List of musical works in unusual time signatures

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This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.

The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti.

A perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length but is notated in ordinary time, with each variation lasting bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one.

Upper number of 1

Enigma Variations by Edward Elgar, in Variation VII.
Entr'actes and Sappho Fragments by Harrison Birtwistle.
Leopardi Fragments by Peter Maxwell Davies.
Mixtur by Karlheinz Stockhausen.
Pli selon pli by Pierre Boulez, in the third movement.
Rhythmicana by Henry Cowell, for the entire first two movements.
String Quartet No. 2 by Easley Blackwood Jr.

Air - Homage to Sibelius by Thomas Adès.
Appalachian Spring, by Aaron Copland, at the third bar of rehearsal 46 and the third bar of rehearsal 48.
Apaisement, Op. 13 No. 1, by Ernest Chausson.
Canon with Sustained Notes, No. 60 from Mikrokosmos by Béla Bartók, in one measure.
Fünf Klavierstücke, Op. 23 by Arnold Schoenberg, at bar 9 of the second piece.
3 Gesänge aus 'Viae Inviae, Op. 23, by Anton Webern, in some parts of the second song.
Káťa Kabanová, by Leoš Janáček, for some measures in Act III between rehearsal numbers 5 and 8.
La Langeur, from Le follie francaise ou les dominos from Pièces de Clavecin by François Couperin.
Mladi by Leoš Janáček, at measure 68 of the second movement.
8 Nocturnes, FP 56 by Francis Poulenc, at bar 27 of No. 1.
Piano Sonata, Op. 43, by Harry Farjeon for a few bars in the first movement.
Piano Sonata No. 3, Op. 105, by Sigfrid Karg-Elert.
Piano Sonata No. 5, Op. 53, by Alexander Scriabin, at bars 251 to 262 (Presto giocoso).

<score sound="1"> { \new PianoStaff << \new Staff \relative c { \clef treble \tempo "Presto giocoso" \set Score.tempoHideNote = ##t \tempo 4 = 180 \time 1/2 \key e \major r4\p b' | <<{\tuplet 3/2{r4 fis'8-.(} \tuplet 3/2{a4 fis8) \\ {fis,2}>> | r4 b | <<{\tuplet 3/2{r4 fis'8-.(} \tuplet 3/2{a4 fis8) \\ {fis,2}>> | } \new Staff \relative c { \clef bass \time 1/2 \key e \major <<{g4--}\\{\tuplet 3/2 4{g8_\markup \italic "leggierissimo"[ b g] cis,![ g a,]>> | <<{dis'4--}\\{\tuplet 3/2 4{dis8[ b' g] cis,[ g a,]>>| <<{g4--}\\{\tuplet 3/2 4{g8[ b g] cis,[ g a,]>> | <<{dis'4--}\\{\tuplet 3/2 4{dis8[ b' g] cis,[ g a,]>>| } >> } </score>

Pli selon pli by Pierre Boulez, in the fifth movement.
Quartet, Op. 22, by Anton Webern, in many bars of the second movement.
Rapsodie nègre by Francis Poulenc, for some bars in the third movement, "Honoloulou".
String Quartet No. 1, by Béla Bartók, in bars 3, 10, and 22 of the third movement.
Symphony No. 1, by Edward Elgar, in the second movement.
Symphony No. 17 in G minor by Nikolay Myaskovsky, in many parts of the first movement.

Adagio 1972 by Kyle Gann, in measure 66.
Alcancías by Silvestre Revueltas, in the second movement, for some bars between rehearsal marks 24 and 32.
Carmina Burana by Carl Orff, in the movement Swaz hie gat umbe.
Clarinet Sonata by Andrew Violette, at measure 97 of the first movement.
Concerto for Piano and Wind Instruments by Igor Stravinsky, just before rehearsal mark 83.
The Death of the Hired Man by Andrew Violette.
Divided Arpeggios, No. 143 from Mikrokosmos by Béla Bartók, for one bar, but incorrectly written as .
"The Eynsham Poacher", a traditional song; in the arrangement by Dave Pegg, most of the tune is in , but the finale includes one bar of .
Fantasy on Themes from Mozart's Figaro and Don Giovanni, S. 697, by Franz Liszt and completed by Leslie Howard. Bar 431/427 is in time.
Fleurs mélodiques des Alpes, the second part of Franz Liszt's Album d'un voyageur, S. 156, in one section of the sixth piece (S. 156/13).
Valse à capriccio sur deux motifs de Lucia et Parisina, S. 401, written by Franz Liszt, contains a section in time in the right hand.
Hovenweep by Kyle Gann, in bar 116.
How Miraculous Things Happen by Kyle Gann, in bar 109.
Hyperchromatica by Kyle Gann, in the movements Futility Row, Delta Oracle, and Galactic Jamboree.
Iberia by Isaac Albéniz, in the movement Jerez.
Lonely Child (1980) by Claude Vivier, at bar 56.
Mädchentotenlieder, by Bo Nilsson, in many bars.
Metastaseis, by Iannis Xenakis, in the first 103 bars.
Metropolis Part 1: The Miracle and the Sleeper, by Dream Theater, at the third bar of rehearsal R.
On an Overgrown Path, by Leoš Janáček, for some bars in the sixth, tenth, and eleventh movements.
Petrushka by Igor Stravinsky, for the bar before rehearsal 17.
Piano Concerto No. 2 by Sergei Prokofiev, in two measures in the second movement.
Piano Sonata by Béla Bartók, in the third movement.
Piano Sonata no. 2 by Roger Sessions, at measure 178.
Piano Sonata No. 3 by Carlos Chávez, in six bars of the first movement.
The first version of Piano Sonata No. 5 by Sergei Prokofiev, for one measure in the third movement.
Pli selon pli by Pierre Boulez, in all movements except the fourth.
Tzigane by Maurice Ravel, in four measures, the first of which is right before rehearsal 27.
Zipangu (1980) by Claude Vivier in several measures.

Alchymia by Thomas Adès has a measure of +.
Amor dammi quel fazzolettino by Andrew Violette, for one measure in the left hand of the second piano part.
Black Tea by Andrew Violette.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 9.
Caprice Variations by George Rochberg, in variation 19.
Carmina Burana by Carl Orff, in the movement Fortune plango vulnera.
The Death of the Hired Man by Andrew Violette.
Last Dance by Andrew Violette.
Lincolnshire Posy by Percy Grainger, in the fifth movement, "Lord Melbourne".
Lonely Child (1980) by Claude Vivier, in several measures.
On an Overgrown Path, by Leoš Janáček, for two bars in the third movement.
Piano Sonata no. 2 by Roger Sessions, at bar 223.
Pli selon pli by Pierre Boulez, in the first and fourth movements.
Portraits in Rhythm and Portraits in Melody by Anthony J. Cirone, in Studies Nos. 12, 16, and 47.
Symphony No. 3 by Arnold Bax, at rehearsal mark 3 of the first movement.

Bicinium by Charles Wuorinen, at bars 49 and 82.

Upper number of 2

Káťa Kabanová, by Leoš Janáček. Act II is in from rehearsal number 20 to just before rehearsal number 24; act III is in for four bars before rehearsal number 27 and six bars before rehearsal number 28, followed by a mixture of and between rehearsal numbers 28 and 29, and one bar before rehearsal number 36. This time signature is unusual for gigues, which are usually in or .
Piano Sonata No. 3 by Sigfrid Karg-Elert, in one measure.

Bicinium by Charles Wuorinen, at bar 75.
Douze études pour Caisse-Claire by Jacques Delécluse, in some measures of the last piece.
Pli selon pli by Pierre Boulez, in the first movement.

Bicinium by Charles Wuorinen, at bar 47.
5 Motets by Peter Maxwell Davies.
Piano Sonata No. 3 by Sigfrid Karg-Elert, in one measure.
Rosary Sonatas, by Heinrich Ignaz Franz Biber, for part of No. 11.
Symphony No. 3 by Camille Saint-Saëns, in two sections (a total of 22 bars) at the end of the finale.
Symphony No. 4 by Charles Ives.
Russian Easter Festival Overture by Nikolai Rimsky-Korsakov, measure 668.

Abraham and Isaac by Igor Stravinsky.
Apollo by Igor Stravinsky, near rehearsal mark 23.
Bicinium by Charles Wuorinen, at bars 1, 6, 11, 18, 23, 40, 50, 54, 58, 74, and 83.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 10.
Concerto in E-flat by Igor Stravinsky has a measure of + a few measures after rehearsal mark 4.
Donna Diana Overture, by Emil von Reznicek.
Douze études pour Caisse-Claire by Jacques Delécluse, in some measures of the last piece.
Piano Sonata No. 1 by Charles Wuorinen, at measure 29 of part 1.
Toccata, Op. 10, by Niels Viggo Bentzon, in a single measure.
Variations for piano, Op. 27, by Anton Webern, movement I.

Bicinium by Charles Wuorinen, at bars 5, 36–37, 39, 52, 65, 77, and 80.
Mädchentotenlieder, by Bo Nilsson, at bar 3.
String Quartet, Op. 28, by Anton Webern in bars 28-37 of the third movement.

Upper number of 4

Carmina Burana by Carl Orff has a measure of at the start of the movement Ecce gratum.
Homenaje a Federico García Lorca by Silvestre Revueltas, for the entire first movement, "Baile" (Dance), except for one free-rhythm bar at the beginning and two at the end.
Piano Sonata No. 1 in C major, Op. 1, by Johannes Brahms. Movement II, bars 46 and 50.
Pli selon pli by Pierre Boulez, in the first movement.

Bicinium by Charles Wuorinen, at bars 38 and 42.
Symphony No. 4 by Charles Ives, for bar 102 of the third movement.
"Um Mitternacht" by Gustav Mahler (Rückert-Lieder No. 5). Bar 27 is marked " ()".
Agon by Igor Stravinsky, at measure 164.
"All You Need Is Love" by the Beatles. The main verse pattern contains a total of 29 beats, split into two measures, a single bar of , followed by a one bar return of before repeating the pattern.
Chaconne by Andrew Violette, at measures 55 and 109.
Custer and Sitting Bull by Kyle Gann, in measure 166 of part 3.
"Damage Control" by John Petrucci has several bars in .
Happy Ending (for David Garland) by Kyle Gann, in several sections.
Hyperchromatica by Kyle Gann, in the movements Delta Oracle, 2.7 Kelvin, and Liquid Mechanisms.
Lamentations and Consolations by Sergei Bortkiewicz, in some bars of Lamentation No. 1 and Consolation No. 4 (Sorrento).
Lincoln, The Great Commoner by Charles Ives.
Lonely Child (1980) by Claude Vivier has several measures of (m. 143, 182 etc.).
L'Oeuvre d'orgue by Jehan Alain, in the first movement of the Suite and in the third of the Trois Danses.
Piano Sonata by Béla Bartók, in three measures of the second movement.
String Quartet No. 2, Op. 36 (1945), by Benjamin Britten. Movement I, bars 3 and 12 after rehearsal K are in .
Study No. 22 by Charles Ives, in measures 3-4 and 18–19.
Symphony No. 3 by Peter Maxwell Davies. Movement I has two bars of (divided ) at rehearsal N.

Bicinium by Charles Wuorinen, at bar 90.
Concerto for Orchestra by Béla Bartók. Movement IV has three bars of in the strings at rehearsal 75.
Diversions for Piano Left Hand and Orchestra by Benjamin Britten.
Fancy Free by Leonard Bernstein. In the fourth number, "Pas de deux", bars 324–325, 355–357, 359–361 are in .
36 Fugues, Op. 36 by Anton Reicha. No. 28 is in .
Hesapa ki Lakhota ki Thawapi by Kyle Gann, in several measures.
Hovenweep by Kyle Gann, in bars 35, 37, and 42.
No. 103, "Minor and Major," has two measures, the first grouped and the second as .
No. 140, "Free Variations," in some places.
No. 151, "Six Dances in Bulgarian Rhythm" 4, is in .
No. 153, "Six Dances in Bulgarian Rhythm" 6, is in .
Music for Strings, Percussion, and Celesta by Béla Bartók.
Movement I, bars 1, 3, 5, 7, 9, 11, 13, 15, 19, 22, 26–27, 29, 38–40, 46, 53, 69, 71, 73, 75, 83, and 85 are in
Movement IV, bars 204, 207, 210, 213 are in .
Petrushka by Igor Stravinsky. One bar before and five bars after rehearsal 4 superimposes a bar of in piccolo 1 & 2, ob. 1 & 2, and trumpet 1, and piccolo 1 & 2, ob. 1–3, cornet 1 & trumpet 1, respectively against in the rest of the orchestra.
Piano Sonata No. 2 ("The Airplane"), by George Antheil. One of the bars is in .
Pli selon pli by Pierre Boulez, in the first movement.
Symphony No. 3 by Peter Maxwell Davies. Third movement has one bar of before rehearsal X.
Threni by Igor Stravinsky. Bars 83–84, 91, and 165 are in .

Abraham and Isaac by Igor Stravinsky, at measure 159.
The Flood by Igor Stravinsky. Bars 406, 414, 422, 427, 432, 440, and 448 are in time, all divided .
Histoire du soldat by Igor Stravinsky has one bar in time, at the fourth bar following rehearsal 35, in the movement "Ragtime".
Pli selon pli by Pierre Boulez, in the second movement.

Upper number of 9

Time signatures that group nine beats into are very common in music. This section only lists other groupings, such as .

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Agon by Igor Stravinsky, at measure 167. Although other measures of in the same section are subdivided , this measure is .
"I Wanna Be a Movie Star" by Bill Wurtz. The main groove is in , but also includes measures in ,,,, and .
"Kissing the Beehive" by Wolf Parade has its verses in .
Lonely Child (1980) by Claude Vivier has in measure 142.
Requiem Canticles by Igor Stravinsky has a measure of , grouped as , in the movement Libera Me.
"Big Lie Small World", by Sting is in with varying division.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 15 and 19 (both beamed as ).
Estancia by Alberto Ginastera. The refrain of "Los peones de hacienda", at rehearsal numbers 62, 65, 67, 68, 69+3, and 70 is marked " ( – )"; the remainder is variously in , , , and .
"I Hung My Head", by Sting is in .
"Scatterbrain" by Jeff Beck, from the album Blow by Blow, contains multiple sections in .
"Vroom" by King Crimson contains a few measures in during the bridge.
"Blue Rondo à la Turk" by Dave Brubeck is mainly in , grouped as both and .

20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 3 (grouped ).

== Upper number of 10 ==<!--**********************************************************************************************

Hyperchromatica by Kyle Gann, in bar 12 of the movement Liquid Mechanisms.
"Asphalt Meadows" by Death Cab for Cutie. Alternates with .
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 4.
"Just Like You Imagined" by Nine Inch Nails.
Lonely Child (1980) by Claude Vivier has in measure 141.
"Rabbit" by This Town Needs Guns has parts in .
"Retreat! Retreat!", by 65daysofstatic is partially in .
String Quartet No. 2, Op. 36 (1945), by Benjamin Britten. Movement I, fourth bar after rehearsal K ("tranquillo, lusingando") is in .
"Testostyrannosaurus" by Hail the Sun, in some parts.
"Unisphere" (1964) by The Dave Brubeck Quartet.
"Wanderlove" by Mason Williams.
"Diagonals" and "Parsec" by Stereolab are both in .

20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 1, 4, 8, 9, 11, and 19.
Piano Sonata No. 1 by Charles Wuorinen, at measure 170 of part 2.

20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 3 and 16.
The Death of the Hired Man by Andrew Violette.
Etude No. 1 by Tigran Hamasyan.
How Miraculous Things Happen by Kyle Gann, in bar 97.

Hyperchromatica by Kyle Gann, in bars 50 and 158 of the movement Ride the Cosmos.
Concertino by Igor Stravinsky, just before rehearsal mark 15.
Custer and Sitting Bull by Kyle Gann, in some measures (70, 72, 75, etc.) of part 3 and the beginning of part 4.
"Eleven Four", by Paul Desmond and recorded by the Dave Brubeck Quartet.
How Miraculous Things Happen by Kyle Gann, in many measures.
Mädchentotenlieder, by Bo Nilsson, in bar 74.
"Testostyrannosaurus" by Hail the Sun, in some parts.

Adagio 1972 by Kyle Gann, in measures 13 and 28.
"Blockhead", by Devo. The verses are in time.
2 Canzonas with Dances, Op. 43, by Nikolai Medtner, in Canzona No. 1.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 4.
Custer and Sitting Bull by Kyle Gann, in measure 162 of part 1 and some measures (m. 19, 61, etc.) of parts 3 and 4.
3 Danses from L'Oeuvre d'orgue by Jehan Alain, in the second dance.
"Eleven" by Primus. The song is mainly in , the chorus has one bar in , and after two bars of a bar in .
Happy Ending (for David Garland) by Kyle Gann, in bars 52, 54, and 61.
"Here Comes the Sun" (1969), written by the Beatles' George Harrison. The song features in the verses and a compound sequence of in the bridge, phrasing interludes that Harrison drew from Indian music influences.
Hesapa ki Lakhota ki Thawapi by Kyle Gann, in several measures.
"Larks' Tongues in Aspic, Pt. 1", by King Crimson. The song is in when the violin enters, then switches to . The song shifts between these metres for the remainder of the song.
"Losing It" by Rush. Intro and verses are composed out of ten bars in , other parts are in .
The race results screen from Mario Kart 64, composed by .
"Man-Erg" (1971), by Van der Graaf Generator.
Piano Sonata No. 2 in G major by Alexei Stanchinsky. Movement II is in .
A próle do bébé No. 2, by Heitor Villa-Lobos. The first and last measures of the fourth movement are in , divided into or , and .
The chorus of "ProzaKc Blues" by King Crimson includes measures of and .
Sagat's theme from Street Fighter II (video game), composed by Isao Abe is entirely in .
"Serenade", a wedding recessional by Derek Bourgeois. The beginning and ending sections are in .
Sketch, Op. 1 No. 5, by Alexei Stanchinsky.
"7empest" by Tool mostly alternates between and time.
"Trapped in the Wake of a Dream" by Mudvayne (chorus in )
"Upstart" written by Don Ellis and performed by the Don Ellis Orchestra
"Where but for Caravan Would I?" by Caravan.
"Herd Culling" by Porcupine Tree.
"War of Kalinga" by Suraj Synthesist is majorly in a . The 11 here works with inverted polyrhythm of 2 over 3 for first 8 beats & 3 over 2 for the last 3 beats. Some section also incorporates a 11 played like 5 1⁄2 (five and a half). The change of moods, breakdown and conclusion are suggested with 4 beat or un-timed parts too.

20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 3 and 16.
How Miraculous Things Happen by Kyle Gann, in bar 136.

Upper number of 13

Adagio 1972 by Kyle Gann, in measure 20.
How Miraculous Things Happen by Kyle Gann, in several measures.
"Starless" (1974), by King Crimson.
"World's Fair" (1964) by The Dave Brubeck Quartet.

Adagio 1972 by Kyle Gann, in measure 45.
Custer and Sitting Bull by Kyle Gann, in measures 194-204 of part 4.
"Electric Sunrise" by Plini
Hovenweep by Kyle Gann, in several measures.
"Odd Boy" by Mutant-Thoughts, in the verses.
A próle do bébé No. 2, by Heitor Villa-Lobos. A measure in the fourth movement, "O cachorrinho de borracha". It is divided into or , and .
De Staat by Louis Andriessen. Bar 724.
"To Negate" by Tigran Hamasyan.
"Jóga" (1997) by Björk (chorus only).
"Mission" by Suraj Synthesist is completely in a .

20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 16.

Adagio 1972 by Kyle Gann, in measure 30.

American Song Set by Andrew Violette, for two measures in one of the songs.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 3 and 16.
Concerto for Piano, Clarinet, and String Quartet by Roy Harris.
Sections of "Endless Dream" by Yes.
Happy Ending (for David Garland) by Kyle Gann, in bars 65 and 126.
"Limo Wreck" by Soundgarden.
"Perpetuum Mobile" by the Penguin Cafe Orchestra.
Piano Sonata Op. 25 No. 2, "Night Wind", by Nikolai Medtner.
"Tubular Bells" by Mike Oldfield. The first riff in is made of two bars. The first bar is in , the second bar is in .
"The Eight Miracle" by Bob Curnow, in measures 1-81, 129–161, 249–281, and 393–422.

20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in Nos. 3, 16, and 20.
Custer and Sitting Bull by Kyle Gann, in measure 131 of part 3 and some measures (m. 38, 58, 79, etc.) of part 4.
Piano Sonata no. 2 by Roger Sessions, at measure 100 of the first movement.
De Staat by Louis Andriessen. Bars 501 and 535–36, divided (in b. 501 some layers are in and ).
String Quartet No. 1 (1949), by Leon Kirchner.

Custer and Sitting Bull by Kyle Gann, in measure 76 of part 3.
"Seven Teens", by Lionel Loueke.

Adagio 1972 by Kyle Gann, in measure 52.
The intro of "Changes" by Yes.
"The Hole Pt. 1" by Noisia is described by the band as being "more or less" in this time signature.
"Hollow" by Björk.
"Moon" by Björk.
Sketch, Op. 1, No. 6, by Alexei Stanchinsky (written as , but with the time signature written as well).
Desert Sonata by Kyle Gann, in the first movement.
Mladi by Leoš Janáček, in the second movement.

Hyperchromatica by Kyle Gann, in bars 99, 101, and 102 of the movement Ride the Cosmos.
20 Caprices and Rhythmic Studies, by Émile Jaques-Dalcroze, in No. 6.
The first 38 bars of Nocturne No. 7, Op. 74 by Gabriel Fauré.

American Song Set by Andrew Violette. One of the songs ends in () and another song has in the piano's right hand against in the piano's left hand and voice.
4 Etudes, Op. 2, by Sergei Prokofiev. The second étude uses in one hand against in the other.
Goldberg Variations, by Johann Sebastian Bach. Variation 26 uses in one hand against in the other, exchanging hands at intervals until the last five bars where both hands are in .
5 Klavierstücke, Op. 23 by Arnold Schoenberg, third piece, measures 26 to 30. Its title represents the subdivision:

"Hell's Bells" by Bruford, variously subdivided as and throughout the song.
Piano Sonata No. 2 ("The Airplane"), by George Antheil, for one bar.
The main symphonic theme in Caravan's "A Hunting We Shall Go" from their 1973 album For Girls Who Grow Plump in the Night is in time, which can also be interpreted in alternating .

"Celestial Terrestrial Commuters" by Mahavishnu Orchestra.
"Keep It Greasy" by Frank Zappa on Joe's Garage (the first verse, some bridges and the guitar solo are counted in and the second verse is in ).

Hyperchromatica by Kyle Gann, in four bars of the movement Ride the Cosmos.
Happy Ending (for David Garland) by Kyle Gann, in bars 63 and 124.
Desert Sonata by Kyle Gann, in the second movement.

Upper number of 22

"The First Circle" from the album First Circle by the Pat Metheny Group, composed by Pat Metheny and Lyle Mays ().

Hyperchromatica by Kyle Gann, in the movement Ride the Cosmos.
The Well-Tempered Clavier, Book 1 by Johann Sebastian Bach, in the upper stave of Prelude No. 15 (The bottom stave is in ).

Hyperchromatica by Kyle Gann, in the movement Ride the Cosmos.

Happy Ending (for David Garland) by Kyle Gann, in bars 46, 51, 55, and 60.
"Tenemos Roads" by National Health includes "some extremely intricate passages in ".

The Death of the Hired Man by Andrew Violette has () in measures 373 and 381.

"March of the Pigs" by Nine Inch Nails.
"The Undertow", by 65daysofstatic.

Hyperchromatica by Kyle Gann, in the movement Ride the Cosmos.
"Fishing Frenzy" from Splatoon 2 and Splatoon 3 is in .
Hyperchromatica by Kyle Gann has in the movement Ride the Cosmos.
"Variations for Trumpet" by Don Ellis has one section in .

33

"Blues in " by Matt Savage ().
"Bulgarian Bulge" by Don Ellis ().
Charon by Richard Barrett has in bar 60.

35

"Entertain Me" by Tigran Hamasyan contains a repeating melody in , overlaid on top of the main meter.

37

Hyperchromatica by Kyle Gann has in the movement Spacecat.

43

Study No. 3a for Player Piano by Conlon Nancarrow uses .

Upper number more than 59

77

Charon by Richard Barrett has in bar 56.

Driftwood Suite, for piano, by Gardner Read uses , , and .
Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann. "Reverie der Laputier, nebst ihren Aufweckern" is in .
Lincolnshire Posy by Percy Grainger. Movement V, "Lord Melbourne", uses and .
Bars 24, 35, and 43 are in time.
O: Eleven Songs by Dennis Báthory-Kitsz has a section in in the second movement.
Piano Piece 2 by Andrew Violette has a measure of .
Piano Sonata, Op. 43, by Harry Farjeon has three measures of in the first movement.
Piano Sonata No. 3 by Carlos Chávez. Movement IV has measures in , , and .
Piano Sonata No. 3 by Andrew Violette has , , , , , , , , , , , , and .
"Schism" by Tool is described by the band as largely in and includes numerous other times.
Sensemayá by Silvestre Revueltas includes three bars in .
Study in Sonority by Wallingford Riegger contains several bars.
Study No. 23 by Charles Ives has .
Touch Piece, for piano, by Gardner Read uses , , and .

Irrational time signatures

Bicinium by Charles Wuorinen has in bar 62.
Contrapunctus by Mark Andre has , , , , , , , , , and .
The Exterminating Angel Symphony by Thomas Adès has , , , and in the first and third movements.
The Four Quarters by Thomas Adès has , , , , and .
Glaubst du an die Unsterblichkeit der Seele? (1983) by Claude Vivier has , , , , , , , , , , , and .
I'Itoi Variations by Kyle Gann. Bar 275 is in time, bar 277 is in time, and bar 299 is in time.
In Seven Days by Thomas Adès has a measure of .
I Open and Close, the sixth part of Fictions by Richard Barrett, has and .
Lemma-Icon-Epigram by Brian Ferneyhough has , , , , , , , , , , , , , , and .
Luxury Suite from Powder Her Face by Thomas Adès has and .
Piano Concerto by Thomas Adès has , , , , , , , , , , and .
Piano Quintet by Thomas Adès has , , , , , , , , , , , , , , , , , , , , (), , , , , , , , and .
Piano Sonata No. 1 by Charles Wuorinen has at measure 83 and at measure 101 in part 1.
Superscriptio by Brian Ferneyhough has , , , , , , , , , , , , , , , , , , , and .
Traced Overhead by Thomas Adès has , (), , , , , , , , and .

Combined unusual signatures

"Anyone Who Had a Heart", by Burt Bacharach uses , , and .
"Butterflies, Hummingbirds", No. 5 from Twelve New Etudes by William Bolcom, has parenthesized time signatures of , , and .
Chichester Psalms by Leonard Bernstein uses irregular and , notated as , and .
Earth, the fifth part of Fictions by Richard Barrett, has , , , , , , , , , , , , , , , and .
The Exterminating Angel Symphony by Thomas Adès has , , , , , and .
Intermezzo by Andrew Violette has , , , , , , , , , , and .
I Open and Close, the sixth part of Fictions by Richard Barrett, has , , , , , , , , , , , , , , and .
Klavierstück IX (1954–55/61) by Karlheinz Stockhausen uses , , , , and .
Lemma-Icon-Epigram by Brian Ferneyhough has , , , (in an additive time signature), , , , , , , , (in various groupings such as ), and .
The Long and the Short by Charles Wuorinen has , , (in additive time signatures such as +), , (subdivided as +++), , , , , , , , , , , , , , , , and .
Love Duet by Andrew Violette has , , (grouped ), , , and .
Organ Sonata by Andrew Violette has , , , and .
Pastorale by Andrew Violette has and .
Piano Concerto No. 5 by Kaikhosru Shapurji Sorabji has , , (six dotted quarter notes), , , , , , , , , , and .
Piano Sonata No. 1 by Kaikhosru Shapurji Sorabji has , , , , , , , , , , , and .
Piano Sonata No. 1 by Andrew Violette has , , , and .
Piano Sonata No. 2 by Charles Wuorinen has , , , , , , , , , , (grouped ), , , , , , , , , , , , and (written as ).
Piano Sonata No. 3 by Andrew Violette has (in additive time signatures such as +), , (in additive time signatures such as +), , , , , , , , (grouped ), , , , , , , , , , , , , , , , , , , , , , , (written as ), , , , , , , , , , , and .
Piano Sonata No. 4 by Charles Wuorinen has , , , , , (both and ), , , , , , and .
Quirl by Brian Ferneyhough has , , , , , , , , , , , , , , , , , and .
Quintet No. 1 by Kaikhosru Shapurji Sorabji has , , , (five dotted quarter notes), , , , , , , , , , , and .
Salve Regina, the second of 4 Madrigals by Andrew Violette, has , , , , (+), , and ().
Sonata for Cello and Piano by Elliott Carter has , , , , , and .
String Quartet No. 1 by Elliott Carter has (as part of an additive time signature), , , , , , , , (written as ), , , (written as ), , , , , , , and .
String Quartet No. 2 by Elliott Carter has , , , , , , , , , , and .
String Quartet No. 3 by Elliott Carter has , (in an additive time signature), , , , , , , , (in an additive time signature), , , and .
Structures by Pierre Boulez.
Ia: , ,
Ib: , , , , , , , , , , , , , , , , ,
Ic: , ,
II, Chapter 1: , , , , , , , ,
II, Chapter 2: , ,
Superscriptio by Brian Ferneyhough has , , , , , , , , , , , and .
Storm Suite: , , , , and .
Thrak by King Crimson switches between , and throughout the head section.
Traced Overhead by Thomas Adès has , , , , , , , and .
Zeitmaße by Karlheinz Stockhausen uses , , , , , , , , , , , , , , and .

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