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 |
