), by George Antheil, for one bar.
"Rusty Cage" by Soundgarden, third section.




= 1916

=
"Celestial Terrestrial Commuters" by Mahavishnu Orchestra.
"Home" by Dream Theater, ending.
"Keep It Greasy" by Frank Zappa on Joe's Garage (the first verse, some bridges and the guitar solo are counted in 1916 and the second verse is in 2116).




= 1932

=
Hyperchromatica by Kyle Gann, in bars 28, 29, and 111 of the movement Ride the Cosmos.




Upper number between 20 and 29






= 20

=
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, has 2016 in Nos. 11 and 20.
Emily Dickinson's Book of the Dead by Andrew Violette (2016).
Hyperchromatica by Kyle Gann. Four bars in the movement Ride the Cosmos are in 2032.
Piano Sonata No. 1 by Charles Wuorinen. Measure 155 of part 2 is in 208.
Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky In "Sensus spei", part 2 of "De Elegia Tertia", bar 4 is in 208 time.




= 21

=

"The Art Of Dying" by Gojira (2008) cycles from 44 to 24 to 2116 (grouped 5+5+5+3+3) and repeats this pattern during the intro and beginning of the song.
3 Danses from L'Oeuvre d'orgue by Jehan Alain, for one measure in the first dance.
Desert Sonata by Kyle Gann has 2116 in the second movement.
Happy Ending (for David Garland) by Kyle Gann. Bars 63 and 124 are in 218, and bar 129 is in 2116.
Hyperchromatica by Kyle Gann. The movements Ride the Cosmos and Busted Grooves have 2116, and Ride the Cosmos also has 2132.
"In Re Con Moto Et Al" by Charles Ives uses 218.
In the Dead of the Night suite by U.K., "contains an instrumental refrain in 2116".
"Keep It Greasy" by Frank Zappa on Joe's Garage (the second verse is in 2116).
Master of Puppets by Metallica features measures that can be interpreted as 2132.




= 22

=
"The First Circle" from the album First Circle by the Pat Metheny Group. Composed by Pat Metheny and Lyle Mays (228).
Hyperchromatica by Kyle Gann. The movement Ride the Cosmos has 2216 and 2232.




= 23

=
Desert Sonata by Kyle Gann has 2316 in the first movement.
Hyperchromatica by Kyle Gann has 2332 in the movement Ride the Cosmos.
The Ganondorf Battle music from The Legend of Zelda: Ocarina of Time, composed by Koji Kondo is mostly in 2316 (sometimes with 1716 as a polymeter) with a stray section in 44.




= 24

=
American Song Set by Andrew Violette. One of the songs is in 44(2416) and two other songs have some measures in 2416 in the piano's right hand against 44 in the piano's left hand and voice.
Amor dammi quel fazzolettino by Andrew Violette has a passage of 2416 in the first piano against 64 in the second piano.
"Brobdingnagische Gigue", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann is in 241.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze has 2416 in Nos. 3 (as 24(12)) and 11 (as 8.).
Carmina Burana by Carl Orff has 244 (written as 8.) in the movement Veris leta facies.
The Death of the Hired Man by Andrew Violette has 2416.
Hyperchromatica by Kyle Gann has 2432 in the movement Ride the Cosmos.
Suite in E Minor, HWV 438 by George Frideric Handel uses 2416 for the Gigue.
The Well-Tempered Clavier, Book 1 by Johann Sebastian Bach. The upper stave of Prelude No. 15 is in 2416 (The bottom stave is in ).




= 25

=
Happy Ending (for David Garland) by Kyle Gann, in bars 46, 51, 55, and 60 (2516).
How Miraculous Things Happen by Kyle Gann, in bar 152 (2516).
Hyperchromatica by Kyle Gann has 2516 in the movement Busted Grooves and 2532 in the movement Ride the Cosmos.
"How's This for Openers?" by Don Ellis (258).
"Memory Daydreams Lapses" by OSI (2516).
"Tenemos Roads", by National Health includes "some extremely intricate passages in 2516".




= 26

=
Hyperchromatica by Kyle Gann has 2632 in the movement Ride the Cosmos.




= 27

=
The Death of the Hired Man by Andrew Violette has 2716(3.+.) in measures 373 and 381.
Desert Sonata by Kyle Gann has 2716 in the first movement.
"Goliath" by Karnivool (274).
Hyperchromatica by Kyle Gann has 2716 and 2732 in the movement Ride the Cosmos.
Happy Ending (for David Garland) by Kyle Gann, in bars 45, 47, 50, 56, and 59 (2716).




= 28

=
Hyperchromatica by Kyle Gann has 2832 in the movement Ride the Cosmos.




= 29

=
Hyperchromatica by Kyle Gann has 2932 in the movement Ride the Cosmos.
"March of the Pigs" by Nine Inch Nails is partially in 298.
Reverie in Prime Time Signatures by Robert Schneider has a measure of 294.
"The Undertow", by 65daysofstatic is in 298.




Upper number between 30 and 39






= 30

=
American Song Set by Andrew Violette. One of the songs has 3016 in the piano's right hand against 54 in the piano's left hand and voice.
Bicinium by Charles Wuorinen, at bar 89 (3032, written as 10.).
Hyperchromatica by Kyle Gann has 3032 in bar 149 of the movement Ride the Cosmos.




= 31

=
Athesie, by The Hirsch Effekt. The song is in 3116, grouped as 16+15.
"Fishing Frenzy" from Splatoon 2 and Splatoon 3 is in 3116.
Hyperchromatica by Kyle Gann has 3132 in the movement Ride the Cosmos.




= 32

=
The main section of "Vardavar" by Tigran Hamasyan is in 3216, grouped as 5+5+3+5+5+4+5.
"Variations for Trumpet" by Don Ellis has one section in 328.




= 33

=
"Blues in 338" by Matt Savage (338).
"Bulgarian Bulge" by Don Ellis (338).
Charon by Richard Barrett has 338 in bar 60.
Desert Sonata by Kyle Gann has 3316 in the first movement.
Hyperchromatica by Kyle Gann has 3332 in the movement Ride the Cosmos.
"In Re Con Moto Et Al" by Charles Ives (338).
"Split Open and Melt" by Phish has a jam section in 338.




= 35

=
"Entertain Me" by Tigran Hamasyan contains a repeating melody in 3516, overlayed on top of the main 25632 meter.
"Nairian Odyssey" by Tigran Hamasyan contains a solo section in 3516, divided variously as 64 + 516 + 38 and 6+8+6+9+616.




= 36

=
American Song Set by Andrew Violette. One of the songs has a measure in 3616 in the piano's right hand against 64 in the piano's left hand and voice and another has the same, but with 32 instead of 64.
Charon by Richard Barrett has 368 in bar 58.
The Death of the Hired Man by Andrew Violette has 3616(4.+.) in bar 372.
Organbook by Andrew Violette has 3616.




= 37

=
Hyperchromatica by Kyle Gann has 3732 in the movement Spacecat.




Upper number between 40 and 49






= 40

=
Charon by Richard Barrett has 408 in bar 54.




= 41

=
Desert Sonata by Kyle Gann has 4116 in the first movement.




= 42

=
"Song for Melan and Rafik" by Tigran Hamasyan uses 4216.




= 43

=
Study No. 3a for Player Piano by Conlon Nancarrow uses 4316.




= 44

=
Charon by Richard Barrett has 448 in bar 50.




= 47

=
Study No. 3a for Player Piano by Conlon Nancarrow uses 4716.




= 48

=
American Song Set by Andrew Violette. One song has a measure of 2416 in the piano's right hand against 4832 in the piano's left hand and 44 in the voice.




Upper number between 50 and 59






= 51

=
Desert Sonata by Kyle Gann has 5116 in the first movement.
Hyperchromatica by Kyle Gann has 5132 in the movement 2.7 Kelvin.




= 53

=
"Interlude V" by Mannheim Steamroller from the album Fresh Aire II contains one measure of 538.




Upper number more than 59






= 77

=
Charon by Richard Barrett has 7716 in bar 56.




= 86

=
Charon by Richard Barrett has 8616 in bar 52.




= 101

=
Hyperchromatica by Kyle Gann has 10164 in the movement Spacecat.




= 256

=
"Entertain Me" by Tigran Hamasyan is in 25632, with a repeating motif in 3516 laid over it.




Fractional time signatures



Bicinium by Charles Wuorinen has 20+3⁄48 at bar 93.
Driftwood Suite, for piano, by Gardner Read uses 3+1⁄24, 4+1⁄24, and 5+1⁄24.
Hill-Song I and II by Percy Grainger contain measures of 1+1⁄24 and 2+1⁄24.
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+2⁄24.
Lincolnshire Posy by Percy Grainger. Movement V, "Lord Melbourne", uses 1+1⁄24 and 2+1⁄24.
Mädchentotenlieder, by Bo Nilsson.
Bar 83 is in 4⁄34 time.
Bar 97 is in 3⁄54 time.
Bar 123 is in 2⁄34 time.
Bar 112 is in 4⁄54 time.
Le marteau sans maître, by Pierre Boulez. Movement III "L'Artisanat furieux".
Bar 3 is in 4⁄32 time.
Bars 24, 35, and 43 are in 2⁄34 time.
O: Eleven Songs by Dennis Báthory-Kitsz has a section in 4+1⁄24 in the second movement.
Piano Piece 2 by Andrew Violette has a measure of 1+4⁄54.
Piano Sonata, Op. 43, by Harry Farjeon has three measures of 1+1⁄22 in the first movement.
Piano Sonata No. 2, Concord, Mass., 1840–1860, by Charles Ives. In movement III "The Alcotts", bar 20 is in 4+1⁄24 time.
Piano Sonata No. 3 by Carlos Chávez. Movement IV has measures in 2+1⁄24, 3+1⁄24, and 4+1⁄24.
Piano Sonata No. 3 by Andrew Violette has 4⁄54, 1+2⁄54, 3+1⁄34, 3+1⁄28, 4+1⁄28, 5+1⁄24, 5+1⁄28, 7+1⁄54, 8+1⁄44, 12+1⁄24, 19+1⁄28, 55+1⁄24, and 70+1⁄28.
"Schism" by Tool is described by the band as largely in 6+1⁄28 and includes numerous other times.
Sensemayá by Silvestre Revueltas includes three bars in 5+1⁄28.
Study in Sonority by Wallingford Riegger contains several 2+1⁄24 bars.
Study No. 23 by Charles Ives has 5+1⁄28.
Touch Piece, for piano, by Gardner Read uses 3+1⁄24, 4+1⁄24, and 5+1⁄24.
"Upstart" by Don Ellis is in 3+2⁄34 (originally written in 118).




Irrational time signatures



Bicinium by Charles Wuorinen has 212 in bar 62.
Berceuse from The Exterminating Angel by Thomas Adès has 16 and 112.
Contrapunctus by Mark Andre has 140, 244, 252, 312, 315, 318.75, 323.4375, 329.296875, 340, and 752.
The Exterminating Angel Symphony by Thomas Adès has 16, 112, 26, and 512 in the first and third movements.
The Four Quarters by Thomas Adès has 16, 112, 26, 212, and 412.
Glaubst du an die Unsterblichkeit der Seele? (1983) by Claude Vivier has 13, 23, 15, 25, 35, 45, 65, 16, 46, 56, 47, 57 and 67.
I'Itoi Variations by Kyle Gann. Bar 275 is in 23 time, bar 277 is in 712 time, and bar 299 is in 56 time.
In Seven Days by Thomas Adès has a measure of 26.
I Open and Close, the sixth part of Fictions by Richard Barrett, has 124 and 224.
Lemma-Icon-Epigram by Brian Ferneyhough has 112, 120, 124, 210, 212, 310, 312, 410, 412, 510, 610, 710, 712, 812, and 912.
Luxury Suite from Powder Her Face by Thomas Adès has 26 and 46.
Piano Concerto by Thomas Adès has 16, 112, 23, 26, 35, 45, 46, 412, 512, 612, and 712.
Piano Quintet by Thomas Adès has 15, 16, 17, 110, 112, 124, 25, 26, 27, 210, 35, 37, 39, 310, 314, 45, 46, 47, 56, 57, 24(510), 512, 67, 610, 710, 910, 3×512, 4×512, and 5×512.
Piano Sonata No. 1 by Charles Wuorinen has 524 at measure 83 and 112 at measure 101 in part 1.
In the fourth movement of Piano Sonata No. 3 by Carlos Chávez, bars 47, 49, 107, and 109 are written in 112.
Superscriptio by Brian Ferneyhough has 110, 112, 120, 124, 140, 148, 210, 212, 310, 312, 320, 324, 348, 410, 412, 512, 524, 740, 748, and 1148.
Traced Overhead by Thomas Adès has 16, 25(410), 26, 310, 512, 524, 914, 920, 1112, and 1124.




Combined unusual signatures



Anyone Who Had a Heart, by Burt Bacharach uses 44, 54, and 78.
"Butterflies, Hummingbirds", No. 5 from Twelve New Etudes by William Bolcom, has parenthesized time signatures of 1864, 2064, and 3864.
Chichester Psalms by Leonard Bernstein uses irregular 92 and 94, 104 notated as 5+54, and 122.
Earth, the fifth part of Fictions by Richard Barrett, has 216, 3[16], 4[16], 58, 516, 78, 716, 118, 1116, 1316, 158, 1516, 178, 1716, 198, and 2516.
The Exterminating Angel Symphony by Thomas Adès has 14, 54, 58, 74, 78, and 88.
"Firth of Fifth": Introduction, by Tony Banks of Genesis, mixes duple and quadruple meters with 1316 and 1516 signatures.
Intermezzo by Andrew Violette has 316, 416, 54, 58, 516, 78, 716, 816, 1016, 1116, and 2016.
I Open and Close, the sixth part of Fictions by Richard Barrett, has 18, 216, 316, 32, 58, 516, 78, 716, 732, 88, 1116, 1316, 1516, 1532, and 248.
"I Say a Little Prayer" by Dionne Warwick uses two measures of 44, one measure of 104 and two measures of 44 for verses and 114 for its chorus.
Klavierstück IX (1954–55/61) by Karlheinz Stockhausen uses 218, 348, 428, 878, and 1428.
Lemma-Icon-Epigram by Brian Ferneyhough has 18, 116, 132, 164 (in an additive time signature), 316, 58, 516, 532, 78, 716, 88, 916 (in various groupings such as 3+2+2+2), and 1116.
Lieder vom Wasser, the tenth part of Fictions by Richard Barrett, has 18, 116, 216, 316, 332, 58, 516, 532, 78, 716, 88, 1116, 1316, 1516, and 4316.
The Long and the Short by Charles Wuorinen has 14, 18, 116 (in additive time signatures such as 54+116), 316, 44 (subdivided as 332+716+38+332), 4+1⁄44, 54, 58, 516, 74, 78, 716, 7+1⁄44, 84, 932, 11+1⁄24, 124, 1332, 244, 254, and 404.
Love Duet by Andrew Violette has 14, 54, 94 (grouped 2+2+2+3), 158, 188, and 218.
Organ Sonata by Andrew Violette has 54, 58, 188, and 2416.
Pastorale by Andrew Violette has 2016 and 2416.
Piano Concerto No. 5 by Kaikhosru Shapurji Sorabji has 54, 58, 64+1⁄2 (six dotted quarter notes), 74, 78, 84, 88, 108, 114, 118, 138, 148, and 158.
Piano Sonata No. 1 by Kaikhosru Shapurji Sorabji has 54, 58, 74, 78, 716, 88, 108, 118, 138, 148, 158, and 3016.
Piano Sonata No. 1 by Andrew Violette has 52, 54, 58, and 78.
Piano Sonata No. 2 by Charles Wuorinen has 14, 18, 316, 58, 516, 74, 78, 716, 732, 84, 98 (grouped 4+2+3), 932, 104, 1016, 1032, 118, 1116, 1132, 124, 1516, 1532, 1832, and 2032 (written as 4+).
Piano Sonata No. 3 by Andrew Violette has 14 (in additive time signatures such as 34+14), 18, 116 (in additive time signatures such as 44+116), 54, 58, 74, 78, 716, 88, 816, 916 (grouped 4+5), 104, 108, 1016, 118, 1116, 134, 1316, 148, 1416, 154, 158, 1516, 1616, 178, 1716, 188, 198, 1916, 2016, 218, 2116, 2416, 2716 (written as 3+), 2816, 318, 348, 368, 408, 568, 604, 608, 748, 9016, and 9316.
Piano Sonata No. 3 by Charles Wuorinen has 68+132, 316, 332, 4+1⁄24, 54, 58, 5+1⁄24, 6+1⁄34, 78, 716, 7+1⁄38, 916 (grouped 4+5), 932, 1016, 118, 1116, 1316, 1516, and 1716.
Piano Sonata No. 4 by Charles Wuorinen has 54, 58, 78, 716, 88, 98 (both 4+5 and 6+3), 4+516, 1016, 118, 1116, 1516, and 2116.
Quirl by Brian Ferneyhough has 18, 316, 332, 58, 516, 532, 564, 78, 716, 732, 764, 88, 932, 108, 1116, 1132, 1316, and 1564.
Quintet No. 1 by Kaikhosru Shapurji Sorabji has 21, 2+1⁄24, 54, 54+1⁄2 (five dotted quarter notes), 74, 78, 84, 88, 104, 108, 118, 134, 148, 158, and 208.
Salve Regina, the second of 4 Madrigals by Andrew Violette, has 54, 58, 74, 78, 98 (44+18), 138, and 188 (3+4+5+68).
Sonata for Cello and Piano by Elliott Carter has 54, 58, 516, 716, 1432, and 2132.
Storm Suite from The Tempest (also known as The Tempest Symphony) has 18, 54, 58, 74, and 78.
String Quartet No. 1 by Elliott Carter has 216 (as part of an additive time signature), 416, 54, 58, 516, 78, 716, 816, 932 (written as 3.), 108, 1016, 1232 (written as 4.), 1416, 158, 1516, 188, 1816, 2016, and 218.
String Quartet No. 2 by Elliott Carter has 416, 54, 58, 158, 716, 108, 1016, 1416, 158, 1516, and 2116.
String Quartet No. 3 by Elliott Carter has 316, 332 (in an additive time signature), 54, 58, 516, 78, 716, 932, 1116, 1232 (in an additive time signature), 2416, 2432, and 2732.
Structures by Pierre Boulez.
Ia: 316, 416, 516
Ib: 18, 132, 216, 232, 316, 332, 416, 432, 54, 58, 516, 532, 632, 78, 716, 732, 832, 932
Ic: 316, 516, 532
II, Chapter 1: 14, 18, 116, 316, 58, 516, 78, 716, 3+516
II, Chapter 2: 54, 74, 114
Superscriptio by Brian Ferneyhough has 18, 116, 132, 316, 332, 364, 516, 532, 564, 716, 732, and 764.
Suite from The Tempest for violin and piano has 316, 54, 58, 516, 78, and 716.
Thrak by King Crimson switches between 58, and 78 throughout the head section.
Traced Overhead by Thomas Adès has 12, 14, 18, 21, 316, 54, 58, and 74.
Tract, the eighth part of Fictions by Richard Barrett, has 18, 216, 432, 58, 516, 5[32], 6[32], 78, 716, 732, 88, 8[32], 932, 1032, 118, 1116, 1132, 12[32], 1316, 1332, 1432, 158, 1516, 1532, 188, 1932, 208, and 218.
Zeitmaße by Karlheinz Stockhausen uses 12, 18, 116, 216, 232, 316, 332, 416, 88, 832, 1116, 1232, 1732, 2332, and 3032.




See also






Notes and references






Bibliography

Kata Kunci Pencarian:

• List of musical works in unusual time signatures
• Metre (music)
• Math rock
• List of musical symbols
• Tuplet
• Septuple meter
• Progressive rock
• Living in the Past (song)
• Lists of songs
• Dave Brubeck