User:Wilhelm von Hindenburger/Timesig1

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


 * 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.
 * 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, except for the trio section, which is in Allegretto.


 * 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.
 * 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.
 * 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 Pieces de Clavecin by Francois 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).
 * 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.


 * 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.
 * Divided Arpeggios, No. 143 from Mikrokosmos by Béla Bartók, for one bar, but incorrectly written as.
 * "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, but the finale includes one bar of.
 * 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 time.
 * 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 no. 2 by Roger Sessions, at measure 178.
 * Piano Sonata No. 3 by Carlos Chávez, in six bars of the first movement.
 * Tzigane by Maurice Ravel, in four measures, the first of which is right before rehearsal 27.
 * Zipangu (1980) by Claude Vivier in several measures.


 * Alchymia by Thomas Adès has a measure of +.


 * Amor dammi quel fazzolettino by Andrew Violette, for one measure in the left hand of the second piano part.


 * Carmina Burana by Carl Orff, in the movement Fortune plango vulnera.
 * 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.
 * 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 time.


 * Mädchentotenlieder, by Bo Nilsson, at bar 11.
 * Piano Sonata no. 2 by Roger Sessions, at measure 257.


 * Contrapunctus by Mark Andre.
 * Mädchentotenlieder, by Bo Nilsson, in bar 9.
 * Piano Sonata No. 1 by Charles Wuorinen, in bar 43 of part 1.


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


 * Káťa Kabanová, by Leoš Janáček. Act II is in from rehearsal number 20 to just before rehearsal number 24; act III is in  for four bars before rehearsal number 27 and six bars before rehearsal number 28, followed by a mixture of  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 in the Bischoff edition; however, the symbol Tempus perf prol min dim.svg (the mensuration sign for "tempus perfectum, prolatio minor, diminutum") appears in the first edition of 1731, and  =  in the autograph manuscript. This time signature is unusual for gigues, which are usually in  or.
 * Piano Sonata No. 3 by Sigfrid Karg-Elert, in one measure.


 * Comme le vent, first of the Douze études dans toutes les tons mineurs, Op. 39, by Charles-Valentin Alkan.
 * Requiem Canticles by Igor Stravinsky, for the last measure of the Prelude.
 * The Rite of Spring by Igor Stravinsky. is used in the concluding "Sacrificial Dance".


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


 * 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.
 * 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 " ".


 * Abraham and Isaac by Igor Stravinsky.
 * Apollo by Igor Stravinsky, near rehearsal mark 23.


 * Cantata No. 1 by Anton Webern, in the second movement.
 * 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 + a few measures after rehearsal mark 4.
 * Donna Diana Overture, by Emil von Reznicek.
 * 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.
 * 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.
 * 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.


 * 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.


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


 * 5 Motets by Peter Maxwell Davies.


 * Abraham and Isaac by Igor Stravinsky.
 * 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.
 * 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.


 * Cantata No. 1 by Anton Webern, in the first movement.


 * Carmina Burana by Carl Orff, in the movement Ave formossisima.
 * Piano Sonata No. 1 by Charles Wuorinen, in its last two measures.


 * 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 " ".


 * Piano Sonata No. 1 by Charles Wuorinen, at measure 162 in part 1 (written ).

Upper number of 8

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


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


 * 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 measures, a single bar of, followed by a one bar return of  before repeating the pattern.
 * Chaconne by Andrew Violette, at measures 55 and 109.
 * "Damage Control" by John Petrucci has several bars in.
 * "I Ejaculate Fire" by Dethklok. Bars 81, 83, 85, and 88 are in.
 * 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 (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.
 * L'Oeuvre d'orgue by Jehan Alain, in the first movement of the Suite and in the third of the Trois Danses.
 * The Rite of Spring by Igor Stravinsky, in the tableau "Mysterious Games of the Maidens", the bar before rehearsal 99 is in.
 * De Staat by Louis Andriessen. Bars 686–87 are in.
 * String Quartet No. 2, Op. 36 (1945), by Benjamin Britten. Movement I, bars 3 and 12 after rehearsal K are in.
 * 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 (divided ) at rehearsal N.


 * Cantata No. 1 by Anton Webern, at measure 51 in the third movement.
 * Concertino by Igor Stravinsky, at rehearsal mark 14.


 * Concerto for Orchestra by Béla Bartók. Movement IV has three bars of 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.
 * 36 Fugues, Op. 36 by Anton Reicha. No. 28 is in.
 * Mikrokosmos by Béla Bartók.
 * No. 103, "Minor and Major," has two measures, the first grouped and the second as.
 * No. 140, "Free Variations," in some places.
 * No. 151, "Six Dances in Bulgarian Rhythm" 4, is in.
 * No. 153, "Six Dances in Bulgarian Rhythm" 6, is in.
 * 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
 * Movement IV, bars 204, 207, 210, 213 are in.
 * Petrushka by Igor Stravinsky. One bar before and five bars after rehearsal 4 superimposes a bar of in piccolo 1 & 2, ob. 1 & 2, and trumpet 1, and piccolo 1 & 2, ob. 1–3, cornet 1 & trumpet 1, respectively against  in the rest of the orchestra.
 * Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in.
 * 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.
 * Symphony No. 1 by Gustav Mahler. In Movement IV, the bar before rehearsal number 40 is in.
 * Symphony No. 3 by Peter Maxwell Davies. Third movement has one bar of before rehearsal X.
 * Threni by Igor Stravinsky. Bars 83–84, 91, and 165 are in.


 * Abraham and Isaac by Igor Stravinsky, at measure 159.
 * Agon by Igor Stravinsky. Measure 423 is in parenthesized.
 * Canticum Sacrum by Igor Stravinsky, at measures 71-72.


 * The Cry of Anubis, for tuba and orchestra by Harrison Birtwistle. Bars 33, 36, and 45–46 are in.
 * The Flood by Igor Stravinsky. Bars 406, 414, 422, 427, 432, 440, and 448 are in time, all divided.
 * Histoire du soldat by Igor Stravinsky has one bar in time, at the fourth bar following rehearsal 35, in the movement "Ragtime".
 * Requiem Canticles by Igor Stravinsky. The interlude has bar 156 in time.

Upper number of 9
Time signatures that group nine beats into are very common in music. This section only lists other groupings, such as.


 * Agon by Igor Stravinsky, at measure 167. Although other measures of in the same section are subdivided, this measure is.
 * Concertino by Igor Stravinsky, one measure after rehearsal mark 14 (subdivided ).


 * "The Count of Tuscany" by Dream Theater. The verse riff is in, with a rhythm of.
 * "I Wanna Be a Movie Star" by Bill Wurtz. The main groove is in, but also includes measures in ,,,, and.
 * "Kissing the Beehive" by Wolf Parade has its verses in.
 * Lonely Child (1980) by Claude Vivier has in measure 142.
 * Requiem Canticles by Igor Stravinsky has a measure of, grouped as , in the movement Libera Me.


 * "Apocalypse in " by Genesis. Penultimate movement of the "Supper's Ready" suite, rhythm section plays a riff as, organ solo plays polymetrically over this (sometimes , sometimes .)
 * "Big Lie Small World", by Sting is in with varying division.
 * "The Crunge" by Led Zeppelin. The main groove is in, grouped +.
 * Estancia by Alberto Ginastera. The refrain of "Los peones de hacienda", at rehearsal numbers 62, 65, 67, 68, 69+3, and 70 is marked " ( – )"; the remainder is variously in, , , and.
 * "I Hung My Head", by Sting is in.
 * Mikrokosmos by Béla Bartók
 * No. 148, "Six Dances in Bulgarian Rhythm" 1, is in.
 * No. 152, "Six Dances in Bulgarian Rhythm" 5, is in.
 * "Niška Banja", SATB choral arrangement by Nick Page of a Serbian Gypsy dance, is in.
 * "Scatterbrain" by Jeff Beck, from the album Blow by Blow, contains multiple sections in.
 * "VROOOM VROOOM" by King Crimson contains a few measures in during the bridge.


 * Lonely Child (1980) by Claude Vivier has in measures 70, 87, 97, etc.
 * Piano Sonata no. 2 by Roger Sessions, at measure 337 (grouped ).
 * Requiem Canticles by Igor Stravinsky has a measure of grouped as.


 * Un Vitrail et des Oiseaux by Olivier Messiaen uses.


 * 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.
 * "Just Like You Imagined" by Nine Inch Nails.
 * Lonely Child (1980) by Claude Vivier has in measure 141.
 * "Playing in the Band" by the Grateful Dead (notated as ).
 * "Rabbit" by This Town Needs Guns has parts in.
 * "Retreat! Retreat!", by 65daysofstatic is partially in.
 * String Quartet No. 2, Op. 36 (1945), by Benjamin Britten. Movement I, fourth bar after rehearsal K ("tranquillo, lusingando") is in.
 * "Testostyrannosaurus" by Hail the Sun, in some parts.
 * "Unisphere" (1964) by The Dave Brubeck Quartet.
 * "Wanderlove" by Mason Williams.


 * 3 Danses from L'Oeuvre d'orgue by Jehan Alain, in the second dance.
 * "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.
 * Piano Sonata no. 2 by Roger Sessions, at measure 230.
 * Sketch, Op. 1 No. 7, by Alexei Stanchinsky.
 * Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky. "Solacium", part 3 of "De Elegia Tertia".


 * Concerto for Piano, Clarinet, and String Quartet by Roy Harris.


 * Étude, Op. 35, no. 12 in E major, for piano, by Charles-Valentin Alkan. (grouped as  )
 * Etude No. 1 by Tigran Hamasyan.


 * "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 time.
 * "Eight Ball, Coroner's Pocket" by Hail the Sun, intro is composed in, and.
 * "Eleven Four", by Paul Desmond and recorded by the Dave Brubeck Quartet.
 * In Nomine IX, for harpsichord, by John Bull., though it is not notated as such, either in the original manuscript or the new edition.
 * Mädchentotenlieder, by Bo Nilsson. Bar 74 is in time.
 * 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.
 * "Testostyrannosaurus" by Hail the Sun, in some parts.
 * "Whipping Post", by the Allman Brothers Band, begins with a two-bar riff.


 * Bachianas Brasileiras No. 9, by Heitor Villa-Lobos. Movement II is in, grouped as +.
 * "Blockhead", by Devo. The verses are in time.
 * 2 Canzonas with Dances, Op. 43, by Nikolai Medtner. Canzona No. 1 is in.
 * 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, the chorus has one bar in , and after two bars of a bar in.
 * "Happy With What You Have To Be Happy With" by King Crimson contains sections in.
 * "Here Comes the Sun" (1969), written by the Beatles' George Harrison. The song features in the verses and a compound sequence of      in the bridge, phrasing interludes that Harrison drew from Indian music influences.
 * "In Re Con Moto Et Al" by Charles Ives uses.
 * "Larks' Tongues in Aspic, Pt. 1", by King Crimson. The song is in when the violin enters, then switches to . 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, other parts are in.
 * The race results screen from Mario Kart 64, composed by.
 * "Man-Erg" (1971), by Van der Graaf Generator.
 * Piano Sonata No. 2 in G major by Alexei Stanchinsky. Movement II is in.
 * A próle do bébé No. 2, by Heitor Villa-Lobos. The first and last measures of the fourth movement are in, divided into or , and.
 * The chorus of "ProzaKc Blues" by King Crimson includes measures of and.
 * "Puedo Escribir" by Sixpence None The Richer is in
 * Sagat's theme from Street Fighter II (video game), composed by Isao Abe is entirely in.
 * "Serenade", a wedding recessional by Derek Bourgeois. The beginning and ending sections are in.
 * Sketch, Op. 1 No. 5, by Alexei Stanchinsky.
 * "Skrting on the Surface" by the Smile.
 * "7empest" by Tool mostly alternates between and  time.
 * "Trapped in the Wake of a Dream" by Mudvayne (chorus in )
 * "Upstart" written by Don Ellis and performed by the Don Ellis Orchestra
 * "Where but for Caravan Would I?" by Caravan.


 * Concerto for Piano, Clarinet, and String Quartet by Roy Harris.


 * Lonely Child (1980) by Claude Vivier has several measures of (m. 95, 105, etc.).
 * Piano Sonata no. 2 by Roger Sessions, for some measures in the first movement.


 * Concerto for Piano, Clarinet, and String Quartet by Roy Harris has a measure of in the second movement.


 * Piano Sonata No. 1 by Charles Wuorinen, at measure 161 of part 1 (written ).


 * Piano Sonata No. 32 in C minor, Op. 111, by Ludwig van Beethoven. Movement II from bars 48 to 64.


 * "The Great Divide" by Don Ellis.
 * Lonely Child (1980) by Claude Vivier has a measure of as its opening.
 * "Rabbit" by This Town Needs Guns, in some sections.
 * Requiem Canticles by Igor Stravinsky, in measure 276 (grouped )
 * De Staat by Louis Andriessen. Bars 356 and 517.
 * "Starless" (1974), by King Crimson.
 * "World's Fair" (1964) by The Dave Brubeck Quartet.


 * "The Becoming" by Nine Inch Nails begins in this time signature.
 * "Electric Sunrise" by Plini
 * "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 or, and . Two measures in the ninth movement, "O lobozinho de vidro", are also in this signature.
 * 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 . Verses in.
 * 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).


 * Piano Sonata no. 2 by Roger Sessions, at measure 154 of the first movement.


 * The Terminator main theme, by Brad Fiedel.


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


 * American Song Set by Andrew Violette, for two measures in one of the songs.


 * Concerto for Piano, Clarinet, and String Quartet by Roy Harris.


 * "Chionoblepharou pater Aous" [Father of the bright-eyed Dawn], Hymn to the Sun, by Mesomedes of Crete (grouped )
 * Concerto for Piano, Clarinet, and String Quartet by Roy Harris.
 * Sections of "Endless Dream" by Yes.
 * 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.
 * "Tubular Bells" by Mike Oldfield. The first riff in is made of two bars. The first bar is in, the second bar is in.
 * "The Eight Miracle" by Bob Curnow. Measures 1-81, 129-161, 249-281, and 393-422 are all in.


 * 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.
 * Lonely Child (1980) by Claude Vivier has in measure 104.
 * The Phantom of the Opera (1986) by Andrew Lloyd Webber: "Notes" and "Notes II" each contain multiple sections, divided
 * Piano Sonata no. 2 by Roger Sessions, at measure 100 of the first movement.
 * Robert Browning Overture, by Charles Ives includes a measure.
 * De Staat by Louis Andriessen. Bars 501 and 535–36, divided (in b. 501 some layers are in  and ).
 * String Quartet No. 1 (1949), by Leon Kirchner includes measures.


 * Piano Sonata No. 1 by Charles Wuorinen, at measure 163 of part 1 (written ).


 * Concerto for Piano, Clarinet, and String Quartet by Roy Harris.


 * "Panda" by This Town Needs Guns, in some sections. It also includes other meters like.
 * "Seven Teens", by Lionel Loueke.


 * "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     , but with the  time signature written as well).
 * "Trapped in the Wake of a Dream" by Mudvayne, verses


 * Concerto for Piano, Clarinet, and String Quartet by Roy Harris.


 * 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.


 * "Birds of Fire" by Mahavishnu Orchestra. The guitar plays while the drums play . The violin from time to time plays.
 * 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.


 * American Song Set by Andrew Violette. One of the songs ends in and another song has  in the piano's right hand against  in the piano's left hand and voice.
 * 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.
 * 4 Etudes, Op. 2, by Sergei Prokofiev. The second étude uses in one hand against  in the other.
 * Goldberg Variations, by Johann Sebastian Bach. Variation 26 uses in one hand against  in the other, exchanging hands at intervals until the last five bars where both hands are in.
 * 5 Klavierstücke, Op. 23 by Arnold Schoenberg, third piece, measures 26 to 30.


 * "33 222 1 222" by Don Ellis. Its title represents the subdivision:


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


 * "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 and the second verse is in ).

20

 * Piano Sonata No. 1 by Charles Wuorinen. Measure 155 of part 2 is in.
 * Threni, id est Lamentationes Jeremiae Prophetae, by Igor Stravinsky In "Sensus spei", part 2 of "De Elegia Tertia", bar 4 is in time.

21

 * "The Art Of Dying" by Gojira (2008) cycles from to  to  (grouped ) 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.
 * "In Re Con Moto Et Al" by Charles Ives uses.
 * In the Dead of the Night suite by U.K., "contains an instrumental refrain in ".
 * "Keep It Greasy" by Frank Zappa on Joe's Garage (the second verse is in ).
 * Master of Puppets by Metallica features measures that can be interpreted as.

22

 * "The First Circle" from the album First Circle by the Pat Metheny Group. Composed by Pat Metheny and Lyle Mays.

24

 * American Song Set by Andrew Violette. One of the songs is in and two other songs have some measures in  in the piano's right hand against  in the piano's left hand and voice.
 * Amor dammi quel fazzolettino by Andrew Violette has a passage of in the first piano against  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.
 * Carmina Burana by Carl Orff has (written as ) in the movement Veris leta facies.
 * Suite in E Minor, HWV 438 by George Frideric Handel uses for the Gigue.
 * The Well-Tempered Clavier, Book 1 by Johann Sebastian Bach. The upper stave of Prelude No. 15 is in (The bottom stave is in ).

25

 * "How's This for Openers?" by Don Ellis.
 * "Memory Daydreams Lapses" by OSI.
 * "Tenemos Roads", by National Health includes "some extremely intricate passages in ".

27

 * "Goliath" by Karnivool.

29

 * "March of the Pigs" by Nine Inch Nails is partially in.
 * Reverie in Prime Time Signatures by Robert Schneider has a measure of.
 * "The Undertow", by 65daysofstatic is in.

30

 * American Song Set by Andrew Violette. One of the songs has in the piano's right hand against  in the piano's left hand and voice.

31

 * Athesie, by The Hirsch Effekt. The song is in, grouped as.
 * "Fishing Frenzy" from Splatoon 2.

32

 * The main section of "Vardavar" by Tigran Hamasyan is in, grouped as.
 * "Variations for Trumpet" by Don Ellis has one section in.

33

 * "Blues in " by Matt Savage.
 * "Bulgarian Bulge" by Don Ellis.
 * "In Re Con Moto Et Al" by Charles Ives.
 * "Split Open and Melt" by Phish has a jam section in.

35

 * "Entertain Me" by Tigran Hamasyan contains a repeating melody in, overlayed on top of the main meter.
 * "Nairian Odyssey" by Tigran Hamasyan contains a solo section in, divided variously as +  +  and.

36

 * American Song Set by Andrew Violette. One of the songs has a measure in in the piano's right hand against  in the piano's left hand and voice and another has the same, but with  instead of.
 * Organbook by Andrew Violette has.

42

 * "Song for Melan and Rafik" by Tigran Hamasyan uses.

43

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

47

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

48

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

53

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

256

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

Fractional time signatures

 * Bicinium by Charles Wuorinen has a measure of.


 * Driftwood Suite, for piano, by Gardner Read uses, , and.
 * Hill-Song I and II by Percy Grainger contain measures of and.
 * Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann. "Reverie der Laputier, nebst ihren Aufweckern" is in.
 * Lincolnshire Posy by Percy Grainger. Movement V, "Lord Melbourne", uses and.
 * Mädchentotenlieder, by Bo Nilsson.
 * Bar 83 is in time.
 * Bar 97 is in time.
 * Bar 123 is in time.
 * Bar 112 is in time.
 * Le marteau sans maître, by Pierre Boulez. Movement III "L'Artisanat furieux".
 * Bar 3 is in time.
 * Bars 24, 35, and 43 are in time.
 * Piano Piece 2 by Andrew Violette has a measure of.
 * Piano Sonata, Op. 43, by Harry Farjeon has three measures of in the first movement.
 * Piano Sonata No. 2, Concord, Mass., 1840–1860, by Charles Ives. In movement III "The Alcotts", bar 20 is in time.
 * Piano Sonata No. 3 by Carlos Chávez. Movement IV has measures in, , and.
 * Piano Sonata No. 3 by Andrew Violette has, , , , , , , , , , , , and.
 * "Schism" by Tool is described by the band as largely in and includes numerous other times.
 * Sensemayá by Silvestre Revueltas includes three bars in.
 * Study in Sonority by Wallingford Riegger contains several bars.
 * Study No. 23 by Charles Ives has.
 * Touch Piece, for piano, by Gardner Read uses, , and.
 * "Upstart" by Don Ellis is in (originally written in ).

Irrational time signatures

 * Bicinium by Charles Wuorinen has a measure of.


 * Berceuse from The Exterminating Angel by Thomas Adès has and.
 * Contrapunctus by Mark Andre has, , , , , , , , , and.
 * The Exterminating Angel Symphony by Thomas Adès has, , , and in the first and third movements.
 * The Four Quarters by Thomas Adès has, , , , and.
 * Glaubst du an die Unsterblichkeit der Seele? (1983) by Claude Vivier has, , , , , , , , , , , and.
 * I'Itoi Variations by Kyle Gann. Bar 275 is in time, bar 277 is in  time, and bar 299 is in  time.
 * In Seven Days by Thomas Adès has a measure of.
 * I Open and Close, the sixth part of Fictions by Richard Barrett, has and.
 * Lemma-Icon-Epigram by Brian Ferneyhough has, , , , , , , , , , , , , , and.
 * Luxury Suite from Powder Her Face by Thomas Adès has and.
 * Piano Concerto by Thomas Adès has, , , , , , , , , , and.
 * Piano Quintet by Thomas Adès has, , , , , , , , , , , , , , , , , , , , , , , , , , 3×, 4×, and 5×.
 * Piano Sonata No. 1 by Charles Wuorinen has at measure 83 and  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.
 * Superscriptio by Brian Ferneyhough has, , , , , , , , , , , , , , , , , , , and.
 * Traced Overhead by Thomas Adès has, , , , , , , , , and.

Combined unusual signatures

 * Anyone Who Had a Heart, by Burt Bacharach uses, , and.
 * Bicinium by Charles Wuorinen has, , , , , , , , , , , , , , , , , and (written ).
 * Black Tea by Andrew Violette has, , , , , and.
 * "Butterflies, Hummingbirds", No. 5 from Twelve New Etudes by William Bolcom, has parenthesized time signatures of, , and.
 * "O cachorrinho de borracha" (The Little Rubber Dog), No. 4 from A prole do bebe No. 2 by Heitor Villa-Lobos mixes, , , and with the usual signatures  and.
 * 20 Caprices and Rhythmic Studies by Émile Jaques-Dalcroze.
 * No. 1 has.
 * No. 2 has.
 * No. 3 has, , , , , (5+4), , , , , , , and.
 * No. 4 has, , , and.
 * No. 5 has and.
 * No. 6 has, , , and.
 * No. 8 has, , , and.
 * No. 9 has, , , , , and.
 * No. 10 has, , , and.
 * No. 11 has, , , , , and (written as ).
 * No. 15 has, , , and (beamed 2+2+2+3).
 * No. 16 has, , , , , , and.
 * No. 17 has.
 * No. 19 has, , (beamed 2+2+2+3), and.
 * No. 20 has, , , and.
 * Charon by Richard Barrett has, , , , , , , , , , , , , , and.
 * Chichester Psalms by Leonard Bernstein uses irregular and,  notated as , and.
 * The Death of the Hired Man by Andrew Violette has, , , , , , , , , , and
 * Earth, the fifth part of Fictions by Richard Barrett, has, , , , , , , , , , , , , , , and.
 * Emily Dickinson's Book of the Dead by Andrew Violette has, , , and.
 * The Exterminating Angel Symphony by Thomas Adès has, , , , , and.
 * Fantasy by Andrew Violette has, , , and.
 * "Firth of Fifth": Introduction, by Tony Banks of Genesis, mixes duple and quadruple meters with and  signatures.
 * Intermezzo by Andrew Violette has, , , , , , , , , , and.
 * I Open and Close, the sixth part of Fictions by Richard Barrett, has, , , , , , , , , , , , , , and.
 * "I Say a Little Prayer" by Dionne Warwick uses two measures of, one measure of and two measures of  for verses and  for its chorus.
 * K.G.L.W. by King Gizzard and the Lizard Wizard increments through, , , , , , , , , , , , , and.
 * Klavierstück IX (1954–55/61) by Karlheinz Stockhausen uses, , , , and.
 * Lemma-Icon-Epigram by Brian Ferneyhough has, , , (in an additive time signature), , , , , , , ,  (in various groupings such as ), and.
 * Lieder vom Wasser, the tenth part of Fictions by Richard Barrett, has, , , , , , , , , , , , , , and.
 * The Long and the Short by Charles Wuorinen has, , (in additive time signatures such as +), ,  (subdivided as +'+'+), , , , , , , , , , , , , , , , and.
 * Love Duet by Andrew Violette has, , (grouped ), , , and.
 * Organ Sonata by Andrew Violette has, , , and.
 * Pastorale by Andrew Violette has and.
 * Piano Concerto No. 5 by Kaikhosru Shapurji Sorabji has, , (six dotted quarter notes), , , , , , , , , , and.
 * Piano Sonata No. 1 by Kaikhosru Shapurji Sorabji has, , , , , , , , , , , and.
 * Piano Sonata No. 1 by Andrew Violette has, , , and.
 * Piano Sonata No. 2 by Charles Wuorinen has, , , , , , , , , , (grouped ), , , , , , , , , , , , and  (written as ).
 * Piano Sonata No. 3 by Andrew Violette has (in additive time signatures such as +),,  (in additive time signatures such as +), , , , , , , ,  (grouped ), , , , , , , , , , , , , , , , , , , , , , ,  (written as ), , , , , , , , , , , and.
 * Piano Sonata No. 3 by Charles Wuorinen has +,, , , , , , , , , , (grouped ), , , , , , , and.
 * Piano Sonata No. 4 by Charles Wuorinen has, , , , , (both  and ), , , , , , and.
 * Pli selon pli by Pierre Boulez.
 * I. Don:, , , , , , , , , , , , and.
 * II. Improvisation I:, , , , , , and.
 * III. Improvisation II:, , , , , , , , , and.
 * IV. Improvisation III:, , , , , and.
 * V. Tombeau: and.
 * Quirl by Brian Ferneyhough has, , , , , , , , , , , , , , , , , and.
 * Quintet No. 1 by Kaikhosru Shapurji Sorabji has, , , (five dotted quarter notes), , , , , , , , , , , and.
 * Salve Regina, the second of 4 Madrigals by Andrew Violette, has, , , , (+), , and.
 * Sonata for Cello and Piano by Elliott Carter has, , , , , and.
 * Storm Suite from The Tempest (also known as The Tempest Symphony) has, , , , and.
 * String Quartet No. 1 by Elliott Carter has (as part of an additive time signature),, , , , , , ,  (written as ), , ,  (written as ), , , , , , , and.
 * String Quartet No. 2 by Elliott Carter has, , , , , , , , , , and.
 * String Quartet No. 3 by Elliott Carter has, (in an additive time signature), , , , , , , ,  (in an additive time signature), , , and.
 * String Trio, Op. 20 by Anton Webern has, , , , and.
 * Structures by Pierre Boulez.
 * Ia:, ,
 * Ib:, , , , , , , , , , , , , , , , ,
 * Ic:, ,
 * II, Chapter 1:, , , , , , , ,
 * II, Chapter 2:, ,
 * Superscriptio by Brian Ferneyhough has, , , , , , , , , , , and.
 * Suite from The Tempest for violin and piano has, , , , , and.
 * Thrak by King Crimson switches between, and throughout the head section.
 * Traced Overhead by Thomas Adès has, , , , , , , and.
 * Tract, the eighth part of Fictions by Richard Barrett, has, , , , , , , , , , , , , , , , , , , , , , , , , , , and.
 * Zeitmaße by Karlheinz Stockhausen uses, , , , , , , , , , , , , , and.