A Nightmare to Remember, by Dream Theater.Lonely Child (1980) by Claude Vivier has several measures in 1.The Four Quarters by Thomas Adès has a measure of 1Ĩ just before rehearsal mark 3 in the first movement.Carmina Burana by Carl Orff, in the movement Fortune plango vulnera.Zipangu (1980) by Claude Vivier has several measures in 1Ĥ time, including measures 3, 13, 63, etc.Violin Concerto by Thomas Adès has a few measures of 1.Tzigane by Maurice Ravel has four measures of 1Ĥ, the first of which is right before rehearsal 27.3 by Sigfrid Karg-Elert has a passage in 1 Piano Quintet by Thomas Adès has a measure of 1Ĥ in the string parts just before rehearsal mark 4.Piano Concerto by Thomas Adès has a measure in 1.
Petrushka by Igor Stravinsky, the bar before rehearsal 17 is in 1.There are isolated 1Ĥ bars in the sixth, tenth, and eleventh movements.
On an Overgrown Path, by Leoš Janáček. Music at Sunset (夕阳箫鼓) by Li Yinghai (黎英海) has a measure of 1. Metropolis Part 1: The Miracle and the Sleeper, by Dream Theater. Lonely Child (1980) by Claude Vivier has 1. The Four Quarters by Thomas Adès has a passage in 1. 697, by Franz Liszt and completed by Leslie Howard. Fantasy on Themes from Mozart's Figaro and Don Giovanni, S. "The Eynsham Poacher", a traditional song in the arrangement by Dave Pegg, most of the tune is in 12. The Exterminating Angel Symphony by Thomas Adès has 1. "Etincelles," the first movement of Suite Bizarre by Joseph Achron. 143 from Mikrokosmos by Béla Bartók, has a measure in 1 Carmina Burana by Carl Orff, in the movement Swaz hie gat umbe. Berceuse from The Exterminating Angel by Thomas Adès has 1. " Ancestors" by Björk off the 2004 album Medúlla utilizes 1. 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 Bars 3, 10, and 22 of the third movement are in 1 Rapsodie nègre by Francis Poulenc, third movement, "Honoloulou", contains some bars of 1. Polaris by Thomas Adès has a measure of 1. Bars 251 to 262 ( Presto giocoso) are in 1 1 by Francis Poulenc, from 8 Nocturnes, FP 56. La Langeur, from Le follie francaise ou les dominos from Pieces de Clavecin by Francois Couperin. Act III contains some 1Ģ bars between rehearsal numbers 5 and 8. Movement III, Bar 240 (fifth bar before rehearsal number 42) is in 1 60 from Mikrokosmos by Béla Bartók, has a single measure in 1 Third bar of rehearsal 46 and third bar of rehearsal 48 are in 1 Movement II is in Prestissimo 1ġ, except for the trio section, which is in Allegretto 6 The third movement, Improvisation II sur Mallarmé, has 1 Leopardi Fragments by Peter Maxwell Davies. Entr'actes and Sappho Fragments by Harrison Birtwistle has a measure of 1. 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 4Ĥ time, with each variation lasting 2 + 3⁄ 4 bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one. 
Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti.Ī perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. The conventions of musical notation typically allow for more than one written representation of a particular piece. "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. This is a list of musical compositions or pieces of music that have unusual time signatures. You can help by adding missing items with reliable sources. This is a dynamic list and may never be able to satisfy particular standards for completeness.
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