Ron C The C Theory Rarest

Ron C The C Theory Rarest 10,0/10 9087 votes

Citation: Yeo RA, Gangestad SW, Liu J, Calhoun VD, Hutchison KE (2011) Rare Copy Number Deletions Predict Individual Variation in Intelligence. PLoS ONE 6(1): e16339. https://doi.org/10.1371/journal.pone.0016339

This theory is supported by biomechanical and structural studies. An increased. Anterior prolapse is the rarest. Download the album The 'C' Theory by the Dallas rapper Ron C. It was released in 1994 for Profile Records and was produced by Johnny Z, Michael Grayson.

Editor: Henry Harpending, University of Utah, United States of America

Received: October 6, 2010; Accepted: December 13, 2010; Published: January 26, 2011

Copyright: © 2011 Yeo et al. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

Funding: This research was supported by grants from the National Institute on Alcoholism and Alcohol Abuse (AA012238 and AA013930; KH), the National Institute of Biomedical Imaging and Bioengineering (R01EB005846; VDC) and a grant from the Mind Research Network. The funders had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript.

Competing interests: The authors have declared that no competing interests exist.

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This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by expanding it with reliably sourced entries.

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

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

A perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length but is notated in ordinary 4
4 time, with each variation lasting ​23⁄4 bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one had done.[2]

  • 1Upper number of 1
  • 2Upper number of 2
  • 3Upper number of 3
  • 4Upper number of 4
  • 6Upper number of 6
  • 8Upper number of 8
  • 9Upper number of 9
  • 10Upper number of 10
  • 11Upper number of 11
  • 12Upper number of 12
  • 13Upper number of 13
  • 14Upper number of 15
  • 15Upper number of 17
  • 16Upper number of 18
  • 17Upper number of 19
  • 18Upper number between 20 and 29
  • 19Upper number between 30 and 39
  • 20Upper number between 40 and 49
  • 21Upper number between 50 and 59

Upper number of 1[edit]

1
1[edit]

  • Enigma Variations by Edward Elgar. Variation VII is in Presto1
    1    .[3]
  • Symphony No. 2 by Alexander Borodin. Movement II is in Prestissimo1
    1    , except for the trio section, which is in Allegretto6
    4    .[4]

1
2[edit]

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

1
4[edit]

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

1
8[edit]

  • Lincolnshire Posy by Percy Grainger. Movement V, 'Lord Melbourne', uses 1
    8    .[25][not in citation given]
  • Mädchentotenlieder, by Bo Nilsson. Bar 11 is in 1
    16     time, bar 53 is in 1
    8     time.[19]
  • A Nightmare to Remember, by Dream Theater. Measure 31 is in 1
    8    .[26]
  • On an Overgrown Path, by Leoš Janáček. There are two 1
    8     bars in the third movement.[22]
  • Piano Sonata No. 3 by Carlos Chávez. Movement II, bar 176 is in 1
    8     time.[27]
  • A próle do bébé, Book 2 by Heitor Villa-Lobos. The fifth piece, 'O Cavalinho de páu' (The Little Wooden Horse), bar 68 is in 2
    [4]    1
    8     time.[28]

1
16[edit]

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

1
64[edit]

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

Upper number of 2[edit]

2
1[edit]

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

2
16[edit]

  • Comme le vent, first of the Douze études dans toutes les tons mineurs, Op. 39, by Charles-Valentin Alkan.[36]
  • The Rite of Spring by Igor Stravinsky. 2
    16     is used in the concluding 'Sacrificial Dance'.[37]
  • Sketch, Op. 1 No. 10, by Alexei Stanchinsky.[38][39]

Upper number of 3[edit]

See also: Triple meter

3
1[edit]

  • 'O Fortuna' from Carl Orff's Carmina Burana (first four bars).[40]
  • Symphony No. 3 by Camille Saint-Saëns, in two sections (a total of 21 bars) at the end of the finale.[41]
  • 'Um Mitternacht' by Gustav Mahler (Rückert Lieder No. 5). Bar 27 is marked '6
    2     (3
    1    )'.[42]

3
16[edit]

  • Piano Sonata No. 1 in C major, Op. 1, by Johannes Brahms. Movement II, bars 47–49 and 51–53.[43]
  • The Rite of Spring by Igor Stravinsky. 3
    16     is used in the concluding 'Sacrificial Dance'.[37]
  • String Quartet, Op. 28, by Anton Webern. Movement III is in 3
    16     from bars 40 to 41, and again from bars 44 to 51.[44]
  • Symphonic Studies, Étude IX (first version) by Robert Schumann.[45]
  • Variations for piano, Op. 27, by Anton Webern, movement I.[46]

3
32[edit]

  • Intrada, nebst burlesquer Suite, for two violins (the so-called 'Gulliver Suite') by Georg Philipp Telemann. Movement II, 'Lilliputsche Chaconne'.[47]
  • Pribaoutki by Igor Stravinsky. The fourth piece, 'Starets i zayats', uses 3
    32     in bar 15.[48]
  • String Quartet, Op. 28, by Anton Webern: the third movement is in 3
    32     from bars 28 to 37.[44]

Upper number of 4[edit]

4
16[edit]

  • Homenaje a Federico García Lorca by Silvestre Revueltas. Movement I, 'Baile' (Dance), is entirely in 4
    16    , except for one free-rhythm bar at the beginning and two at the end.[49]
  • Piano Sonata No. 1 in C major, Op. 1, by Johannes Brahms. Movement II, bars 46 and 50.[43]
  • Piano Sonata No. 3 in F minor, Op. 5, by Johannes Brahms. Movement II, bars 37–66 and 77–90.[50]
  • Pribaoutki by Igor Stravinsky. The fourth piece, 'Starets i zayats', uses 4
    16     in bar 16.[48]
  • The Rite of Spring by Igor Stravinsky. 4
    16     is used in the concluding 'Sacrificial Dance'.[37]
  • String Quartet, Op. 28, by Anton Webern: the third movement is in 4
    16     from bars 52 to 53.[44]
  • Variations on a Theme by Robert Schumann, Op. 9, by Johannes Brahms. Variation XI.[51]

Upper number of 5[edit]

Upper number of 6[edit]

See also: Sextuple meter

6
2[edit]

  • 'Um Mitternacht' by Gustav Mahler (Rückert Lieder No. 5). Bar 27 is marked '6
    2     (3
    1    )'.[52]

Upper number of 7[edit]

Upper number of 8[edit]

Note:8
4or8
8may refer to an evenly divided compound duple or quadruple meter. While this is arguably extremely common in music, the notations 8
4 and 8
8 themselves are not, so all divisions of this time signature are listed here

8
4[edit]

  • A Choral Fantasia, op. 51, by Gustav Holst. Bars 36–69, 142–48, 173–78, and 191–98 are in 8
    4    .[53]
  • 'All You Need Is Love' by The Beatles. The main verse pattern contains a total of 29 beats, split into two 7
    4     measures, a single bar of 8
    4    , followed by a one bar return of 7
    4     before repeating the pattern.[54]
  • 'Damage Control' by John Petrucci has several bars in 8
    4    .[55]
  • 'I Ejaculate Fire' by Dethklok. Bars 81, 83, 85, and 88 are in 8
    4    .[56]
  • Musica ricercata for piano, by György Ligeti, movement 2 (Mesto, rigido e cerimoniale) includes a single bar of 8
    4    .[57]
  • The Rite of Spring by Igor Stravinsky, in the tableau 'Mysterious Games of the Maidens', the bar before rehearsal 99 is in 8
    4    .[58]
  • De Staat by Louis Andriessen. Bars 686–87 are in 8
    4    .[59]
  • String Quartet No. 2, Op. 36 (1945), by Benjamin Britten. Movement I, bars 3 and 12 after rehearsal K are in 8
    4    .[60]
  • Symphony No. 3 by Peter Maxwell Davies. Movement I has two bars of 8
    4     (divided 3+2+3) at rehearsal N.[61]

8
8[edit]

  • Concerto for Orchestra by Béla Bartók. Movement IV has three bars of 8
    8     in the strings at rehearsal 75.[62]
  • 'De elegia prima' from Threni by Igor Stravinsky. Bars 83–84, 91, and 165 are in 8
    8    .[63]
  • Diversions for Piano Left Hand and Orchestra, Op. 21, by Benjamin Britten. In Variation IV, bars 171, 175–77, 181, and 187–91 are in 8
    8    .[64]
  • Fancy Free by Leonard Bernstein. In the fourth number, 'Pas de deux', bars 324–25, 355–57, 359–61 are in 8
    8    .[65]
  • Mikrokosmos by Béla Bartók.
    • No. 151, 'Six Dances in Bulgarian Rhythm' 4, is in 3+2+3
      8      .[66]
    • No. 153, 'Six Dances in Bulgarian Rhythm' 6, is in 3+3+2
      8      .[67]
  • 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 8
      8      [68]
    • Movement IV, bars 204, 207, 210, 213 are in 8
      8      .[69]
  • Petrushka by Igor Stravinsky. One bar before and five bars after rehearsal 4 superimposes a bar of 8
    8     in piccolo 1 & 2, ob. 1 & 2, and trumpet 1, and piccolo 1 & 2, ob. 1–3, cornet 1 & trumpet 1, respectively against 3
    4     in the rest of the orchestra.[70]
  • Piano Sonata No. 2 ('The Airplane'), by George Antheil. One of the bars is in 8
    8    .[71]
  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 8
    8    .[72]
  • De Staat by Louis Andriessen. Bars 5, 8, 10, 12–16, 54–57, 83–84, 87–88, 582, 590, 602, 610, 612, 625, 630, 644, 647–48, 650, 663, 695, 707, 851, and 853 are in 8
    8    .[59]
  • Symphony No. 1 by Gustav Mahler. In Movement IV, the bar before rehearsal number 40 is in 8
    8    .[73]
  • Symphony No. 3 by Peter Maxwell Davies. Third movement has one bar of 8
    8     before rehearsal X.[74]
Ron c the c theory rar

8
16[edit]

  • The Cry of Anubis, for tuba and orchestra by Harrison Birtwistle. Bars 33, 36, and 45–46 are in 8
    16    .[75]
  • The Flood by Igor Stravinsky. Bars 406, 414, 422, 427, 432, 440, and 448 are in 8
    16     time, all divided 3+2+3.[76]
  • Histoire du soldat by Igor Stravinsky has one bar in 8
    16     time, at the fourth bar following rehearsal 35, in the movement 'Ragtime'.[77]
  • Requiem Canticles by Igor Stravinsky. The interlude has bar 156 in 8
    16     time.[78]

Upper number of 9[edit]

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.

9
4[edit]

  • '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    .[79]

9
8[edit]

  • 'Apocalypse in 9
    8    ' by Genesis. Penultimate movement of the 'Supper's Ready' suite, rhythm section plays a 9
    8     riff as 3+2+4, organ solo plays polymetrically over this (sometimes 4
    4    , sometimes 7
    4    .)[80]
  • 'Big Lie Small World', by Sting is in 9
    8     with varying division.[81]
  • 'Blue Rondo à la Turk' (1959) by the Dave Brubeck Quartet, from the album Time Out – Played as 2+2+2+3 and 3+3+3, with some alternating sections of 4
    4    .[82]
  • Estancia by Alberto Ginastera. The refrain of 'Los peones de hacienda', at rehearsal numbers 62, 65, 67, 68, 69+3, and 70 is marked '9
    8     (3
    4     – 3
    8    )'; the remainder is variously in 6
    8    , 3
    4    , 5
    8    , and 7
    8    .[83]
  • 'I Hung My Head', by Sting is in 2+3+2+2
    8    .[81]
  • Mikrokosmos by Béla Bartók
    • No. 148, 'Six Dances in Bulgarian Rhythm' 1, is in 4+2+3
      8      .[84]
    • No. 152, 'Six Dances in Bulgarian Rhythm' 5, is in 2+2+2+3
      8      .[85]
  • 'Niska Banja,' SATB choral arrangement by Nick Page of a Serbian Gypsy dance, is in 2+2+2+3
    8    .[86]

9
32[edit]

  • Un Vitrail et des Oiseaux by Olivier Messiaen uses 3+2+2+2
    32    .[87]

Upper number of 10[edit]

10
4[edit]

  • 'Crocodile' by This Town Needs Guns is largely in 10
    4    .[88]
  • 'Everything in its Right Place' by Radiohead. (10
    4     after a pick-up measure of two beats; divided 4+4+2)[89]
  • 'Just Like You Imagined' by Nine Inch Nails. (10
    4    )[90]
  • 'Playing in the Band' by the Grateful Dead (notated as 4+2+4
    4    ). (10
    4    )[91]
  • 'Rabbit' by This Town Needs Guns has parts in 10
    4    .[92]
  • String Quartet No. 2, op. 35 (1945), by Benjamin Britten. Movement I, fourth bar after rehearsal K ('tranquillo, lusingando') is in 10
    4    .[93]
  • 'Testotyrannosaurus' by Hail the Sun contains some parts in 10
    4    , and 11
    4    .[94]
  • 'Thick as a Brick' by Jethro Tull. The second section of the first part of the song is in 10
    4    [95]
  • 'Wanderlove' by Mason Williams. (10
    4    )[96]

10
8[edit]

  • 'Erotomania' by Dream Theater, the first 3 bars of the intro progression are in 10
    8    .[97]
  • 'Happiness is a Warm Gun', by The Beatles. The first part includes 4
    4    , 2
    4    , and 5
    4    ; the second part includes 3
    8    ; and third part 9
    8     and 10
    8    .[98] The finale includes 1 bar of 12
    4    . '[T]he changes of meter either between or within every section establish themselves as a kind of leitmotif.' (Alan Pollack's 'Notes On' series, no. 136).
  • 'Nostalgia' by Yanni. (10
    8    )[99]
  • Piano Sonata No. 2 ('The Airplane'), by George Antheil. One of the bars is in 10
    8    .[71]
  • Sketch, Op. 1 No. 7, by Alexei Stanchinsky (10
    8    ).[38]
  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 10
    8    .[72]
  • Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky. 'Solacium', part 3 of 'De Elegia Tertia'.[100]

10
16[edit]

  • Étude, op. 35, no. 12 in E major, for piano, by Charles-Valentin Alkan. (10
    16    , grouped as 5
    16    +5
    16    )[101]

Upper number of 11[edit]

11
4[edit]

  • 'Cigne je suis' published in the collection Airs a III. IIII. V. et VI. parties (première livre, 1608) by Claude Le Jeune is barred as 11
    4    .[102]
  • 'Crowned & Kissed' by Esperanza Spalding. The two-bar chorus groove is in 11
    4     time.[103]
  • 'Eight Ball, Coroner's Pocket' by Hail the Sun, intro is composed in 9
    4    , and 11
    4    .[104]
  • 'Eleven Four', by Paul Desmond and recorded by the Dave Brubeck Quartet (11
    4    ).[105]
  • In Nomine IX, for harpsichord, by John Bull. 11
    4    , though it is not notated as such, either in the original manuscript or the new edition.[106]
  • Mädchentotenlieder, by Bo Nilsson. Bar 74 is in 11
    4     time.[107]
  • The Rite of Spring by Igor Stravinsky. The bar immediately before the section 'The Chosen One' is in 11
    4    .[37]
  • 'Testotyrannosaurus' by Hail the Sun contains some parts in 10
    4    , and 11
    4    .[94]
  • 'Where but for Caravan Would I Be' (1969), by Caravan.[108]
  • 'Whipping Post', by The Allman Brothers Band. (Begins with a two-bar 11
    4     riff).[109]

11
8[edit]

  • Bachianas Brasileiras No. 9, by Heitor Villa-Lobos. Movement II is in 11
    8    [110]
  • 'Blockhead', by Devo. Verses are in 11
    8     time, choruses in 4
    4    .[111]
  • 'The Eleven', by the Grateful Dead.[112][113]
  • 'Eleven' by Primus. The 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    .[114]
  • Friends, by Led Zeppelin. Main theme.[115]
  • 'Here Comes the Sun' (1969), written by The Beatles' George Harrison. The song features common 4
    4     time in the verses and a compound sequence of 11
    8    +4
    4    +7
    8     in the bridge, phrasing interludes that Harrison drew from Indian music influences.[116][117][118]
  • 'Larks' Tongues in Aspic, Pt. 1', by King Crimson. The song is in 5
    4     until the violin enters. Then, the metre switches to 11
    8    . The song shifts between these metres for the remainder of the song.[119]
  • 'Losing It' by Rush. Intro and verses are composed out of ten bars in 5
    8    , other parts are in 11
    8    .[120][121][122]
  • Mario Kart 64 (video game), music by Kenta Nagata, at the race results screen.[123]
  • 'Man-Erg' (1971), by Van der Graaf Generator.[124]
  • Piano Sonata No. 2 in G major by Alexei Stanchinsky. Movement II is in 11
    8    .[125]
  • A próle do bébé, by Heitor Villa-Lobos. The first and last measures of the fourth movement[clarification needed] are in 11
    8    , divided into 6
    8     or 3
    4    , and 5
    8    .[126]
  • 'Serenade', a wedding recessional by Derek Bourgeois. The beginning and ending sections are in 11
    8    .[127][128]
  • Sketch, Op. 1 No. 5, by Alexei Stanchinsky (11
    8    ).[38]
  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 11
    8    .[72]

Upper number of 12[edit]

12
32[edit]

  • Piano Sonata No. 32 in C minor, Op. 111, by Ludwig van Beethoven. Movement II is in 12
    32     from bars 48 to 64.[87]

Upper number of 13[edit]

13
4[edit]

  • 'Golden Brown' by The Stranglers. The song's characteristic opening phrase, repeated later in the song, is in 13
    4     (3+3+3+4).[129]
  • 'The Great Divide' by Don Ellis (13
    4    ).[130]
  • 'Rabbit' by This Town Needs Guns has sections in 13
    4    .[92]
  • De Staat by Louis Andriessen. Bars 356 and 517 are in 13
    4    .[131]
  • 'Starless' (1974), by King Crimson.[132]

13
8[edit]

  • 'The Becoming' by Nine Inch Nails. Begins in a 13
    8     time signature and changes to 6
    8     at the 3-minute mark.[133]
  • 'I Will Be Absorbed', by Egg.[132]
  • 'One Word' by Mahavishnu Orchestra has a section in 13
    8     after the drum solo (just over eight and a half minutes in).[134]
  • A próle do bébé No. 2, by Heitor Villa-Lobos. A measure in the fourth movement, 'O cachorrinho de borracha', is in 13
    8    , divided into 6
    8     or 3
    4    , and 7
    8    . Two measures in the ninth movement, 'O lobozinho de vidro', are also in 13
    16    .[135]
  • 'Serenade', a wedding recessional by Derek Bourgeois. The middle section is in 13
    8    .[127][128]
  • 'Skimbleshanks' from Andrew Lloyd Webber's musical Cats. Introduction and chorus are in 13
    8     (3+3+3+4). Verses in 4
    4    .[136]
  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 13
    8    .[72]
  • De Staat by Louis Andriessen. Bars 356 and 517 are in 13
    4    , while bar 724 is in 13
    8    .[131]
  • '13th August' by FromUz (13
    8    ).[137]
  • 'Turn It on Again' by Genesis. The verses and choruses are in 13
    8    . Other parts are in 8
    8    , and 5
    8    .[138]
  • 'Weapons Factory' from the Super Mario RPG soundtrack by Yoko Shimomura.[139][140]

13
16[edit]

  • '78341316' by deadmau5 uses the time signatures 7
    8     and 13
    16    .[141]
  • The Terminator main theme, by Brad Fiedel (13
    16    ).[142]

Upper number of 15[edit]

See also: Quintuple meter

15
8[edit]

  • 'Chionoblepharou pater Aous' [Father of the bright-eyed Dawn], Hymn to the Sun, by Mesomedes of Crete (15
    8    , grouped 2+2+2+2+2+3+2)[143]
  • 'Karn Evil 9', 1st Impression, Part 1 (1973), by Emerson, Lake and Palmer includes a passage in 15
    8    .[144]
  • 'Malibu Shuffle' for jazz band, by Wayne L. Perkins (15
    8    ).[145]
  • 'Perpetuum Mobile' by the Penguin Cafe Orchestra (15
    8    )[146]
  • Sonata Op. 25 No. 2 in E minor, for piano, 'Night Wind' (1911) by Nikolai Medtner. Main Allegro section in 15
    8    .[147][vague]
  • 'Strong One (Masked Man)' from the Mother 3 soundtrack[148]
  • '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    .[149]

15
16[edit]

  • The Phantom of the Opera (1986) by Andrew Lloyd Webber: 'Notes' and 'Notes II' each contain multiple sections of 15
    16    .[clarification needed][150]
  • Robert Browning Overture, by Charles Ives includes measures in 15
    16     time.[151]
  • De Staat by Louis Andriessen. Bars 501 and 535–36 are in 15
    16     time, divided 4+4+4+3 (in b. 501 some layers are in 3+3+3+3+3 and 3+4+4+3).[152]
  • String Quartet No. 1 (1950–51), by Elliott Carter includes measures in 15
    16     time.[151]
  • String Quartet No. 1 (1949), by Leon Kirchner includes measures in 15
    16     time.[151]
  • String Quartet No. 2 (1959), by Elliott Carter includes measures in 15
    16     time.[151]

Upper number of 17[edit]

17
4[edit]

  • 'Panda' by This Town Needs Guns includes sections of 17
    4     and other meters like 3
    4    .[153]
  • 'Seven Teens', by Lionel Loueke in 17
    4    .[154]
  • 'Stories' by William Auerweck includes sections of 17
    4    .[155]

17
8[edit]

  • 'Crystalline' by Björk.[156]
  • 'Hollow' by Björk.[157]
  • 'I Should Live in Salt' by The National. Intro and verses in 17
    8    , bridge and chorus in ordinary 4
    4    .[158]
  • 'Moon' by Björk.[159]
  • Sketch, Op. 1, No. 6, by Alexei Stanchinsky (17
    8    , written as 4
    8    +4
    8    +5
    8    +4
    8    , but with the 17
    8     time signature written as well).[38]

Upper number of 18[edit]

See also: Sextuple meter

18
8[edit]

  • '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.[160]
  • 49 Esquisses by Charles-Valentin Alkan. No. 12, Barcarollette, is in 18
    8    , as compoundsextuple meter.[161]

18
16[edit]

  • Don Rodrigo by Alberto Ginastera. 'Interludium III' is in 18
    16     meter, except the last three bars, which are in 3
    4    .[162]
  • Four Etudes, op. 2, by Sergei Prokofiev. The second étude uses 18
    16     in one hand against 4
    4     in the other.[163]
  • Fünf Klavierstücke, Op. 23 by Arnold Schoenberg. Movement III, bars 26 to 30 inclusive are in 18
    16    .[164]
  • Goldberg Variations, by Johann Sebastian Bach. Variatio 26, a 2 Clav. uses 18
    16     in one hand against 3
    4     in the other, exchanging hands at intervals until the last five bars where both hands are in 18
    16    .[165]

Upper number of 19[edit]

19
4[edit]

  • 'She's Only 19' by Wayne L. Perkins (19
    4    ).[166]
  • '33 222 1 222' by Don Ellis (19
    4    ).[167]

19
8[edit]

  • 'Keep It Greasy' by Frank Zappa on Joe's Garage (the first verse, some bridges and the guitar solo are counted in 19
    16     and the second verse is in 21
    16    ).[168][not in citation given]
  • Piano Sonata No. 2 ('The Airplane'), by George Antheil. One of the bars is in 19
    8    .[71]
  • 'Rusty Cage' by Soundgarden (third section in 19
    8    ).[169]

19
16[edit]

  • 'Celestial Terrestrial Commuters' by Mahavishnu Orchestra.[160][page needed]
  • 'Home' by Dream Theater (ends in 19
    16    ).[170]
  • 'Keep It Greasy' by Frank Zappa on Joe's Garage (the first verse, some bridges and the guitar solo are counted in 19
    16     and the second verse is in 21
    16    ).[168][not in citation given]

Upper number between 20 and 29[edit]

20[edit]

  • 'Deux moulins', published in the collection Airs a III. IIII. V. et VI. parties (première livre, 1608) by Claude Le Jeune. The third section, Chant à 3, is barred as 20
    4    ; the rest of the piece is in 21
    4    .[171]
  • 'Gibbon' by This Town Needs Guns is transcribed partially in 20
    4    .[172]
  • Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky In 'Sensus spei', part 2 of 'De Elegia Tertia', bar 4 is in 20
    8     time.[173]

21[edit]

  • '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.[174]
  • 'Deux moulins' by Claude Le Jeune, published in Airs a III. IIII. V. et VI. parties (première livre, 1608). The first two sections, Rechant à 3 and Réprise à 5, are barred as 21
    4    ; the last section of the piece is in 20
    4    .[171]
  • In the Dead of the Night suite by UK, 'contains an instrumental refrain in 21
    16    '.[132]
  • 'Keep It Greasy' by Frank Zappa on Joe's Garage (the first verse, some bridges and the guitar solo are counted in 19
    16     and the second verse is in 21
    16    ).[168][not in citation given]
  • Sonata for Cello and Piano (1948), by Elliott Carter, includes 21
    32     time.[175]

22[edit]

  • 'The First Circle' from the album First Circle by the Pat Metheny Group. Composed by Pat Metheny and Lyle Mays (22
    8    ).[176][177]

23[edit]

  • 'Low Light' by Jacky Ligon from his Between Moments EP (2013) is in 23
    4    .[178]
  • 'Baboon' by This Town Needs Guns is mainly in 23
    4     with some 4
    4    .[179]
  • In The Legend of Zelda: Ocarina of Time, Ganondorf's battle theme is mostly in 23
    16     (sometimes with 17
    16     as a polymeter) with a stray section in 4
    4    .[180]
  • 'New Millennium Cyanide Christ' by Meshuggah repeats the pattern of five bars of 23
    16     and one bar of 13
    16     from the start.[181]

24[edit]

  • 'Brobdingnagische Gigue', from Intrada, nebst burlesquer Suite, for two violins (the so-called 'Gulliver Suite') by Georg Philipp Telemann is in 24
    1    .[182]
  • The Well-Tempered Clavier, Book 1 by Johann Sebastian Bach. The upper stave of Prelude No. 15 is in 24
    16     (The bottom stave is in ).[31]

25[edit]

  • 'How's This for Openers?' by Don Ellis (25
    8    ).[183]
  • 'Memory Daydreams Lapses' by OSI (25
    16    ).[184]
  • 'Tenemos Roads', by National Health includes 'some extremely intricate passages in 25
    16    '.[132]

26[edit]

  • '26 Is Dancier than 4' by This Town Needs Guns (26
    8    ) (grouped 5+5+5+5+6).[185]

29[edit]

  • 'Strong One (Masked Man)' from the Mother 3 soundtrack (29
    16    )[148]
  • 'March of the Pigs' by Nine Inch Nails (29
    8    ) (grouped 7+7+7+8, chorus remains 4
    4    )[186]
Ron c the c theory rar

Upper number between 30 and 39[edit]

30[edit]

  • Sonata No. 1, by Kaikhosru Shapurji Sorabji. One of the bars is in 30
    16    .[72]

32[edit]

  • 'Variations for Trumpet' by Don Ellis has one section in 32
    8    .[187]

33[edit]

  • 'Blues in 33
    8    ' by Matt Savage (33
    8    ).[188]
  • 'Bulgarian Bulge' by Don Ellis (33
    8    ).[189]
  • 'Split Open and Melt' by Phish has a jam section in 33
    8    .[190]

Upper number between 40 and 49[edit]

43[edit]

  • Study No. 3a for Player Piano by Conlon Nancarrow uses 43
    16    .[87]

47[edit]

  • Study No. 3a for Player Piano by Conlon Nancarrow uses 47
    16    .[87]

Upper number between 50 and 59[edit]

53[edit]

  • 'Interlude V' by Mannheim Steamroller from the album Fresh Aire II contains one measure of 53
    8    .[191]

Fractional time signatures[edit]

  • Driftwood Suite, for piano, by Gardner Read uses ​31⁄2
    4    , ​41⁄2
    4    , and ​51⁄2
    4    .[192]
  • Intrada, nebst burlesquer Suite, for two violins (the so-called 'Gulliver Suite') by Georg Philipp Telemann. 'Reverie der Laputier, nebst ihren Aufweckern' is in ​32⁄2
    4    .[193]
  • Lincolnshire Posy by Percy Grainger. In movement V, 'Lord Melbourne', some parts mark this measure as ​11⁄2
    4     while others mark it as 3
    8    . This trombone part has a bar of ​11⁄2
    4     on the bottom of page 4.[25] It also contains ​21⁄2
    4    .[25]
  • Mädchentotenlieder, by Bo Nilsson.
    • Bar 83 is in ​4⁄3
      4       time.[194]
    • Bar 97 is in ​3⁄5
      4       time.[195]
    • Bars 102 and 123 are in ​2⁄3
      4       time.[196]
    • Bar 112 is in ​4⁄5
      4       time.[197]
  • Le marteau sans maître, by Pierre Boulez. Movement III 'L'Artisanat furieux'.
    • Bar 3 is in ​4⁄3
      2       time.[198]
    • Bars 24, 35, and 43 are in ​2⁄3
      4       time.[199]
  • Piano Sonata No. 2, Concord, Mass., 1840–1860, by Charles Ives. In movement III 'The Alcotts', bar 20 is in ​41⁄2
    4     time.[200]
  • Piano Sonata No. 3 by Carlos Chávez. Movement IV has measures in ​21⁄2
    4    , ​31⁄2
    4    , and ​41⁄2
    4    .[201]
  • 'Schism' by Tool is described by the band as largely in ​61⁄2
    8     and includes numerous other times.[202]
  • Sensemayá by Silvestre Revueltas includes three bars in ​51⁄2
    8    .[203]
  • Study in Sonority by Wallingford Riegger contains several ​21⁄2
    4     bars.[192]
  • Touch Piece, for piano, by Gardner Read uses ​31⁄2
    4    , ​41⁄2
    4    , and ​51⁄2
    4    .[192]
  • 'Upstart' by Don Ellis is in ​32⁄3
    4     (originally written in 11
    8    ).[204]

Irrational time signatures[edit]

Ron C The C Theory Rar

See also: Time signature § Irrational meters

Ron C The C Theory

  • L'Itoi Variations by Kyle Gann. Bar 275 is in 2
    3     time.[205]
  • Piano Sonata No. 3 by Carlos Chávez. In movement IV, bars 47, 49, 107, and 109 are in 1
    12    .[206]

Combined unusual signatures[edit]

  • 'O cachorrinho de borracha' (The Little Rubber Dog), No. 4 from A próle do bébé No. 2 by Heitor Villa-Lobos mixes 11
    8    , 13
    8    , 5
    4    , and 8
    4     with the usual signatures 3
    4     and 4
    4    .[207]
  • 'Firth of Fifth': Introduction, by Tony Banks of Genesis, mixes duple and quadruple meters with 13
    16     and 15
    16     signatures.[208]
  • 'I Say a Little Prayer' by Dionne Warwick uses two measures of 4
    4    , one measure of 10
    4     and two measures of 4
    4     for verses and 11
    4     for its chorus.[209]
  • Klavierstück IX (1954–55/61) by Karlheinz Stockhausen uses 21
    8    , 34
    8    , 42
    8    , 87
    8    , and 142
    8    .[210]
  • Zeitmaße by Karlheinz Stockhausen uses 1
    2    , 1
    8    , 1
    16    , 2
    16    , 2
    32    , 3
    16    , 3
    32    , 4
    16    , 8
    8    , 8
    32    , 11
    16    , 12
    32    , 17
    32    , 23
    32    , and 30
    32    .[87][211]

See also[edit]

  • Greek dances

Notes and references[edit]

  1. ^Ian Waugh first lists 2
    2    , 2
    4    , 2
    8    , 3
    2    , 3
    4    , 3
    8    , 4
    2    , 4
    4    , 4
    8    , 6
    4    , 6
    8    , 6
    16    , 9
    4    , 9
    8    , 9
    16    , 12
    4    , 12
    8    , and 12
    16     (Waugh 2003, 76), then says 'we've listed all the popular time signatures' (Waugh 2003, 77).
  2. ^Britten 1945b.
  3. ^[1]
  4. ^Borodin [1888], 44–86.
  5. ^Copland 1945, 56–59.
  6. ^Enescu 1965, 62.
  7. ^http://petruccilibrary.ca/download.php?file=files/imglnks/caimg/0/03/IMSLP00782-Schoenberg_op23_No2.pdf
  8. ^ abhttp://conquest.imslp.info/files/imglnks/usimg/8/8e/IMSLP58460-PMLP119865-Janáček_-_Káťa_Kabanová_-_Act_III_(vocal_score).pdf
  9. ^http://cnks.imslp.org/files/imglnks/usimg/4/46/IMSLP99159-PMLP200270-Couperin_-_Pieces_de_clavecin_Bk3.pdf
  10. ^http://petruccilibrary.ca/download.php?file=files/imglnks/caimg/7/7b/IMSLP309054-PMLP499658-Poulenc_-_Huit_Nocturnes__piano_.pdf
  11. ^Piano Sonata No. 5 (Scriabin): Scores at the International Music Score Library Project (IMSLP). Leipzig: Edition Peters, 1971, plate E.P. 12588.
  12. ^'Archived copy'(PDF). Archived from the original(PDF) on 2016-09-10. Retrieved 2017-03-26.CS1 maint: Archived copy as title (link)
  13. ^https://imslp.org/wiki/Special:ImagefromIndex/309641/pasw[full citation needed]
  14. ^https://www.youtube.com/watch?v=xaQvPhVvQaY
  15. ^Edward Elgar, Symphony No. 1 (London: Eulenberg Edition, n.d.), 62–101.
  16. ^Myaskovsky 1947, 4–8, 23–30, 41–44, 59–65, 70–73.
  17. ^Revueltas 1971, 32, 34–38.
  18. ^Allcock, Maartin, ed. (1998). Fairport Convention Songbook 2. Woodworm Music. pp. 56–59.
  19. ^ abcNilsson 1958, 3–15.
  20. ^https://monoskop.org/images/4/48/Xenakis_Iannis_Metastaseis_B_1953-54_score.pdf
  21. ^Dream Theater Keyboard Anthology. Transcribed by Chris Romero and Jordan Baker 2004, 30.
  22. ^ abhttp://ks.imslp.net/files/imglnks/usimg/5/50/IMSLP09955-Janacek20On20an20overgrown20path.pdf
  23. ^Stravinsky n.d., 26.
  24. ^Chávez 1972, 3–4.
  25. ^ abc'Lincolnshire Posy (Grainger, Percy) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music'.
  26. ^Dream Theater Black Clouds and Silver Linings Authentic Guitar TAB. 2009, 7.
  27. ^Chávez 1972, 12.
  28. ^Villa-Lobos 1927, 5:4.
  29. ^https://tabs.ultimate-guitar.com/tab/dream_theater/the_mirror_tabs_125540.
  30. ^'A Headache And A Sixty-Fourth'. Retrieved 2010-08-21.
  31. ^ abcRead 1964, 158.
  32. ^http://conquest.imslp.info/files/imglnks/usimg/5/5b/IMSLP58459-PMLP119865-Janáček_-_Káťa_Kabanová_-_Act_II_(vocal_score).pdf
  33. ^Yokoyama, Shin-itchiro (21 February 2016). 'Bach's Cello Suites, Editor's Notes: How do we play the Gigue of Partita No.6 ?'.
  34. ^http://ks.imslp.net/files/imglnks/usimg/e/e3/IMSLP414162-PMLP667919-Bach_Partita_No_6_Gigue_Comparison.pdf
  35. ^Johann Bach (1985). Hans Bischoff (ed.). Six Partitas and Overture in French Style. Alfred Music Publishing. p. 92. ISBN978-0-7692-8604-4.
  36. ^Alkan n.d. (ca.1861),[page needed].
  37. ^ abcdhttp://petruccilibrary.us/Scores/scores/Stravinsky_Igor_1971/Stravinsky_-_RiteOfSpring_Piano4Hands.pdf
  38. ^ abcdhttp://petrucci.mus.auth.gr/imglnks/usimg/f/f3/IMSLP14991-Stanchinksy_-_12_Sketches.pdf
  39. ^'Category:Stanchinsky, Aleksey'. Retrieved 25 February 2015.
  40. ^Score'sAnimation (7 October 2015). '1.- O Fortuna (Carmina Burana – C. Orff) Score Animation' – via YouTube.
  41. ^http://ks.imslp.info/files/imglnks/usimg/1/1c/IMSLP29121-PMLP50421-Saint-Saens_-_Symphony_No_3_in_c_Op_78_-_2.pdf
  42. ^See any of the scores available on https://imslp.org/wiki/R%C3%BCckert_Lieder_(Mahler%2C_Gustav). Bar 27 is at rehearsal number 4.
  43. ^ abhttp://hz.imslp.info/files/imglnks/usimg/4/40/IMSLP06091-Brahms_-_Piano_Sonata_No.1_-_Sauer.pdf
  44. ^ abc'Archived copy'(PDF). Archived from the original(PDF) on 2016-08-08. Retrieved 2016-06-04.CS1 maint: Archived copy as title (link)
  45. ^[2]
  46. ^'Archived copy'(PDF). Archived from the original(PDF) on 2016-05-09. Retrieved 2016-06-01.CS1 maint: Archived copy as title (link)
  47. ^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. . . .'
  48. ^ abhttp://petruccilibrary.us/Scores/scores/Stravinsky_Igor_1971/Stravinsky_-_Pribaoutki_FullScore.pdf
  49. ^Revueltas 1958, 3–15.
  50. ^Brahms 1928Archived 2016-01-11 at the Wayback Machine, 78–79, 79–80.
  51. ^https://imslp.nl/imglnks/usimg/2/2a/IMSLP08431-Brahms_-_Variations_Op.9_-_Sauer.pdf
  52. ^See any of the scores available on https://imslp.org/wiki/R%C3%BCckert_Lieder_(Mahler%2C_Gustav). Bar 27 is at rehearsal number 4.
  53. ^Holst 1977, 4–6, 18–19, 23–24, 27–30.
  54. ^Dean 2014.
  55. ^Suspended Animation Authentic Guitar TAB, transcribed by Jordan Baker. 2005, 81–85, 88–89, 105–107
  56. ^Dethalbum III Authentic Guitar TAB, transcribed by Jordan Baker. 2013, 10[full citation needed]
  57. ^Ligeti 1995, 9, b. 28.
  58. ^Stravinsky 1970, 99.
  59. ^ abAndriessen 1976, 1–4, 82–88, 90, 92, 95–97, 99, 119.
  60. ^Britten 1946, 14–15.
  61. ^Davies 1985, 48–49.
  62. ^Bartók 1993, 72.
  63. ^Stravinsky 1958, 11–12 and 19.
  64. ^Britten 1941, 30–32.
  65. ^Bernstein 1950, 48, 52–54.
  66. ^Bartók 1940, 6:45–48.
  67. ^Bartók 1940, 6:51–55.
  68. ^Bartók 1937, 1–5, 7–8, 10.
  69. ^Bartók 1937, 130–33.
  70. ^Stravinsky n.d., 11–12.
  71. ^ abcmusicaignotus (14 October 2009). 'Antheil – Piano Sonata No. 2 'The Airplane'' – via YouTube.
  72. ^ abcdeTimothy Smith (26 September 2015). 'Kaikhosru Shapurji Sorabji – Sonata No. 1' – via YouTube.
  73. ^http://imslp.eu/files/imglnks/euimg/6/63/IMSLP06376-Mahler_-_Symphony_No.1_Mvt.IV_(complete_score).pdf
  74. ^Davies 1985, 202.
  75. ^Birtwistle 1996, 6–7 and 9.
  76. ^Stravinsky 1962, 54, 56, 58, 60–61, 63, and 66.
  77. ^Stravinsky 1924, 50.
  78. ^Stravinsky 1967, 19.
  79. ^Dream Theater Black Clouds and Silver Linings Authentic Guitar TAB, transcribed by Jordan Baker. 2009, 138
  80. ^Seconds Out Songbook 1978 Wise Publications
  81. ^ abGable 2009, 91.
  82. ^Dryden, Ken. 'Blue Rondo a la Turk', Allmusic: 'unusual time signature of 9
    8    '.
  83. ^Ginastera 1955, 17–20.
  84. ^Bartók 1940, 6:35–38.
  85. ^Bartók 1940, 6:48–50.
  86. ^Page 1989.
  87. ^ abcde'Extremes of Conventional Music Notation'.
  88. ^Tempo controlSlow down the song anytime you need it. 'This Town Needs Guns - Crocodile Tab Online UG Plus @ Ultimate-Guitar.com'. Tp.ultimate-guitar.com. Archived from the original on 2013-09-29. Retrieved 2013-08-01.
  89. ^http://www.talkbass.com/forum/f22/how-do-you-figure-out-time-signatures-476426/[unreliable source?]
  90. ^Banks 2009.
  91. ^'The Eleven and Other Rhythmic Oddities (Grateful Dead)'. Retrieved 25 February 2015.
  92. ^ abDreiblats 2013.
  93. ^Britten 1946, 14.
  94. ^ abHail the Sun (19 February 2013). 'Testotyrannosaurus.pdf'(PDF). Hail the Sun. Retrieved 11 May 2016.
  95. ^'Uncommon Time'. Retrieved 25 February 2015.
  96. ^Liner notes to The Mason Williams Phonograph Record Warner Brothers LP, WS 1729. Burbank: Warner Brothers-Seven Arts Records, 1968.
  97. ^TheDeftonesVault (2013-08-21), Dream Theater- Erotomania [Instrumental], retrieved 2016-03-24
  98. ^http://i.imgur.com/uGO9LL6.png
  99. ^Yanni (1993). The Best of Yanni; 11 selections from his top recordings. Hal Leonard Publishing. p. 16.
  100. ^Bars 2–5 are in 10
    8     time (Stravinsky 1958, 52).
  101. ^Eddie 2007, 62.
  102. ^Le Jeune 1951–59, 2:85–88.
  103. ^Jisi, Chris (2012). 'Esperanza Spalding: E-Harmony'. Retrieved April 29, 2015.
  104. ^Hail the Sun (13 January 2013). 'Eight Ball, Coroner's Pocket.pdf'(PDF). Hail the Sun. Retrieved 11 May 2016.
  105. ^Howard Brubeck (ed.), Dave Brubeck Deluxe Piano Album, (San Francisco: Derry Music Co., 1965), pp. 22–28.
  106. ^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.
  107. ^Nilsson 1958, 7.
  108. ^Macan 1997, 48.
  109. ^Randy Poe (20 September 2006). Skydog: The Duane Allman Story. Hal Leonard Corporation. p. 131. ISBN978-0-87930-891-9. Retrieved 11 April 2012.
  110. ^Villa-Lobos 1969, 3–18.
  111. ^'The Daily Vault Music Reviews :'. Retrieved 25 February 2015.
  112. ^rec.music.gdead FAQ.[unreliable source?]
  113. ^'The Annotated 'The Eleven''. Retrieved 2017-03-08.
  114. ^Primus (musical group), Primus Anthology: A thru N: For Guitar and Bass, transcribed by Jeff Jacobsen (New York: Cherry Lane Music, 2000), 17–20. ISBN1575601540.
  115. ^'Led Zeppelin – Friends (Tab)'. tabs.ultimate-guitar.com. Retrieved 2019-02-19.
  116. ^Pollack 1999.
  117. ^Pedler 2003, p. 555.
  118. ^'The meters of these three measures are 11
    8    , 4
    4    , and 7
    8    , respectively. The special effect of running even eighth notes accented as if triplets against the grain of the underlying backbeat is carried to a point more reminiscent of Stravinsky than of the Beatles' (Alan Pollack's 'Notes On' series, no. 183).
  119. ^'Rock Meets Classical, Part 4: Classical Concepts in King Crimson's 'Larks Tongues in Aspic''. www.brutalprog.com. Retrieved 2019-03-17.
  120. ^Peart, Neil (2010-10-07). 'Rush – Losing It Sheet Music (Digital Download)'. Musicnotes.com. Retrieved 2017-03-08.
  121. ^Haigh n.d.
  122. ^'' Neil Peart Biography, Drum Videos and Pictures Famous Drummers'. Drumlessons.com. Retrieved 2012-04-14.
  123. ^Elroy 2008.[unreliable source?]
  124. ^Macan 1997, 48–49.
  125. ^[3]
  126. ^'A prole do bebê No.2, W180 (Villa-Lobos, Heitor) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music'.
  127. ^ abReynish, Tim. 'Derek Bourgeois: An Assessment of his music in Two Parts'. Retrieved 2017-03-08.
  128. ^ ab'Pops Concert Program Notes'. Howard Performing Arts Center, Andrews University. March 8, 2008. Archived from the original on July 19, 2011. Retrieved November 8, 2009.
  129. ^'Golden Brown by The Stranglers Songfacts'. Songfacts.com. Retrieved 2012-04-14.
  130. ^Perkins 2000, 1:18.
  131. ^ abAndriessen 1976, 46, 69, and 101.
  132. ^ abcdMacan 1997, 49.
  133. ^'The Becoming'. Retrieved 2017-03-08.
  134. ^Jerry 2014.
  135. ^http://imslp.org/wiki/A_prole_do_beb%C3%AA_No.2,_W180_(Villa-Lobos,_Heitor)[page needed]
  136. ^Andrew Lloyd Webber, T. S. Eliot – 'Cats' Hal Leonard (HL00359466), ISBN0-88188-447-2
  137. ^'Ken Westphal Illustration & Design'. Retrieved 25 February 2015.
  138. ^Genesis 2001, 334–337.
  139. ^'Super Mario RPG Original Sound Version'. Super Mario Wiki. Retrieved 2019-05-05.
  140. ^'Factory (Super Mario RPG: Legend of the Seven Stars)'. Super Mario Wiki. Retrieved 2019-05-05.
  141. ^'deadmau5 on Instagram'.
  142. ^Stevenson 2014.
  143. ^Davison and Apel 1974, 9; Pöhlmann and West 2001, 96–99.
  144. ^Macan 1997, 49; Chatburn n.d.
  145. ^Perkins 2000, 2:18–40 (score).
  146. ^Jeffes, Arthur (2010-09-08), BBC Proms programme notes, 2010 season concert 73, BBC
  147. ^Medtner 1998, 134.
  148. ^ ab'danbruno.net: Battle music in Mother 3'.
  149. ^Oldfield, Mike (2007). Changeling – Autobiography of Mike Oldfield. Virgin Books. p. 111. ISBN978-1-85227-381-1.
  150. ^Llyod Webber, Andrew (1987). The Phantom of the Opera Libretto/ Vocal Score. The Really Useful Group Ltd.
  151. ^ abcdRead 1964, 157.
  152. ^Andriessen 1976, 65 and 74.
  153. ^Dreiblats 2012.
  154. ^Geoffrey Himes (2008). 'Lionel Loueke: African American'. Retrieved 2017-03-08.
  155. ^https://www.youtube.com/watch?v=4sxJQVFV_T4&t=1113s
  156. ^'Crystalline'. bjork.fr. Retrieved 2012-04-14.
  157. ^'Hollow'. bjork.fr. Retrieved 2012-04-14.
  158. ^'The National – I Should Live in Salt'. Retrieved 2018-07-07.
  159. ^'Moon'. bjork.fr. Retrieved 2012-04-14.
  160. ^ abJohn McLaughlin, John McLaughlin and the Mahavishnu Orchestra: John McLaughlin's Scores to 28 Classic Recordings (Van Nuys: Alfred Publishing, 2006):[page needed]. ISBN0-7390-4255-6.
  161. ^Alkan n.d. (ca.1862), 1:25.
  162. ^Ginastera 1969, 79–86.
  163. ^Prokofiev 1955, 1:9–14.
  164. ^http://petruccilibrary.ca/download.php?file=files/imglnks/caimg/c/c8/IMSLP00783-Schoenberg_op23_No3.pdf
  165. ^Bach 1968, 98–99.
  166. ^Perkins 2000, 2:1–17 (score).
  167. ^Fenlon 2002, 112–13.
  168. ^ abcFlans 1982.
  169. ^'Rusty Cage'. Underneath the Cover. 2012-04-25. Retrieved 2018-03-06.
  170. ^Portnoy, Wallis, and Siegel 1999.[page needed]
  171. ^ abLe Jeune 1951–59, 1:32–33.
  172. ^DreiblatsJaanis (2013). 'Gibbon Guitar Pro by This Town Needs Guns'. 911Tabs.Com. Retrieved 2017-03-08.
  173. ^Read 1964, 160; Stravinsky 1958, 29.
  174. ^Leonard 2011.
  175. ^Read 1964, 156.
  176. ^'All About Jazz'. Archived from the original on 15 November 2002. Retrieved 25 February 2015.
  177. ^CPR Classical (2015-05-01), Scott O'Neil on Pat Metheny's 'First Circle', retrieved 2018-02-14
  178. ^'Between Moments EP'. Archived from the original on 2013-10-04. Retrieved 2013-10-03.[verification needed]
  179. ^'Baboon Guitar Pro by This Town Needs Guns @ Ultimate-Guitar.Com'. Tabs.ultimate-guitar.com. Retrieved 2013-08-01.
  180. ^'Ganondorf Battle (Legend of Zelda: Ocarina of Time) Bass/Guitar Tab'. GameTab. August 8, 2009. Retrieved 2017-03-08.
  181. ^'New Millenium Cyanide Christ'. Retrieved 2017-06-28.
  182. ^Telemann 1728, 37; Telemann 1970, 14–15; Zohn 2004, 247: 'the ‘Brobdingnagische Gigue’—no doubt inspiredby the English jig Gulliver plays with great effort on a sixty-foot spinet—is danced in giant steps, trudging along in twenty-four semibreves to the bar.'
  183. ^Fenlon 2002, 90 & 102–106.
  184. ^'OFFICE OF STRATEGIC INFLUENCE (O.S.I.) BIOGRAPHY'. Archived from the original on 19 August 2014. Retrieved 25 February 2015.
  185. ^Tempo controlSlow down the song anytime you need it. 'This Town Needs Guns - 26 Is Dancier Than 4 Tab Online UG Plus @ Ultimate-Guitar.com'. Tp.ultimate-guitar.com. Archived from the original on 2013-09-29. Retrieved 2013-08-01.
  186. ^'Top 10 Weirdest Odd-Time Signature Songs'. www.ultimate-guitar.com. Retrieved 2019-03-15.
  187. ^Fenlon 2002, 40.
  188. ^'Matt Savage plays 'Blues in 33/8' in New York'. YouTube. 2007-01-01. Retrieved 2013-08-01.
  189. ^Fenlon 2002, 41; Fienberg 2004, 228–29 & 231–32.
  190. ^'Split Open and Melt'. Phish.net. April 10, 2013. Retrieved July 20, 2013. 'SOAM's' complex improv segment is notorious for its time signature, which involves three sections of eight eighth-notes and then a fourth section with nine eighth-notes in a steady pulse (listen to Fishman's hi-hat)
  191. ^Davis, Chip (1987). Fresh Aire II. Omaha, Nebraska, United States: Dots and Lines Ink. p. 55.
  192. ^ abcRead 1964, 170.
  193. ^Telemann 1728, 40; Zohn 2004, 247: 'The ‘Reverie der Laputier, nebst ihren Aufweckern’ . . . teases the reader with a nonsensical time signature, ​32⁄2
    4    , in an apparent allusion to the Laputians’ love for, and incompetence in, mathematics.' Dietz Degan, the editor of Telemann 1970, transcribes this piece simply in 2
    2    .
  194. ^Nilsson 1958, 8; Read 1964, 172.
  195. ^Nilsson 1958, 10; Read 1964, 172.
  196. ^Nilsson 1958, 10 & 12; Read 1964, 172.
  197. ^Nilsson 1958, 11; Read 1964, 172.
  198. ^Boulez 1957, 18.
  199. ^Boulez 1957, 19–20.
  200. ^Ives 1920, 56.
  201. ^Chávez 1972, 17–20.
  202. ^Wagner 2010, 312–13.
  203. ^Revueltas 1949, 36.
  204. ^Strait 2000, 56.
  205. ^'Don't Blame Me, It Was Henry Cowell's Idea'. 15 March 2008.
  206. ^Chávez 1972, 16, 19.
  207. ^Villa-Lobos 1927, 4:1–4.
  208. ^Banks n.d.
  209. ^Sheet music, published by New Hidden Valley Music and Casa David, copyright 1966
  210. ^Stockhausen 1967, 1, 6, and 7.
  211. ^Stockhausen 1957, 52, 60–62, 66.

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