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 |
