Anthology

Meter Anthology

Mark Gotham

This is a placeholder chapter for forthcoming lists of moments that are notable for particular metrical techniques.

In the meantime, here is a list (from Gotham 2019) of passages in mixed meters (5s, 7s, … ). The list is organised chronologically by year of composition and limited to notated music and cases in which a single mixed metrical pattern is sustained for at least four iterations such that it might realistically be internalised by a listener as a meter.
These (imperfect) criteria are intended to define a meaningful boundary for the collection guided by what meter ‘is’.

Composer Work Year Opus/number Movement Bar / range Time signature Division type Tempo Basis of mixed metre / other note
Quotes as specified; otherwise as deduced "?" When unclear Rhythmic value [in square brackets]
Escobar, Pedro de Cancionero Musical de Palacio 1516-20 Barbieri No.48 Las mis penas, madre Proportio quintupla [5/2] 3+2
Encina, Juan del Cancionero Musical de Palacio 1516-20 Barb. No. 79 Amor con fortuna Proportio quintupla [5/2] 3+2
Anon. Cancionero Musical de Palacio 1516-20 Barb. No. 102 Pensad ora’n al Proportio quintupla [5/2] 3+2
Encina, Juan del Cancionero Musical de Palacio 1516-20 Barb. No. 115 Dos ánades, madre Proportio quintupla [5/2] 3+2
Fernández, Diego Cancionero Musical de Palacio 1516-20 Barb. No. 132 De ser mal casada Proportio quintupla [5/2] 3+2
Encina, Juan del Cancionero Musical de Palacio 1516-20 Barb. No. 215 Con amores, mi madre Proportio quintupla [5/2] 3+2
Encina, Juan del Cancionero Musical de Palacio 1516-20 Barb. No. 403 Tan buen ganadico Proportio quintupla [5/2] 3+2
Tye, Christopher 21 In Nomines 1525 approx. Trust [5/2] ?
Tye, Christopher 21 In Nomines 1525 approx. Sit Fast [5/2] ?
Strogers, Nicholas In Nomine 1578 approx. [5/2]
Parsley, Osbert Spes Nostra 1578 approx. [5/2]
Parsley, Osbert In Nomine "upon 5 minims" 1578 approx. [5/2] Does not survive in full
Bull, John In Nomine 1610–25 approx. K28 All but final section "Alla breve" [Actually 11/4: 4+4+3/4] 2+2+2+2+3 [Slow]
Le Jeune, Claude Airs a III. IIII. V. et VI. parties (1ère livre) 1608 "Revecy venir du Printans" "C" [Actually 12/4] 2+3+3+2+2 Vers mesuré (stressed syllables long, unstressed short)
Le Jeune, Claude Airs a III. IIII. V. et VI. parties (1ère livre) 1608 "Cigne Je Suis" "C" [Actually 12/4] 2+2+3+2+2
Le Jeune, Claude Airs a III. IIII. V. et VI. parties (1ère livre) 1608 "Perdre le Sens" Chant "C" [Actually 12/4] 2+2+3+2+2 Vers mesuré (stressed syllables long, unstressed short)
Le Jeune, Claude Airs a III. IIII. V. et VI. parties (2ème livre) 1608 "Tel Qu'Aigle Suis "C" [Actually 12/4] 2+2+3+2+2 Vers mesuré (stressed syllables long, unstressed short)
Le Jeune, Claude Airs a III. IIII. V. et VI. parties (2ème livre) 1608 "Trinke, Trink, Trink" "C" [Actually 12/4] 3+2+2+3+2 Vers mesuré (stressed syllables long, unstressed short)
Le Jeune, Claude Airs a III. IIII. V. et VI. parties (2ème livre) 1608 "Sui ton Erre" Chant [12/4] 2+3+3+2+2 Vers mesuré (stressed syllables long, unstressed short)
Händel, Georg Friedrich Orlando (opera) 1733 HWV 31 Act 2, Scene xi ‘Mad scene’ "5/8" [Fast] Four bars of accompanied recitative only.
Haydn (attrib.) Piano Sonata No.12 1767? Hob.XVI:12 Movt 3 (Finale) "2/4" (7-time hypermetre)
Reeve, William The Gypsies (a Glee for 3 voices) 1796? "Come, stain your cheeks with nut or berry" "5/4"
Reicha, Antoine Thirty-six Fugues 1803 No.20 "5/8" 3+2 Allegretto Modelled on Alsatian Kochersberger Tanz (composer's claim)
Reicha, Antoine Thirty-six Fugues 1803 No.24 "[Cut common] et 3/4" 2+2+3 Allegro Moderato
Reicha, Antoine Thirty-six Fugues 1803 No.28 "6/8 et 2/4" 3+3+2 Allegro
Shield, William 3 String Trios, No.1 in F major 1811 3: Scherzo "5/4" 3+2 Giuoco … non troppo presto
Boieldieu, François-Adrien "La dame blanche" (opera) 1825 Act 2, No.8, Cavatine “Viens, gentille dame" Allegretto section "5/4" [3+2] Allegretto 14 bars
Chopin, Fryderyk Piano sonata No.1 1828 op.4 3 "5/4" ? Larghetto, [C]=72
Glinka, Mikhail Life for the Tsar (opera) 1834–36 Act 3, No.15 "Nuptial chorus and scene" "5/4" [2+3] Con moto, [C]=116 Based on Russian wedding songs, common time at very end.
Loewe, Carl Prinz Eugen, der edle Ritter (Ballad for voice and piano) 1844 op.92 "5/4" ? [C]=70
Alkan, Charles-Valentin Deuxième recueil d’impromptus 1849 op.32, no.2 No.1, Air à cinq temps Including trio "5/4" 3+2? Andantino
Alkan, Charles-Valentin Deuxième recueil d’impromptus 1849 op.32, no.2 No.2, Air à cinq temps "5/8" 3+2? Allegretto mesto
Alkan, Charles-Valentin Deuxième recueil d’impromptus 1849 op.32, no.2 No.3, Air à cinq temps "5/16" 3+2? Vivace
Alkan, Charles-Valentin Deuxième recueil d’impromptus 1849 op.32, no.2 No.4, Air à sept temps "7/4" 2+2+3? Andante flebile
Lizst, Franz Harmonies poetiques et religieuses III 1849/53 S.173/4 4: Pensée des morts b.1-19, 66-76 "5/4" ?
Hiller, Ferdinand Rhythmische Studien for piano 1851 op.53 No.5 "5/4" 2+3? Andante espressivo All other movement in changing, mixed metres.
Hiller, Ferdinand Rhythmische Studien for piano 1851 op.53 No.7 b.43-106, 151-193 "6/8, 9/8" 2+3 Presto
Saint-Saëns, Charles-Camille Trois morceaux 1852 op.1 No.3, Prière "11/4" ? Commodo
Bischoff, Kaspar Jacob String Trio 1853? op.5 Scherzo "5/8" 3+2 initial, also 2+3 Allegretto
Iparraguirre, José María Gernikako Arbola 1853 "5/8" 3+2 Used in Ramuntcho (below)
Brahms, Johannes Variations on a Hungarian Song 1853–56? op.21, No.2 Theme, Variations 1-8 (<) "3/4, C[4/4]" (=7/4) 3+2+2 Allegro (crotchet)
Berlioz, Hector L'enfance du Christ 1854 op.25 Conjuration of soothsayers, Scene 4 "7/4 (3/4+4/4)" 3+2+2 Allegretto, [C]=152
Hiller, Ferdinand Serenade (Piano Trio No. 4) 1855? op.64 N.5, Intermezzo b.1-32 and elsewhere "2/4, 3/4"=5/4 2+3 Non troppo vivace
Berlioz, Hector Les Troyens (opera) 1856–58 H.133 Act 2, Scene 1, "Combat de ceste" (Pas de lutteurs) b.17-29 "5/8" 3+2 (dotted line div.) Allegro, [Q]=176
Alkan, Charles-Valentin Petit Caprice, Réconciliation 1857 op.42 Central moderato section including trio "5/4" 2+3? Moderato, [C]=144 "Zorcico" [sic]
Liszt, Franz Dante Symphony 1857 S.109 Fig.R and S ff. "5/4" 2+3 Andante mosso
Liszt, Franz Dante Symphony 1857 S.109 Fig.V-X "7/4" 3+4 (dotted division) [3+2+2] Andante amoroso
Rubinstein, Anton Der Thurm zu Babel (The Tower of Babel) 1868–69 op.80 "How fiercely …" section After Fig.E "5/4" ? Allegro non troppo 12+16 bars
Brahms, Johannes Agnes (song) 1870–73 op.59/5 "3/4, 2/4" (=5) 3+2
Prokunin, Vasily (ed. Tchaikovsky) 65 Russian Folk Songs for voice and piano 1872 No.54 "2/4" alt. "3/4"=5/4 2+3 Andante Many other pieces in the collection have changing metres (usually 3/4 and 2/4) but usually not consistent (No.2,4,21). 3 bars of 7/4 in no.19; twice 2/4, 2/4, 3/4 in no.31. All short pieces (< 10 bars).
Tchaikovsky, Pyotr Il′yich String quartet No.2 in F major 1874 op.22 2 (Scherzo) "6/8[x2], 9/8" 2+2+3 Allegro guisto, [C]=112
Mussorgsky, Modest Pictures at an Exhibition 1874 Promenade b.1-8 "5/4" alt. "6/4"=11/4 5+6 Allegro guisto "Modo Russico", originally notated in 11.
Chausson, Ernest 7 Mélodies 1879-80 Op.2 no.7 7. Le Colibri "5/4" Pas vite
Chabrier, Emmanuel 10 Pièces pittoresques 1881 No.2 Mélancolie b.1-8, 15-18 "9/8" alt. "6/8" 3+2 [Q]=80
Brahms, Johannes Das Mädchen (song) 1883–84 op.95/1 "3/4, C[4/4]" (=7/4) 3+2+2
Brahms, Johannes Piano Trio in C minor 1886 op.101 3 "3/4, 2/4[x2]" (=7/4); later "9/8+6/8" (=15/8). 3+2+2; 3+2 Slow, Andante Grazioso Three cases of deviation from the pattern: 2 x 3/4 + 4 x 2/4
Borodin, Alexander Symphony No.3 1886–7 Movt.2, Scherzo (not the trio) "5/8" [2+3] Brief interruptions.
Scriabin, Alexander 24 Preludes 1888-96 op.11 no.1 1 "2/2" (actually 10/8) 5+5 [3+2+3+2] Vivace, [C]=63-76
Scriabin, Alexander 24 Preludes 1888-96 op.11 no.14 14 "15/8" 3+2+3+2+3+2 (ie 5/8 x 3) Presto, 5[Q]=68-72
Scriabin, Alexander 24 Preludes 1888-96 op.11 no.16 16 > "5/8, 4/8" ? Misterioso, [Q]=160-8 Alternating 5 and 4 for some sections; consistent 5/8 elsewhere.
Scriabin, Alexander 24 Preludes 1888-96 op.11 no.24 24 > "6/8, 5/8" 3+3+3+2 Presto, [C]=100 Alternating 6 and 5 for some sections; consistent 6/8 elsewhere.
Sibelius, Jean Kullervo 1891–92 Movt 3 To Fig.L "5/4" [3+2] Allegro Vivace Karelian rhythms
Tchaikovsky, Pyotr Il′yich Symphony No.6 1893 op.74 2 "5/4" 2+3 Allegro con grazia, [C]=144
Sibelius, Jean Six Partsongs 1893-1914*** op.18 No.1, “Sortunut ääni” "5/4" ? [Not too slowly]
Sibelius, Jean Six Partsongs 1893-1914*** op.18 No.3, “Venematka” "5/4" 3+2 [Briskly] Some 3/4s. Kalevala rhythm
Sibelius, Jean (/ Vihtol) Laulun mahti (arr. of ballad by J. Vihtol) 1895 JS 118 b.1-16 "3/4, 4/4" 3+2+2 Andante tranquillo
Sibelius, Jean Nine Songs for Chorus 1897 op.23 No. 2: Tuuli tuudittele "5/2" 3+2 [Not too sluggishly]
Coleridge-Taylor, Samuel Fantasiestücke for string quartet 1895 op.5 Movt. 2, "Serenade" Two outer sections. "5/4" ? Andante Molto
Berg, Alban Zwei Lieder 1900 version (not 1925) Schließe mir die Augen beide 9 bars "5/4" 3+2? Mässig bewegt
Scriabin, Alexander 4 Preludes 1903 op.33 no.4 4 "5/4" ? Ardito, bellicoso, [C]=152-160
Ravel, Maurice Miroirs 1904–05 Movt 5: “La vallée des cloches" b.20-27 "5/4" ? Très lent, [C]=50 Also short passagesof mixed metre in movt 1, Noctuelles
Pierné, Gabriel Ramuntcho 1907 Act 1, No.7, 10 "5/8" 3+2 Moderato, [Q]=152 Zortziko.
Pierné, Gabriel Ramuntcho 1907 Act 2, No.14 Fig. L-Q, No.15 "5/8" 3+2 Zortziko. No.15 as arrangement of 'Gernikako Arbola'.
Pierné, Gabriel Ramuntcho 1907 Act 3, No.18, 19 "5/8" 3+2
Rachmaninoff, Sergey The Isle of the Dead 1908 op.29 Outer sections: Start until Fig.13+4 (Tranquillo), and Fig.23-3 (Largo) to end. "5/8" 2+3 intially but also 3+2 later Lento, [C]=60
Stanchinsky, Alexei Prelude in Lydian Mode 1908 "21/16" 7x3 Andante
Holst, Gustav Rig Veda Collection, Group 1 1908–10 op.26, H.97 Movt 1. Battle Hymn "5/4" 3+2? Moderato alla marcia
Holst, Gustav Rig Veda Collection, Group 1 1908–10 op.26, H.97 Movt 3. Funeral Hymn "7/4" 4+3 (dotted line) Moderato maestoso Some exceptional 3+4s (marked).
Holst, Gustav Rig Veda Collection, Group 2 1909 op.26, H.98 Movt 5. To Agni b.1-18, 24ff. "5/4" (10/4) 3+2+2+3 Allegro, [C]=200 Some exceptions (usually real “5/4”s, 3+2, eg. b.19-23)
Ravel, Maurice Daphnis et Chloé 1909–12 Danse générale Fig.194 (Animé) to 218 "5/4" "3+2" Animé, [C]=168 Short interruptions, most notably the 15 bars from (209-210)
Holst, Gustav Rig Veda Collection, Group 3 1910 op.26, H.99 Movt 8. Hymn to the Waters "7/4" and "21/8" (triplets) 4+3 (dotted line) [2+2+3] Allegro, [DC]=120
Holst, Gustav Rig Veda Collection, Group 3 1910 op.26, H.99 Movt 10. Hymn to the Travellers "5/4" 3+2 Moderato, [C]=108 Exceptional 2+3s identified in places
Prokofiev, Sergey Four Pieces for Piano 1911 op.3 No.4 "Prizrak" (Phantom) "5/8" 2+3 Presto tenebroso
Medtner, Nikolai Piano Sonata No.2 in E minor ("Night Wind") 1911 op.25 no.2 Allegro (m.38ff.) "15/8" ? Allegro, [DC]=92-100
Stanchinsky, Alexei Sketch 1911–13 op.1 Movt 1 "5/4" ? Moderato
Stanchinsky, Alexei Sketch 1911–13 op.1 Movt 5 "11/8" Allegro
Stanchinsky, Alexei Sketch 1911–13 op.1 Movt 6 "17/8 (4/8+4/8+5/8+4/8)" Andante epico
Stanchinsky, Alexei Sketch 1911–13 op.1 Movt 7 "10/8" Various Adagio teneramente
Stanchinsky, Alexei Sketch 1911–13 op.1 Movt 11 "7/4" Various Allegro con spirito
Stravinsky, Igor Petrushka 1911, 1947 Tableau IV: The Shrovetide Fair "The Mummers" "5/8" ?2+3 (often conducted in 1) [Bar]=72
Stanchinsky, Alexei Piano Sonata No.2 1912 Movt 2 "11/8" 2+2+2+2+3 initially, later 3+3+3+2 Presto
Scriabin, Alexander 2 Preludes 1913 op.67 1 "5/8" 3+2 Andante
Roslavets, Nikolai String quartet No.1 1913 Movt 1 b.58-70 "10/16" 5+5 (dotted line) Allegro grazioso
Sibelius, Jean På berget 1914 op.84 no.2 "7/4 (3/4+4/4)" 3+2+2 Andante patetico One exceptional 5-time bar.
Ravel, Maurice Piano Trio in A minor 1914 op.67 1 8/8 3+2+3 [Q]=132 Zortziko
Holst, Gustav The Planets 1914 op.32 Mars "5/4" [3+2]
Holst, Gustav The Planets 1914 op.32 Neptune "5/4, 3 beats followed by 2" 3+2 Andante
Bartók, Béla 15 Hungarian Peasant Songs and Dances 1914-18 Sz. 71, BB 79 No.4 "3/4[x2], 2/4[x2]" (=10/4) 3+3+2+2 [C]=84 Hungarian folk music.
Bartók, Béla 15 Hungarian Peasant Songs and Dances 1914-18 Sz. 71, BB 79 No.6 (Ballade) First and last sections "7/8" 2+3+2 [Q]=114, 144 Hungarian folk music. NB: 223 overlay in recap.
Bartók, Béla Romanian Christmas Carols 1915 Sz.57, BB.67 Series 1 no 3 "4/8+3/8"
Bartók, Béla Romanian Christmas Carols 1915 Sz.57, BB.67 Series 2 no 9 "4/8+3/8" 2+2+3 Allegretto [C]=108 Romanian folk music.
Pierné, Gabriel Piano Quintet 1917 op.41 Movt 2, "Sur un rythme de Zortzico" Fig.26-42, 47-end "5/8" 3+2 [Q]=184 Zortziko. Also 20/8 (5/8 against 4/2) fig.42-7 and similarly in movt 3.
Ravel, Maurice Frontispiece for two pianos 1918 "5/4" and "15/8" (triplets) ? [DC]=118 Numerology?
Holst, Gustav The Perfect Fool 1918–22 op.39 Dance of spirits of earth (two sections) "7/8" 2+2+3 Moderato
Vladigerov, Pancho Bulgarian Rhapsody, ‘Vardar’ 1922, 28 op.16 Start - Fig.3, Fig.22-26 "5/16" 2+3 [SQ]=160
Stravinsky, Igor Octet for winds 1923, 52 Movt. 2, Variation E (Fig. 51-6) "5/8" Two bars of exceptions.
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 20(67) 8/8 "3+3+2"
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 31(97) "7/8" (actually 7/4) 2+3+2
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 32(98) "7/8" 2+2+3
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 33(113) "7/8" 2+2+3
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 48: In the Mixolydian Mode "5/4" Both 2+3 and 3+2
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 113: Bulgarian Rhythm 1 "7/8" 2+2+3
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 115: Bulgarian Rhythm 2 "5/8" 2+3 (also 3+2 in places)
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 148: Six dances in Bulgarian Rhythm no. 1 9/8 "4+2+3" [2+2+2+3]
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 149: Six dances in Bulgarian rhythm no. 2 7/8 "2+2+3"
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 150: Six dances in Bulgarian rhythm no. 3 "5/8" 2+3
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 151: Six dances in Bulgarian rhythm no. 4 8/8 "3+2+3"
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 152: Six dances in Bulgarian rhythm no. 5 9/8 "2+2+2+3"
Bartók, Béla Mikrokosmos 1926-39 Sz.107, BB 105 153: Six dances in Bulgarian rhythm no. 6 8/8 "3+3+2"
Puccini, Giacomo Turandot 1926 Act 1, Fig. 28, 32 (34). Ricordi VS pp. 62–63, 69-70, (72-73) "2/4, 3/4" alternating 2+3 Allegro giusto [C=126].
Pierné, Gabriel Fantaisie basque for violin and orchestra 1927 op.49 "Zortzico" section Fig. 17-21 "5/8" 3+2 [DC]=92 Zortziko
Chávez, Carlos Piano Sonata No.3 1928 Movt 4, "Claro y Conciso" 18 bars One passage of 2{1/2}/8=5/16. 2+3? [C]=126 Mixed metre throughout and even the irrational 1/12
Holst, Gustav Double Concerto for Two Violins and Orchestra 1929 op.49 Movt 2: "Lament" "5/4" ?
Holst, Gustav Double Concerto for Two Violins and Orchestra 1929 op.49 Movt 3: "Variations on a Ground" 11th and 18th variations "5/4" ?
Holst, Gustav Double Concerto for Two Violins and Orchestra 1929 op.49 Movt 3: "Variations on a Ground" 13th and 17th variations "7/4" [3+2+2]
Roslavets, Nikolai Legend 1930 Middle section "5/4" 2+3 (dotted line) Andante
Holst, Gustav A Choral Fantasia 1930 op.51, H.177 Three passages, b.70–98 (fig. IV ff.), 179–85, 201–209 "7/4" ? [C]=72 Also some ambiguous 8/4 elsewhere.
Bartók, Béla 44 Duos for 2 Violins 1931 Sz.98 No. 19: A Fairly Tale Outer sections "3+3+2/8" [8/8] "3+3+2" [Q]=136-126 [sic]
Bartók, Béla 44 Duos for 2 Violins 1931 Sz.98 No. 31: New Year's Song No.4 "5/8" actually 5/8+5/8+5/8+3/8 [18/8] 2+3+2+3+2+3+3? Allegro non troppo [5/8] = 50
Ravel, Maurice Don Quichotte a Dulcinée (song cycle) 1932–33 No.1, “Chanson Romanesque” "6/8, 3/4" [3+3+2+2+2] [Q]=208
Ravel, Maurice Don Quichotte a Dulcinée (song cycle) 1932–33 No.2, "Chanson épique" "5/4" ? [C]=66
Chávez, Carlos Sinfonía de Antígona (Symphony No.1) 1933 Various passages eg. Fig. 6-10 "5/8" 3+2 [Q]=104 Other 5s also elsewhere: fig.15,27. After Ancient Greek models?
Bartók, Béla String Quartet no.5 1934 Sz.102, BB 110 Movt 3, Scherzo: alla bulgarese "4+2+3" (9/8) 2+2+2+3 [Bar]=46 A few exceptions in the reprise
Bartók, Béla String Quartet no.5 1934 Sz.102, BB 110 Movt 3, Scherzo: alla bulgarese Trio "3+2+2+3" (10/8) 3+2+2+3 [Bar]=46
Chávez, Carlos Sinfonía india 1935–36 Various passages in the opening section and from 81ff. "5/8" 3+2 [C]=176
Chávez, Carlos Sinfonía india 1935–36 Figs 14 and 64 "7/8" 3+2+2 [C]=176 Also 8/8 (3+2+3) at Figure 15 and 65 but only 3 bars.
David Diamond Sonata for violoncello and piano 1936-8 Movt 2, Lento Assai b.1-143 (with exceptions) "5/8" 3+2 [Q]=60
Copland, Aaron Sextet 1937 b.74-81 "5/8" Both 2+3 and 3+2
Copland, Aaron Sextet 1937 b.90(Fig.28)-100 "7/8" 2+3+2 (except Cl.)
Copland, Aaron Sextet 1937 Fig.30-32(bb.116-131) "7/8" 2+2+3
Villa-Lobos, Heitor Bachianas Brasileiras no. 3 1938 Movt 2 4 bars x 2: 3rd of Fig.5 and 13th of Fig.8 "5/4" ? Quasi allegro [C]=132
Villa-Lobos, Heitor Bachianas Brasileiras no. 5 1938 Movt 1, "Aria (Cantilena)" b.1-4, Fig.3ff. (18 bars), and elsewhere "5/4" ? Adagio
Revueltas, Silvestre Sensemayá 1938 R.48, 67 Fig.1-23, 35-42 "7/8 (2/4+3/8)" 2+2+3 [C]=100
Revueltas, Silvestre Sensemayá 1938 R.48, 67 Fig.23-25 "9/8 (3/4+3/8)" 2+2+2+3 [C]=100
Revueltas, Silvestre Sensemayá 1938 R.48, 67 Fig.29-33 [21/16]: 7/8 [as before] alt. 7/16(4+3) 4+4+6+4+3 [C]=100
Bartók, Béla Contrasts 1938 Sz.111, BB 116 3: Sebes b.132-168 “8+5/8” (half-bar notated) 3+2+3+2+3 [Q]=330
Roslavets, Nikolai 24 Preludes for violin and piano 1941–42 Movt 4 Con moto sections "5/4" 3+2 Con moto
Roslavets, Nikolai 24 Preludes for violin and piano 1941–42 Movt 8 "4/4+3/4" 2+2+3 Allegretto
Roslavets, Nikolai 24 Preludes for violin and piano 1941–42 Movt 9 "5/8" 3+2 Presto
Roslavets, Nikolai 24 Preludes for violin and piano 1941–42 Movt 19 "4/8+3/8" 2+2+3 Moderato scherzando
Schoeck, Othmar Unter Sternen (Under the Stars) 1941-43 op.55 Trost der Kreatur (Heft 1) b.2ff. "3/4+2/4" [8/4] 3+3+2 Ruhig
Prokofiev, Sergey Piano Sonata No. 7 1942 op.83 Movt. 3 ("Precipitato") "7/8" 2+3+2 Precipitato
Hindemith, Paul Ludus Tonalis 1942 Preludium last 8 measures [= Postludium first 4] "15/8" Solenne, broad [DC]=50-54
Hindemith, Paul Ludus Tonalis 1942 Movt 4: Fugue Secunda in G "5/8" Both 2+3 and 3+2 [Q]=200
Piston, Walter Passacaglia for piano 1943 "5/8" 3+2 Andantino [Q]=72
Alberto Ginastera 12 American Preludes for piano 1944 No. 5: In the First Pentatonic Minor Mode "7/8" 2+2+3 [Q]=108
Copland, Aaron Appalachian Spring 1944 Reh. 31–32 "2/4, 5/8" alternating [9/8] 2+2+3+2 (dotted line) [C]=126
Britten, Benjamin Peter Grimes (opera) 1945 op.33 End of Act 1, "Old Joe Has Gone Fishing" Fig.79-83 "7/4" "2+2+3" Con slancio, [C]=266
Villa-Lobos, Heitor Bachianas Brasileiras No. 9 1945 Pt 2: Fugue "11/8"
Ginastera, Alberto Suite de danzas Criollas 1946, 56 Movt 3 "11/8 (6/8+5/8)" Both 2+3 and 3+2, then 3+2
Copland, Aaron Clarinet Concerto 1948 379-391 "2/4, 3/4" alternating [5/4] 2+3 [C]=144
Villa-Lobos, Heitor Fantasia 1948 Movt 3, "Très Animé" Fig.0-7, 10-12 "7/4 (3/4+4/4)" 3+2+2 Très Animé
Bernstein, Leonard Symphony No. 2: The Age of Anxiety 1949, 65 Part I. Variation IV: Più mosso "5/8" 3+2 [DC]=66
Bernstein, Leonard Symphony No. 2: The Age of Anxiety 1949, 65 Part I. Variation X: Più mosso "[Cut common time], 3/4" (=7/4) 2+2+3 [M]=92
Bernstein, Leonard Symphony No. 2: The Age of Anxiety 1949, 65 Part IIb, Masque Fig. 35 "2/4+3/8" 2+2+3
Bernstein, Leonard Symphony No. 2: The Age of Anxiety 1949, 65 Part IIc, Epilogue Fig. J 7/4 (4+3) 2+2+3 With serenity
Britten, Benjamin A Spring Symphony 1949 op.44 Movt 7: ‘Waters Above!’ "5/4" ? Molto moderato e tranquillo (c=63)
Shostakovich, Dmitri Twenty-Four Preludes and Fugues 1950–51 op.87 Fugue 12 in g# minor "5/4" Both 2+3 and 3+2 Allegro [C]=152
Shostakovich, Dmitri Twenty-Four Preludes and Fugues 1950–51 op.87 Prelude 14 in eb minor "7/4" ?3+3+2 and 2+2+3 Adagio [C]=84
Shostakovich, Dmitri Twenty-Four Preludes and Fugues 1950–51 op.87 Fugue 17 in Ab major "5/4" ? Allegretto [C]=116
Shostakovich, Dmitri Twenty-Four Preludes and Fugues 1950–51 op.87 Fugue 19 in Eb major "5/4" ?2+3 Moderato con moto, [C]=144
Ligeti, György Musica Ricercata 1951–53 No. 8 "7/8" (x2=14/8) 2+3+2+3+2+2 See Six bagatelles for wind quintet
Britten, Benjamin Gloriana (opera) 1952–3, 66 op.53 Act 1, Scene 1, No.2: The Tournament Fig. M-end (16 bars) "5/4" 2+3? Slowly moving, C=60 "Green Leaves Are We"*
Britten, Benjamin Gloriana (opera) 1952–3, 66 op.53 Act 1, Scene 1, No.8: Ensemble of Reconciliation Fig. Aa-end (13 bars) "5/4" 2+3? Green Leaves*
Britten, Benjamin Gloriana (opera) 1952–3, 66 op.53 Act 1, Scene 2, No.2: The Queen's Song All (21 bars) "5/4" ? Slowly and dignified, [C]=60
Britten, Benjamin Gloriana (opera) 1952–3, 66 op.53 Act 3, Scene 1, No.4: The Dressing-Table Song All "5/4" ?
Britten, Benjamin Gloriana (opera) 1952–3, 66 op.53 Act 3, Scene 3, No.7: Epilogue Fig. Bb-end (13 bars) "5/4" 2+3? Green Leaves*
Ligeti, György Six bagatelles for wind quintet 1953 IV "7/8" (x2=14/8) 2+3+2+3+2+2 Presto ruvido, [bar]=76 3x anomalous 2 and 3/8s. Same material as Musica Ricercata, No.8
Britten, Benjamin Canticle III ("Still Falls the Rain") 1954 op.55 Theme and Variation IV "5/4" ?
Bernstein, Leonard Serenade 1954 Movt I, "Phaedrus: Pausanias" 2nd of Fig.M to N, Fig. U "2/4+3/8" 2+2+3 Allegro marcato [Q]=176
Bernstein, Leonard Serenade 1954 Movt IV, "Agathon" b.5ff "5/16" (with dotted line divisions) Both 2+3 and 3+2 Adagio [SQ]=84
Bernstein, Leonard Serenade 1954 Movt V, "V. Socrates: Alcibiades" Fig.2 "5/4" (with dotted line divisions) Both 2+3 and 3+2 [C]=92
Bernstein, Leonard On the waterfront 1954 Fig. c.2-10 [Cut common time] and 3/4 2+2+3 Presto barbaro
Shostakovich, Dmitri Piano Concerto No.2 1957 op.102 3 Second subject (bb***) 7/8 2+2+3 Fast
Bernstein, Leonard West Side Story 1957 No.7: "America" From b.46 "6/8 (3/4)" 3+3+2+2+2 Tempo di Huapango (fast) Basis: Huapango
Lutosławski, Witold Five Songs 1957,8 No. 3: Zima (Winter) b.1-10 [5/8] 2+3
Stravinsky, Igor Threni, id est Lamentationes Jeremiae Prophetae 1958 "De Elegia Tertia: 3. Solacium" bb.2-5 "10/8" ? [DC]=60
Britten, Benjamin Cantata academica, Carmen basiliense 1959 op.62 Movt 5: Duettino "5/8" Both 2+3 and 3+2 Grazioso, [Q]=180
Britten, Benjamin Missa Brevis in D 1959 Op. 63 Gloria "7/8" 3+2+2 (mostly) [C]=126
Britten, Benjamin Missa Brevis in D 1959 Op. 63 Agnus Dei "5/4" 3+2 [C]=60
Copland, Aaron Nonet 1960 Fig.32 "5/16" 3+2 4 bars only
Copland, Aaron Nonet 1960 Fig.37 "5/4" 3+2 (dotted line) 4 bars only
Desmond, Paul Take Five 1960 "5/4" 3+2 Moderately fast [C]=176
Brubeck, Dave Blue Rondo a la Turk 1960 Outer sections "9/8 (2+2+2+3/8)" 2+2+2+3 Lively [Q]=378
Brubeck, Dave Three's a Crowd 1962 "7/4" ? Moderately [C]=168
Brubeck, Dave Far More Blue 1961 "5/4" 3+2 Medium blues [C]=160
Brubeck, Dave Castillian Drums 1962 "5/4" 3+2 Fast blues [C]=230 Frequent hemiola on the 3
Brubeck, Dave Countdown 1962 "5/4" 3+2 Moderately Fast Boogie [C]=192
Brubeck, Dave Castillian Blues 1962 "5/4" 3+2 Fast blues [C]=200 Frequent hemiola on the 3
Brubeck, Dave Unsquare Dance 1962 "7/4" 2+2+3 Moderately Fast
Barber, Samuel Piano concerto 1962 Movt iii, Allegro molto Start-Fig.8 and Fig.12-end. "5/8" "2+3" [Bar]=72 [initially, other tempos later]
Barber, Samuel Piano concerto 1962 Movt iii, Allegro molto Fig.8-12 "5/8" "3+2" [Bar]=46
Britten, Benjamin War Requiem 1962 Op.66 2: Dies Irae Fig.17-18, 19-20, 21-22, 23-24, 52-56. "7/4" 2+2+3 Quick, [C]=160
Britten, Benjamin War Requiem 1962 Op.66 2: Dies Irae (Confutatis) Fig.45-8(9) "5/4" 3+2? Quick, [C]=132
Britten, Benjamin War Requiem 1962 Op.66 5: Agnus Dei “5/16” (“10/16”) 2+3, 3+2 Slow, [SQ]=80
Britten, Benjamin War Requiem 1962 Op.66 6: Libera me, boys choir section Fig.128-131 "2/2 + 3/2" (= 5/2) 2+3 [C]=60
Britten, Benjamin Curlew River 1964 op.71 Fig.30/61 "5/16" 2+3 Allegro
Britten, Benjamin Curlew River 1964 op.71 Fig.69/143 "7/4" ? Largamente Ensemble parts
Brubeck, Dave Time changes 1964 Unisphere "10/4" 3+2+3+2 Fast and happy [C]=c.192 Transcribed and edited for solo piano by Howard Brubeck
Brubeck, Dave Time changes 1964 World’s Fair Several passage in this configuration; many exceptions “3/4+3/4+3/4+4/4” [13/4] 3+3+3+4 Fast [C]=c.264 Transcribed and edited for solo piano by Howard Brubeck
Bernstein, Leonard Chichester Psalms 1965 Part 1 b.11-end(117) "7/4", "[Cut common] + 3/4" 4+3 [2+2+3] Allegro molto
Bernstein, Leonard Chichester Psalms 1965 Part 3 b.20-57 "10/4" "2+3+2+3" Peacefully flowing
Bourgeois, Derek ‘Serenade’ 1965 op.22 Fig.0-4, 6-end "11/8" "3+3+2+3" Piacevole, [DC]=76 Anomalous bars at end of each section.
Bourgeois, Derek ‘Serenade’ 1965 op.22 Fig.4-6 "13/8" "3+3+2+2+3" Piacevole, [DC]=76
Reich, Steve Reed Phase 1966 [5/4] ? [C]=132-160 Also suggestion of 5/8 (5 note cell)
Brubeck, Dave The light in the wilderness 1968 Movement I Fig.C-E, G-H, J-K, N-O, P-End "5/4" 3+2 [C]=104 Frequent hemiola on the 3
Brubeck, Dave The light in the wilderness 1968 Movement Iic "5/4" 3+2 Slowly-freely Frequent hemiola on the 3
Brubeck, Dave The light in the wilderness 1968 Movement Vb and VI "5/4" 3+2 Fairly Fast [C]=168 Frequent hemiola on the 3
Brubeck, Dave The light in the wilderness 1968 Movement VII Fig.L -N, c.R-T "4/4 + 3/4"=7/4 2+2+3 [C]=160
Brubeck, Dave The light in the wilderness 1968 Movement VIIIb Fig.E-R "4/4+4/4+2/4"=10/4 [C]=116
Brubeck, Dave The light in the wilderness 1968 Movement VIIIb Fig.R-V, X-Y "5/4" 3+2 "A little slower" [than [C]=116] Frequent hemiola on the 3
Rautavaara, Einojuhani Piano Sonata No. 1 1969 op.54 Movt 2 From b.6 "8/8" 3+2+3 [DC]=126
Rautavaara, Einojuhani Piano Sonata No. 2 1970 op.64 Movt 1 "8/8" 3+2+3 [Bar]=60
Barber, Samuel The Lovers 1971 op.43 Movt II, Lithe Girl, Brown Girl Outer sections "5/8" Both 2+3 and 3+2
Rutter, John Gloria 1974 Movt 3 b.135-54 (Fig.31-2) "5/8" 3+2 [C]=144
Brubeck, Dave La fiesta de la posada 1976 Movement 7: Behold! The holy one. to fig.F "7/4" "2+2+3" (dotted line) With excitement [C]=c.120
Brubeck, Dave La fiesta de la posada 1976 Movement 14: God’s Love Made Visible Except last 4 bars "5/4" 3+2 With excitement [C]=c.120 Frequent hemiola on the 3
Ligeti, György Hungarian Rock (Chaconne) 1978 "9/8" and "2+2+3+2" "2+2+3+2" [Bar]=50 Stronger suggestion of 2+3+2+2 in places.
Reich, Steve Octet (Eight Lines) 1979 (83) "5/4" 3+2 [C]=176-84
Ligeti, György Horn trio 1982 Movt 2, Vivacissimo molto ritmico 4/4 (3+3+2) [sic] and "323" for the ostinato "3+3+2" and "3+2+3" Vivacissimo molto ritmico [Bar]=60 See Études, No.4: "Fanfares"
Ligeti, György Horn trio 1982 Movt 4, Lamento "5/8" 3+2 (notation) Adagio, [Q]=78
Andriessen, Louis Trepidus 1983 "5/8" Both 2+3 and 3+2 [C]=100
Ligeti, György Études, No.4: "Fanfares" 1985 No. 4 Ostinato and large portions of the other part "3+2+3/8" (8/8) "3+2+3" [Bar]=63 See Horn trio
Weir, Judith Illuminare, Jerusalem 1985 From b.2 "9/8" alt. "6/8"=15/8 (5) 3+2
Brubeck, Dave Nocturnes 1987 Going to Sleep "5/4" 3+2 Lyrically [C]=80
Brubeck, Dave Nocturnes 1987 Quiet as the Moon "5/4" 3+2 Reflective Frequent hemiola on the 3
Brubeck, Dave Nocturnes 1987 Five for Ten Small Fingers "5/4" With tender feeling but steady [C]=88
Maxwell Davies, Peter Concerto for Trumpet and Orchestra 1988 Movt 1 Start and Fig.D "4/4+3/8" "2+2+2+2+3" [C]=c.60
Rihm, Wolfgang In-schrift 1995 b.191-271 "5/4" Both 2+3 and 3+2
Ligeti, György Hamburg Concerto 1998–99, rev. 2003 1: Praeludium "12/8=2+3+4+3/8" 2+3+2+2+3 [DC]=76
Ligeti, György Hamburg Concerto 1998–99, rev. 2003 3: Aria, Aksak, Hoketus b.12-end "9/8=4+3+2/8" 2+2+3+2 [C]=160
Ligeti, György Hamburg Concerto 1998–99, rev. 2003 5: Spectra "16/8=3/8+3/4+3/8+2/4" 3+2+2+2+3+2+2 [Q]=96
Ligeti, György Hamburg Concerto 1998–99, rev. 2003 7: Hymnus "5/4" 2+3+3+2 (two bars) Andante maestoso e misterioso
Matthew, Colin Pluto, the Renewer 2000 "5/4" 3+2 (notation) Prestissimo scorrevole, [C] not less than 168
Roth, Alec Ponticelli 2007 Movt 1: ‘Flat Bridge’ "10/8" Mostly 3+3+2+2 Allegro ritmico, dancing
Dove, Jonathan Missa Brevis 2009 Sanctus "5/8" 3+2 (notation) Spirited [Q]=220
Dove, Jonathan Missa Brevis 2009 Agnus Dei "5/4" 3+2 (notation) Gently moving [C]=104

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