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→‎17/4 or 17/8: added the instrumental "17/8", by Edison's Lab and Billy Sherwood, which is entirely in the time signature of 17/8
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* "[[(Theme from) Valley of the Dolls]]" by [[André Previn]] and [[Dory Previn]]. Verse changes every measure 4/4 + 3/4 + 2/4 + 4/4 + 4/4 <ref>{{cite web|url=http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0035333# |title=Theme from "Valley of the Dolls |publisher=Musicnotes, Inc. |date= |accessdate=2012-04-14}}</ref>
* "[[(Theme from) Valley of the Dolls]]" by [[André Previn]] and [[Dory Previn]]. Verse changes every measure 4/4 + 3/4 + 2/4 + 4/4 + 4/4 <ref>{{cite web|url=http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0035333# |title=Theme from "Valley of the Dolls |publisher=Musicnotes, Inc. |date= |accessdate=2012-04-14}}</ref>
* [[Alexei Stanchinsky]]'s Sketch, Op. 1 No. 6 (17/8, written as 4/8 + 4/8 + 5/8 + 4/8, but with the 17/8 time signature written as well).<ref name="stanchinskyop1" />
* [[Alexei Stanchinsky]]'s Sketch, Op. 1 No. 6 (17/8, written as 4/8 + 4/8 + 5/8 + 4/8, but with the 17/8 time signature written as well).<ref name="stanchinskyop1" />
* "17/8" by [[Edison's Lab]].<ref>{{cite web|url=http://www.http://www.bondegezou.co.uk/wnyesm.htm</ref>


===Partially in 17/4 or 17/8===
===Partially in 17/4 or 17/8===

Revision as of 10:46, 16 August 2013

This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources.

Listed here are musical compositions or pieces in Western 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 signify visually tempo for slow movements in symphonies, sonatas, and concerti. The Piano Sonata No. 14 in C-sharp minor "Quasi una fantasia", Op. 27, No. 2, by Ludwig van Beethoven, popularly known as the Moonlight Sonata, includes two examples: in the relatively slow first movement the predominant rhythm is in triplet eighth notes (quavers), whereas in the second movement the basic tempo is faster but the music is notated in quarter notes (crotchets) and half notes (minims), giving a visual clue to the nature of the phrasing. The first movement could be written in 12/8 and still convey the same rhythm, phrasing, and tempo. Similarly, the second movement could be notated in 3/8 instead of 3/4 without changing the phrasing.[2] More to the point of the present article, a perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length, but is notated in ordinary 4/4 time, with each variation lasting 2¾ bars, and therefore commencing each time one crotchet earlier than the preceding one.[3]

These examples are grouped by time signature, and listed alphabetically by title.

1/√π/√⅔

  • "No. 41a" from Study for Player Piano by Conlon Nancarrow was written in a time signature whose numerator is one over the square root of pi and whose denominator is the square root of ⅔.[4]

⅗/4

Partially in ⅗/4

⅔/2 and ⅔/4

Partially in ⅔/2 or ⅔/4

1/³√π/³√13/16

  • "No. 41b" from Study for Player Piano by Conlon Nancarrow was written in a time signature whose numerator is one over the cube root of pi and whose denominator is the cube root of 13/16.[4]

⅘/4

Partially in ⅘/4

1/1, 1/2, 1/4, 1/8, or 1/16

Partially in 1/1, 1/2, 1/4, 1/8, or 1/16

4/3/2 or 4/3/4

Partially in 4/3/2 or 4/3/4

√2/2

2/1

Partially in 2/1

2/16

2½/4

Partially in 2½/4

e/π

  • "[Study] No. 40" for two non-synchronized pianos, version for player piano (punching score) by Conlon Nancarrow contains the mathematical constant e beats of pi.[22]

3/32

  • "Lilliputsche Chaconne", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann.[23]

3½/4

Partially in 3½/4

32/2/4

  • "Reverie der Laputier, nebst ihren Aufweckern", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann.[24]

3⅔/4

4½/4

Partially in 4½/4

5/1, 5/2, 5/4, 5/8, 5/16, 5/32, 5/64, 5/128, or 5/256

Main article: Quintuple meter

5½/4

Partially in 5½/4

6/2

Partially in 6/2

  • "In the First Pentatonic Major Mode (En el 1er modo pentáfono mayor)", no. 12 from 12 American Preludes for piano (1944) by Alberto Ginastera (bar 23 in 6/2).[26]
  • "Molto adagio" (Adagio for Strings), second movement of Samuel Barber’s String Quartet, op. 11, bars 15 and 26 are in 6/2.[27]

√42/1

6½/8

Partially in 6½/8

  • Schism by Tool is described by the band as largely in 6.5/8 and includes numerous other times.[28]

7/1, 7/2, 7/4, 7/8, 7/16, 7/32, 7/64, 7/128, or 7/256

Main article: Septuple meter

8/4 or 8/8

Note: 8/4 or 8/8 may 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.
  • "Six Dances in Bulgarian Rhythm" 4, from Béla Bartók's Mikrokosmos (no. 151), is in 3 + 2 + 3.[29]
  • "Six Dances in Bulgarian Rhythm" 6, from Béla Bartók's Mikrokosmos (no. 153), is in 3 + 3 + 2.[30]

Partially in 8/4

  • "Allegro calmo senza rigore", first movement of String Quartet No. 2, op. 36 (1945), by Benjamin Britten. Bars 3 and 12 after rehearsal K are in 8/4.[31]
  • A Choral Fantasia, op. 51, by Gustav Holst. Bars 36–69, 142–48, 173–78, and 191–98 are in 8/4.[32]
  • "Damage Control" by John Petrucci has several bars in 8/4.[33]
  • "I Ejaculate Fire" by Dethklok. Bars 81, 83, 85, and 88 are in 8/4.[34]

9/8 (not ordinary triple-compound)

  • "Niska Banja," SATB choral arrangement by Nick Page of a Serbian Gypsy dance, is in 2 + 2 + 2 + 3[35]
  • "Six Dances in Bulgarian Rhythm" 1, from Béla Bartók's Mikrokosmos (no. 148), is in 4 + 2 + 3.[36]
  • "Six Dances in Bulgarian Rhythm" 5, from Béla Bartók's Mikrokosmos (no. 152), is in 2 + 2 + 2 + 3.[37]

Partially in 9/8, 9/4, or 9/2

  • "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.)[38]
  • "Blue Rondo à la Turk" (1958) 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[39]
  • "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.[40]
  • "Los peones de hacienda", from the ballet Estancia by Alberto Ginastera. The refrain, at rehearsal numbers 62, 65, 67, 68, 69+3, and 70 is marked "9/8 (3/4 - 3/8)"; the remainder is variously in 6/8, 3/4, 5/8, and 7/8.[41]
  • "Voices" by Dream Theater. Opening riff in 9/8 broken down as 4/4 + 1/8.[42]

10/4, 10/8 or 10/16

Partially in 10/4, 10/8 or 10/16

11/4 or 11/8

Partially in 11/4 or 11/8

13/4 or 13/8

Partially in 13/4 or 13/8

15/8 or 15/16

Other than compound quintuple meter:

Partially in 15/4, 15/8, or 15/16

17/4 or 17/8

Partially in 17/4 or 17/8

18/8 or 18/16

See also: Sextuple meter
  • Barcarollette, No. 12 of the 49 Esquisses by Charles-Valentin Alkan (18/8, as compound sextuple meter).[89]
  • "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.[90]
  • "Moderato", no. 2 (1909) from Four Etudes, op. 2, by Sergei Prokofiev (18/8 in one hand against 4/4 in the other).[91]
  • "Variatio 26, a 2 Clav.", from the Clavierübung, Vierter Theil, Aria mit 30 Veränderungen ["Goldberg Variations"], by Johann Sebastian Bach. (18/16 in one hand against 3/4 in the other, exchanging hands at intervals until the last five bars where both hands are in 18/16).[92]

19/4, 19/8, or 19/16

Partially in 19/4, 19/8, or 19/16

20/4 or 20/8

Partially in 20/4 or 20/8

21/4, 21/8, 21/16, or 21/32

See also: Septuple meter

Partially in 21/4, 21/8, 21/16, or 21/32

  • "The Art Of Dying" by Gojira (2008) cycles from 4/4 to 2/4 to 21/16 (grouped 5 + 5 + 5 + 3 + 3) and repeats this pattern during the intro and beginning of the song. [101]
  • "Deux moulins", from Airs a III. IIII. V. et VI. parties (première livre, 1608) by Claude Le Jeune (first two sections, Rechant à 3 and Réprise à 5, are barred as 21/4; the last section of the piece is in 20/4).[98]
  • In the Dead of the Night suite by UK, "contains an instrumental refrain in 21/16".[62]
  • "Keep It Greasy" by Frank Zappa (On the studio album, first verse and guitar solo are counted in 19/16 and another part is in 21/16).[102]
  • Klavierstück IX (1954–55/61) by Karlheinz Stockhausen. Bars 6, 17, 120, and 149 are in 21/8 time.[103]
  • Sonata for Cello and Piano (1948), by Elliott Carter, includes 21/32 time.[104]

22/8

23/4 or 23/16

Partially in 23/4 or 23/16

24/1 or 24/16

25/8 or 25/16

Partially in 25/8 or 25/16

26/8

32/8

Partially in 32/8

33/8

Partially in 33/8

34/8

Partially in 34/8

42/8

Partially in 42/8

59/48

Partially in 59/48

  • Evol by Damian LeGassick alternates a rhythm notated as five beats in the time of seven with another in 59/48 time.[117]

87/8

Partially in 87/8

142/8

Partially in 142/8

Unusual time signature combinations

See also

Notes and references

  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. ^ Ted Ross, The Art of Music Engraving and Processing: A Complete Manual, Reference and Text Book on Preparing Music for Reproduction and Print, 3rd edition, revised (Miami: Hansen Books; Santa Rosa, CA: NPC Imaging/Shattinger International Music Corporation, 2001),[page needed].
  3. ^ Britten 1945b.
  4. ^ a b c d Hocker n.d.
  5. ^ Nilsson 1958, 10; Read 1964, 172.
  6. ^ Boulez 1957, 19–20.
  7. ^ Nilsson 1958, 10 & 12; Read 1964, 172.
  8. ^ Nilsson 1958, 11; Read 1964, 172.
  9. ^ Free scores by Piano Sonata No. 5 (Scriabin) at the International Music Score Library Project (IMSLP). Leipzig: Edition Peters, 1971, plate E.P. 12588.
  10. ^ Copland 1945, 56–59.
  11. ^ a b c d Read 1964, 158.
  12. ^ Nilsson 1958, 3–15.
  13. ^ Dream Theater Keyboard Anthology. Transcribed by Chris Romero and Jordan Baker 2004, 30.
  14. ^ Dream Theater Black Clouds and Silver Linings Authentic Guitar TAB. 2009, 7
  15. ^ Borodin [n.d., ca. 1920], 51–94. IMSLP scans available.
  16. ^ Boulez 1957, 18.
  17. ^ Nilsson 1958, 8; Read 1964, 172.
  18. ^ Johann Bach (1985). Hans Bischoff (ed.). Six Partitas and Overture in French Style. Alfred Music Publishing. p. 92. ISBN 978-0-7692-8604-4.
  19. ^ Alkan n.d. (ca.1861),[page needed].
  20. ^ a b c d http://petrucci.mus.auth.gr/imglnks/usimg/f/f3/IMSLP14991-Stanchinksy_-_12_Sketches.pdf 12 Sketches, Op. 1 by Alexei Stanchinsky at the International Music Score Library Project
  21. ^ a b c d e f g Read 1964, 170.
  22. ^ Nancarrow n.d.
  23. ^ 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. . . ."
  24. ^ 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.
  25. ^ Strait 2000, 56.
  26. ^ Ginastera 1946, 1:12–13.
  27. ^ Barber 1943, 11–12.
  28. ^ Wagner, Jeff (2010). Mean Deviation. Bazillion Points. pp. 312–313. ISBN 978-0-9796163-3-4.
  29. ^ Bartók 1940, 6:45–48.
  30. ^ Bartók 1940, 6:51–55.
  31. ^ Britten 1946, 14–15.
  32. ^ Holst 1977, 4–6, 18–19, 23–24, 27–30.
  33. ^ Suspended Animation Authentic Guitar TAB, transcribed by Jordan Baker. 2005, 81-85, 88-89, 105-107
  34. ^ Dethalbum III Authentic Guitar TAB, transcribed by Jordan Baker. 2013, 10
  35. ^ Page 1989.
  36. ^ Bartók 1940, 6:35–38.
  37. ^ Bartók 1940, 6:48–50.
  38. ^ Seconds Out Songbook 1978 Wise Publications
  39. ^ Dryden, Ken. "Blue Rondo a la Turk", Allmusic: "unusual time signature of 9/8".
  40. ^ Dream Theater Black Clouds and Silver Linings Authentic Guitar TAB, transcribed by Jordan Baker. 2009, 138
  41. ^ Ginastera 1955, 17–20.
  42. ^ a b c Odd time signatures demonstration by Mike Portnoy
  43. ^ Eddie 2007, 62.
  44. ^ Evan Banks, "Humming the Bassline: Just Like You Imagined. American Observer (29 September 2009).
  45. ^ The Best of Yanni; 11 selections from his top recordings. Hal Leonard Publishing. 1993. p. 16. {{cite book}}: |first= missing |last= (help); Cite has empty unknown parameter: |coauthors= (help)
  46. ^ John J. Wood, Eric Nay and Ihor Slabicky, "The Eleven and Other Rhythmic Oddities (Grateful Dead)", from the Grateful Dead FAQ
  47. ^ Liner notes to The Mason Williams Phonograph Record Warner Brothers LP, WS 1729. Burbank: Warner Brothers-Seven Arts Records, 1968.
  48. ^ "TalkBass.com".[unreliable source?]
  49. ^ Britten 1946, 14.
  50. ^ 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. Retrieved 2013-08-01.
  51. ^ Score on scribd
  52. ^ a b "External Link". 911Tabs.Com. Retrieved 2013-08-01.
  53. ^ Bars 2–5 are in 10/8 time (Stravinsky 1958, 52).
  54. ^ Uncommon Time - Television Tropes & Idioms, "[1]".
  55. ^ Le Jeune 1951–59, 2:85–88.
  56. ^ Howard Brubeck (ed.), Dave Brubeck Deluxe Piano Album, (San Francisco: Derry Music Co., 1965), pp. 22-28.
  57. ^ Villa-Lobos 1969, 3–18.
  58. ^ 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.
  59. ^ Elroy 2008.[unreliable source?]
  60. ^ Macan 1997, 48–49.
  61. ^ http://imslp.info/files/imglnks/usimg/9/9d/IMSLP15483-Stanchinksy_-_Piano_Sonata_No.2.pdf Piano Sonata No. 2 by Alexei Stanchinsky at the International Music Score Library Project
  62. ^ a b c d e f Macan 1997, 49.
  63. ^ Macan 1997, 48.
  64. ^ Mark Feldman 2000.
  65. ^ Primus (musical group), Primus Anthology: A thru N: For Guitar and Bass, transcribed by Jeff Jacobsen (New York: Cherry Lane Music, 2000), 17–20. ISBN 1575601540.
  66. ^ Nilsson 1958, 7.
  67. ^ a b Reynish, Tim. "Derek Bourgeois: An Assessment of his music in Two Parts". Retrieved November 8, 2009.
  68. ^ a b "Pops Concert Program Notes". Howard Performing Arts Center, Andrews University. March 8, 2008. Retrieved November 8, 2009.
  69. ^ Randy Poe (20 September 2006). Skydog: The Duane Allman Story. Hal Leonard Corporation. p. 131. ISBN 978-0-87930-891-9. Retrieved 11 April 2012.
  70. ^ Perkins 2000, 1:18.
  71. ^ FROMUZ - "Overlook" booklet, 8–9.
  72. ^ "The Becoming". www.ninwiki.com. Retrieved 2012-05-18.
  73. ^ "Golden Brown by The Stranglers Songfacts". Songfacts.com. Retrieved 2012-04-14.
  74. ^ Andrew Lloyd Webber, T. S. Eliot - "Cats" Hal Leonard (HL00359466), ISBN 0-88188-447-2
  75. ^ Genesis 2001, [page needed].
  76. ^ Protest the Hero, Fortress, Guitar Music: A Two Guitar Transcription.[full citation needed]
  77. ^ Davison and Apel 1974, 9; Pöhlmann and West 2001, 96–99.
  78. ^ Perkins 2000, 2:18–40 (score).
  79. ^ Jeffes, Arthur (2010-09-08), BBC Proms programme notes, 2010 season concert 73, BBC
  80. ^ a b c d Read 1964, 157.
  81. ^ Medtner 1998, 134.
  82. ^ Oldfield, Mike (2007). Changeling - Autobiography of Mike Oldfield. Virgin Books. p. 111. ISBN 978-1-85227-381-1.
  83. ^ "Theme from "Valley of the Dolls". Musicnotes, Inc. Retrieved 2012-04-14.
  84. ^ {{cite web|url=http://www.http://www.bondegezou.co.uk/wnyesm.htm
  85. ^ "Crystalline". bjork.fr. Retrieved 2012-04-14.
  86. ^ "Hollow". bjork.fr. Retrieved 2012-04-14.
  87. ^ "Moon". bjork.fr. Retrieved 2012-04-14.
  88. ^ "External Link". 911Tabs.Com. Retrieved 2013-08-01.
  89. ^ Alkan n.d. (ca.1862),[page needed].
  90. ^ a b John McLaughlin, John McLaughlin and the Mahavishnu Orchestra: John McLaughlin's Scores to 28 Classic Recordings (Van Nuys: Alfred Publishing, 2006).[citation needed] ISBN 0-7390-4255-6
  91. ^ Prokofiev 1955, 1:9–14.
  92. ^ Bach 1968, 98–99.
  93. ^ Read 1964, 159.
  94. ^ Bernhard Castiglioni Gavin Harrison Part II (video). Videos and Pictures from the Musikmesse Frankfurt 2007. www.drummerworld.com (Accessed 6 June 2010).
  95. ^ Perkins 2000, 2:1–17 (score).
  96. ^ Fenlon 2002, 112–13.
  97. ^ Portnoy, Wallis, and Siegel 1999.[page needed]
  98. ^ a b Le Jeune 1951–59, 1:32–33.
  99. ^ "External Link". 911Tabs.Com. Retrieved 2013-08-01.
  100. ^ Read 1964, 160; Stravinsky 1958, 29.
  101. ^ Leonard 2011.
  102. ^ Flans 1982.
  103. ^ Stockhausen 1967, 1, 6, and 7.
  104. ^ Read 1964, 156.
  105. ^ Interview with Lyle Mays by Mike Brannon for allaboutjazz.com, May 2001. "'First Circle' does have a little different kind of time signature. We called it 22/8…You could think of it as a bar of 12 and a bar of 10."
  106. ^ "Baboon Guitar Pro by This Town Needs Guns @ Ultimate-Guitar.Com". Tabs.ultimate-guitar.com. Retrieved 2013-08-01.
  107. ^ "Ganondorf Battle (Legend of Zelda: Ocarina of Time) Bass/Guitar Tab". GameTab. August 8, 2009. Retrieved July 15, 2013.
  108. ^ Telemann 1728, 37; Telemann 1970, 14–15; Zohn 2004, 247: "the ‘Brobdingnagische Gigue’—no doubt inspired by the English jig Gulliver plays with great effort on a sixty-foot spinet—is danced in giant steps, trudging along in twenty-four semibreves to the bar."
  109. ^ Fenlon 2002, 90 & 102–106.
  110. ^ 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. Retrieved 2013-08-01.
  111. ^ Fenlon 2002, 40.
  112. ^ "Matt Savage plays "Blues in 33/8" in New York". YouTube. 2007-01-01. Retrieved 2013-08-01.
  113. ^ Fenlon 2002, 41; Fienberg 2004, 228–29 & 231–32.
  114. ^ "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)
  115. ^ Stockhausen 1967, 7.
  116. ^ a b c Stockhausen 1967, 1.
  117. ^ Gilmore 1994, 4.
  118. ^ Pamela Winters, "Richard Thompson: Plunging the Knife in Deeper", Paste Magazine (9 June 2003).
  119. ^ Ben Folds-"Songs for Silverman, piano/vocal transcriptions Hal Leonard Corporation[citation needed].
  120. ^ "Mike Portnoy - The dance of eternity time signature & solo 1". Retrieved 2009-02-28.
  121. ^ "Demand history". Phish.net. Retrieved July 21, 2013. an instrumental mix of 4/4 and 9/8 time signatures
  122. ^ Allcock, Maartin, ed. (1998). Fairport Convention Songbook 2. Woodworm Music. pp. 56–59.
  123. ^ Banks n.d.
  124. ^ Primus (musical group), Primus Anthology: A thru N: For Guitar and Bass, transcribed by Jeff Jacobsen (New York: Cherry Lane Music, 2000), 21. ISBN 1575601540.
  125. ^ "A Headache And A Sixty-Fourth". Retrieved 2010-08-21.
  126. ^ "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).
  127. ^ "Hey Ya! - Outkast". Rolling Stone. 2004-12-09. Retrieved 2008-03-23.
  128. ^ Sheet music for "Hey Ya!" Hal Leonard Corporation, 2003.[full citation needed]
  129. ^ Sheet music, published by New Hidden Valley Music and Casa David, copyright 1966
  130. ^ Guitar School March 1994, ""Geddy Lee Bass Clinic""[full citation needed]
  131. ^ Peart, Neil (2010-10-07). "Rush - Losing It Sheet Music (Digital Download)". Musicnotes.com. Retrieved 2012-04-14.
  132. ^ "Rock Violin". Fiddlingaround.co.uk. Retrieved 2012-04-14.
  133. ^ "» Neil Peart Biography, Drum Videos and Pictures | Famous Drummers". Drumlessons.com. Retrieved 2012-04-14.
  134. ^ Allcock, Maartin, ed. (1998). Fairport Convention Songbook 2. Woodworm Music. p. 81.
  135. ^ Lloyd Webber and Rice 1970.
  136. ^ "Midnight Oil :: No Time For Games Drum Sheet Music - Quality Drum Sheet Music, Scores, Tabs". Drumscore.com. Retrieved 2013-08-01.
  137. ^ "[Powderworks] time signatures". Midnight-oil.info. Retrieved 2013-08-01.

Bibliography

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  • Alkan, Charles Valentin. n.d. (ca. 1862). Free scores by Esquisses, Op. 63 at the International Music Score Library Project (IMSLP). Paris. Simon Richault. Plate 13476.R.
  • Bach, Johann Sebastian. 1968. The Musical Offering [and] The "Goldberg Variations". Kalmus Study Scores no. 720. [N.p.]: Edwin F. Kalmus, Publisher of Music. Reprinted Melville, NY: Belwin Mills Publishing Corp.
  • Banks, Anthony. n.d. "Firth of Fifth: Introduction". Scribd.com (Accessed 22 March 2012).
  • Barber, Samuel. 1943. String Quartet, op. 11. G. Schirmer’s Edition of Study Scores of Orchestral Works and Chamber Music 28. New York: G. Schirmer.
  • Bartók, Béla. 1940. Mikrokosmos: Progressive Piano Pieces = Pièces de piano progressives = Zongoramuzsika a kezdet legkezdetétöl, 6 vols. New York and London: Boosey & Hawkes.
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  • Bernstein, Leonard. 1994. Candide: A Comic Operetta in Two Acts, Scottish Opera edition of the opera-house version (1989). Book by Hugh Wheeler, based on the satire by Voltaire; lyrics by Richard Wilbur, with additional lyrics by Stephen Sondheim, John Latouche, Dorothy Parker, Lillian Hellman, and Leonard Bernstein; edited by Charles Harmon. [New York]: Jalni Publications, Inc.; Boosey & Hawkes.
  • Bois, Rob du. 1979. Concert voor twee violen en orkest. Amsterdam: Donemus.
  • Borodin, Alexander Porfirevich. [n.d., ca. 1920]. Symphony No. 2, revised and edited by Alexander Glazunov and Nikolai Rimsky-Korsakov. Leipzig: Ernst Eulenburg. IMSLP scans.
  • Boulez, Pierre. 1957. Le marteau sans maître. Pour voix d'alto et 6 instruments. Poèmes de René Char. Philharmonia Partituren/Scores/Partitions no. 398. Vienna and London: Universal Edition.
  • Brahms, Johannes. 1972. Trios, für Klavier, Violine und Violoncello, nach Eigenschriften, Erstausgaben und Handexemplaren des Komponisten hrsg. von Ernst Herttrich; Fingersatz der Klavierstimme von Hans-Martin Theopold. Munich: G. Henle Verlag.
  • Britten, Benjamin. 1945a. Old Joe Has Gone Fishing. London: Boosey & Hawkes. ISMN 9790060014864
  • Britten, Benjamin. 1945b. Passacaglia, opus 33b, frm the opera Peter Grimes. London: Boosey & Hawkes.
  • Britten, Benjamin. 1946. Quartet No. 2 in C, op. 36. London: Boosey & Hawkes.
  • Britten, Benjamin. 1956. Canticle III (Still Falls the Rain), op. 55, for tenor, horn, and piano. Words by Edith Sitwell. London, Paris, Bonn, Cape Town, Sydney, Toronto, Buenos Aires, New York: Boosey & Co., Ltd.
  • Copland, Aaron. 1945. Appalachian Spring (Ballet for Martha). Hawkes Pocket Scores 8. London: Boosey & Hawkes.
  • Davison, Archibald T., and Willi Apel (eds.). 1974. Historical Anthology of Music, vol. 1: Oriental, Medieval and Renaissance Music. Revised edition. Cambridge: Harvard University Press. ISBN 0-674-39300-7
  • Doe, Paul (ed.). 1988. Elizabethan Consort Music: II. Musica Britannica 45. London: Stainer and Bell, published for the Musica Britannica Trust.
  • Eddie, William Alexander. 2007. Charles Valentin Alkan: His Life and His Music. Aldershot, England; Burlington, Vermont: Ashgate. ISBN 1-84014-260-X
  • Elroy, Cruise. 2008. "Irregular Meter in Video Games" (14 May). Cruise Elroy blog (Accessed 27 June 2013).[unreliable source?]
  • Fenlon, Sean. 2002. "The Exotic Rhythms of Don Ellis". DMA diss. Baltimore: Johns Hopkins University, Peabody Institute. ISBN 0-493-60448-0.
  • Fienberg, Gary Andrew. 2004. "It Doesn't Have to Be Sanctified to Swing: A Musical Biography of Don Ellis". PhD diss. Pittsburgh: Carnegie Mellon University. ISBN 0-496-86817-9.
  • Flans, Robyn. 1982. Untitled interview with Vinnie Colaiuta. Modern Drummer (November).
  • Fujita, Tetsuya, Yuji Hagino, Hajime Kubo, and Goro Sato (transcribers). 1993. The Beatles Complete Scores. London: Hal Leonard Publishing Corporation. ISBN 0-7935-1832-6
  • Genesis (musical group). 2001. Anthology. Milwaukee: Hal Leonard. ISBN 0-634-02063-3.
  • Genesis (musical group). 2002. Genesis Guitar Anthology. Hal Leonard Guitar Recorded Version. [United States]: EMI Music Pub.; Milwaukee: Hal Leonard Corporation. ISBN 0-634-02067-6.
  • Gilmore, Bob. 1994. "Icebreaker". Liner notes to Icebreaker: Terminal Velocity. Argo 443 214-2. CD recording. London: The Decca Record Company Limited.
  • Ginastera, Alberto. 1946. 12 American Preludes (Doce Preludios Americanos), 2 vols. New York: Carl Fischer.
  • Ginastera, Alberto. 1955. Estancia: Ballet in One Act and Five Scenes. Reduction for piano. Buenos Aires: Barry Editorial, Com., Ind., S. R. L.; [n.p.]: Boosey & Hawkes.
  • Ginastera, Alberto. 1974. Harp Concerto, opus 25. Hawkes Pocket Scores 1185. London: Boosey & Hawkes.
  • Gutmann, Peter. 2003. "Peter Ilyich Tchaikovsky: Symphony #6 ("Pathetique")" Classical Notes (accessed 2008-03-23).
  • Hansell, Sven, and Carlida Steffan. 2001. "Adolfati, Andrea". The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
  • Helmore, Rev. Thomas. 1879. "Accent". A Dictionary of Music and Musicians (A.D. 1450-1889) by Eminent Writers, English and Foreign, 2 vols, edited by George Grove, 1:12–18. London: Macmillan.
  • Hiley, David. 2001. “Quintuple Metre”. The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell, vol. 20:682–83. London: Macmillan.
  • Hocker, Jürgen. n.d. "Conlon Nancarrow: List of Works (English Version)". In Der Komponist Conlon Nancarrow: Leben und Werk eines mexikanischen Einsiedlers, With many English Contributions (Accessed 15 July 2013).
  • Holst, Gustav. 1973. Double Concerto, op. 49, for two violins and orchestra. Revised edition by Imogen Holst. London: Curwen Edition, Faber Music Ltd.; New York: G. Schirmer Inc. First published in 1930 by J Curwen & Sons Ltd.
  • Holst, Gustav. 1977. A Choral Fantasia, op. 51, edited by Imogen Holst. London, Zürich, Mainz, and New York: Ernst Eulenburg Ltd.
  • Holst, Gustav. 1979. The Planets: Suite for Large Orchestra, op. 32. New edition prepared by Imogen Holst and Colin Matthews. Hawkes Pocket Scores 22. London: Boosey & Hawkes.
  • Howard, Patricia. 1969. The Operas of Benjamin Britten: An Introduction. New York and Washington: Frederick A. Praeger, Publishers.
  • Le Jeune, Claude. 1951–59. Airs (1608), edited by D. P. Walker, with an introduction by Francois Lesure and D. P. Walker, 4 vols. in 3. Publications of the American Institute of Musicology: Miscellanea 1. Rome: American Institute of Musicology.
  • Leonard. 2011. "Gojira: The Art of Dying Drum Tab". Songsterr website (22 February) (Accessed 14 April 2012).
  • Ligeti, György. 1973. Sechs Bagatellen für Bläserquintett (Five parts: flute, oboe, clarinet in B-flat, horn in F, bassoon). Mainz and New York: Schott.
  • Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1970. Jesus Christ Superstar, vocal score, selections. New York: Universal—MCA Music Pub.; Miami: Warner Bros. Publications. ISBN 0-88188-541-X
  • Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1979. Evita, vocal score, selections. Melville, N.Y.: Leeds Music Corp—sole selling agent, MCA Music.
  • Macan, Edward. 1997. Rocking the Classics: English Progressive Rock and the Counterculture. New York: Oxford University Press. ISBN 978-0-19-509888-4.
  • Macdonald, Hugh. 2001. "Alkan [Morhange], (Charles-)Valentin". The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
  • Mawer, Deborah. 2000. “Musical Objects and Machines”. In The Cambridge Companion to Ravel, edited by Deborah Mawer, 47–70. Cambridge: Cambridge University Press. ISBN 0-521-64026-1 (cloth) ISBN 0-521-64856-4 (pbk)
  • Medtner, Nikolai 1998. The Complete Piano Sonatas Series I. New York: Dover Publications. ISBN 0-486-29978-3.
  • Mussorgsky, Modest Petrovich. 1914. Tableaux d'une exposition (Pictures at an Exhibition): 10 Pieces for Piano, edited by O. Thümer. [N.p.]: Augener; London: Stainer and Bell Ltd; New York: Galaxy Music Corporation.
  • Nancarrow, Conlon. n.d. [Study] No. 40 (autograph punching score). In Der Komponist Conlon Nancarrow: Leben und Werk eines mexikanischen Einsiedlers, With many English Contributions, edited by Jürgen Hocker (Accessed 15 July 2013).
  • Nice, David. 2003. Prokofiev: From Russia to the West, 1891–1935. New Haven and London: Yale University Press. ISBN 0-300-09914-2
  • Nilsson, Bo. 1958. Mädchentotenlieder, Faksimilepartitur. Vienna, Zürich, and London: Universal Edition.
  • Page, Nick. 1989. Niska Banja: Serbian Gypsy Dance, arranged for SATB choir. Doreen Rao’s Building Bridges. Common Roots Choral Music. London: Boosey & Hawkes.
  • Perkins, Wayne L. 2000. "Don Ellis' Use of 'New Rhythms' in His Compositions : The Great Divide (1969), Final Analysis (1969) and Strawberry Soup (1971)" (vol. 1); "Original Compositions: She's Only 19 (1999), Malibu Shuffle (1999) and Cruisin' P.C.H. (1999)" (vol. 2). Ph.D. diss. Los Angeles: University of California Los Angeles.
  • Pöhlmann, Egert, and Martin L. West. 2001. Documents of Ancient Greek Music: The Extant Melodies and Fragments Edited and Transcribed with Commentary. Oxford: Clarendon Press. ISBN 978-0-19-815223-1
  • Pope, Isabel, and Tess Knighton. 2001. "Fernández, Diego". The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
  • Portnoy, Mike, Robert Wallis, and Paul Siegel. 1999. Mike Portnoy: Liquid Drum Theater. 2 vols. Reissued on DVD, Color, Dolby, DVD, NTSC. 2-DVD set. Hudson Music HD-Z-LV01. [N.p.]: Hudson Music, 2001. ISBN 0-634-03829-X.
  • Prokofiev, Sergei. 1926. Сказка, Шутка, Марш, Призрак [Skazka, Shutka, Marsh, Prizrak]. (Conte, Badinage, Marche, Fantôme), op. 3, для фортепяно. Moscow: Gos. izd-vo, Muzykal’nyi sektor.
  • Prokofiev, Sergei. 1955. Sobranie sochinenii [Собрание сочинений, "Collected Works"], 20 vols. Moscow: Gos. Muzykalnoe Izd-vo.
  • Ravel, Maurice. 1934. Don Quichotte a Dulcinée. Paris: Editions Durand.
  • Ravel, Maurice. 1975. Frontispice: [pour S. P. 503 (poème du Vardar) de R. Canudo]: deux pianos [cinq mains]. Paris and New York: Éditions Salabert.
  • Read, Gardner. 1964. Music Notation: A Manual of Modern Practice. Boston: Alleyn and Bacon, Inc.
  • Richards, Paul. 1987. “Africa in the Music of Samuel Coleridge-Taylor”. Africa: Journal of the International African Institute 57, no. 4 (“Sierra Leone, 1787-1987”): 566–71.
  • Shostakovich, Dmitri. 1983. Sobranie sochinenii tom 13 [Собрание сочинений том 13, Collected works volume 13], Izdatelstvo "Muzyka" Moskva.
  • Stockhausen, Karlheinz. 1967. Nr. 4: Klavierstück IX. London: Universal Edition. (UE 13675e)
  • Strait, Thomas John. 2000. "The Rhythmic Innovations of Don Ellis: An Examination of Their Origins as Found in His Early Works". DMA diss. Greeley: University of Northern Colorado. ISBN 978-0-599-79347-7.
  • Stravinsky, Igor. 1958. Threni, id est Lamentationes Jeremiae Prophetæ. Hawkes Pocket Scores 709. London: Boosey & Hawkes.
  • Telemann, Georg Philipp (ed.). 1728. Der getreue Music-Meister. Hamburg: [Telemann]. Facsimile reprint, Basel: Musica Musica, [n.d.].
  • Telemann, Georg Philipp. 1970. Drei Duette für zwei Melodie-Instrumente. Hortus Musicus 11, edited by Dietz Degen. Kassel: Bärenreiter.
  • Tschaikowsky, Peter Ilich. [n.d.]. Symphony No. 6 (Pathétique) in B Minor, Op. 74. New York: M. Baron Co.
  • Tye, Christopher. 1967. The Instrumental Music, edited by Robert W. Weidner. Recent Researches in the Music of the Renaissance 3. New Haven: A-R Editions.
  • Villa-Lobos, Heitor. 1969. Bachianas brasileiras no. 9, pour orchestre à cordes. Paris: Editions Max Eschig.
  • Waugh, Ian. 2003. "Ten Minute Master No. 6: Time Signatures". Music Tech Magazine (May): 76–77.
  • Wiehmayer, Theodor. 1917. Musikalische Rhythmik und Metrik. Magdeburg: Heinrichshofen’s Verlag.
  • Zohn, Steven. 2004. "The Sonate auf Concertenart and Conceptions of Genre in the Late Baroque". Eighteenth-Century Music 1, no. 2:205–47.
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