Jump to content

Septuple meter: Difference between revisions

From Wikipedia, the free encyclopedia
Content deleted Content added
No edit summary
Other notable compositions in septuple meter: Added "Rand McNally" by Death Cab for Cutie
 
(134 intermediate revisions by 74 users not shown)
Line 1: Line 1:
{{Short description|Meter with each bar divided into 7 notes of equal duration}}
{{Multiple issues|
{{redirect|7/4|the musical interval|harmonic seventh|the dates|4 July|and|7 April|the song by Broken Social Scene|Broken Social Scene (album)}}
{{Example farm|date=July 2011}}
{{Unreliable sources|date=October 2019}}
{{Excessive examples|date=July 2011}}
{{Citation style|date=October 2019}}
{{Use dmy dates|date=February 2020}}
}}
{{Use dmy dates|date=May 2013}}
{{redirects|7/4|the musical interval|harmonic seventh|the dates|July 4|and|April 7}}
[[File:3o4-7-subdivisions.ogv|thumb|right|{{music|time|21|8}} as {{music|time|3|4}} with 7 subdivisions]]
[[File:3o4-7-subdivisions.ogv|thumb|right|{{music|time|21|8}} as {{music|time|3|4}} with 7 subdivisions]]
[[File:7o4-3-subdivisions.ogv|thumb|right|{{music|time|21|8}} as {{music|time|7|4}} with 3 subdivisions]]
[[File:7o4-3-subdivisions.ogv|thumb|right|{{music|time|21|8}} as {{music|time|7|4}} with 3 subdivisions]]
'''Septuple meter''' (British: '''metre''') or (chiefly British) '''septuple time''' is a [[meter (music)|meter]] with each [[bar (music)|bar]] (American: measure) divided into 7 notes of equal duration, usually {{music|time|7|4}} or {{music|time|7|8}} (or in compound meter, {{music|time|21|8}} time). The stress pattern can be {{serif|'''2+2+3'''}}, {{serif|'''3+2+2'''}}, or occasionally {{serif|'''2+3+2'''}}, although a survey of certain forms of mostly American popular music suggests that {{serif|'''2+2+3'''}} is the most common among these three in these styles.<ref>Murphy 2016.</ref>
'''Septuple meter''' (British: '''metre''') or (chiefly British) '''septuple time''' is a [[meter (music)|meter]] with each [[bar (music)|bar]] (American: measure) divided into 7 notes of equal duration, usually {{music|time|7|4}} or {{music|time|7|8}} (or in compound meter, {{music|time|21|8}} time). The stress pattern can be {{serif|'''2+2+3'''}}, {{serif|'''3+2+2'''}}, or occasionally {{serif|'''2+3+2'''}}, although a survey of certain forms of mostly American popular music suggests that {{serif|'''2+2+3'''}} is the most common among these three in these styles.{{sfn|Murphy|2016}}


A time signature of {{music|time|21|8}}, however, does not necessarily mean that the bar is a compound septuple meter with seven beats, each divided into three. This signature may, for example, be used to indicate a bar of triple meter in which each beat is subdivided into seven parts. In this case, the meter is sometimes characterized as "triple septuple time".<ref>Read 1964, 152.</ref> It is also possible for a {{music|time|21|8}} time signature to be used for an irregular, or "[[Additive meter|additive]]" metrical pattern, such as groupings of {{serif|'''3 + 3 + 3 + 2 + 3 + 2 + 3 + 2'''}} eighth notes.
A time signature of {{music|time|21|8}}, however, does not necessarily mean that the bar is a compound septuple meter with seven beats, each divided into three. This signature may, for example, be used to indicate a bar of triple meter in which each beat is subdivided into seven parts. In this case, the meter is sometimes characterized as "triple septuple time".{{sfn|Read|1964|loc=152}} It is also possible for a {{music|time|21|8}} time signature to be used for an irregular, or "[[Additive meter|additive]]" metrical pattern, such as groupings of {{serif|'''3 + 3 + 3 + 2 + 3 + 2 + 3 + 2'''}} eighth notes.


Septuple meter can also be notated by using regularly ''alternating'' bars of triple and duple or quadruple meters, for example {{music|time|4|4}} + {{music|time|3|4}}, or {{music|time|6|8}} + {{music|time|6|8}} + {{music|time|9|8}}, or through the use of [[Compound meter (music)|compound meters]], in which two or three numerals take the place of the expected numerator 7, for example, {{music|time|2+2+3|8}}, or {{music|time|5+2|8}}.<ref>Read 1964, 161 and 164–65.</ref>
Septuple meter can also be notated by using regularly ''alternating'' bars of triple and duple or quadruple meters, for example {{music|time|4|4}} + {{music|time|3|4}}, or {{music|time|6|8}} + {{music|time|6|8}} + {{music|time|9|8}}, or through the use of [[Compound meter (music)|compound meters]], in which two or three numerals take the place of the expected numerator 7, for example, {{music|time|2+2+3|8}}, or {{music|time|5+2|8}}.{{sfn|Read|1964|loc=161, 164–165}}


==History==
==History==
Line 18: Line 15:


===Asia and the Middle East===
===Asia and the Middle East===
In the Thai dance-drama genre ''[[lakhon nok]]'' and the masked dance-drama ''[[khon]]'' there is a unique group of songs based on a rhythmic cycle of seven beats, quite unlike the usual rhythmic structures of Thai traditional music. Portions of this repertoire of songs in additive meter date back to the [[Ayutthaya Kingdom|Ayudhia]] period (1350–1767).<ref>Moore 1969, 309–10.</ref>
In the Thai dance-drama genre ''[[lakhon nok]]'' and the masked dance-drama ''[[khon]]'' there is a unique group of songs based on a rhythmic cycle of seven beats, quite unlike the usual rhythmic structures of Thai traditional music. Portions of this repertoire of songs in additive meter date back to the [[Ayutthaya Kingdom|Ayudhia]] period (1350–1767).{{sfn|Moore|1969|loc=309–310}}


In the [[Carnatic music]] of south India, there are thirty-five [[Tala (music)|tāla]] in five temporal species, multiplied by seven classes of measurement—one of the five species is septuple.<ref>Anon. 1896, 520.</ref> The classes of measurement in this "formal" system consist of [[Tala (music)#Tāla in Carnatic music|seven basic tālas]] (called ''sūḷādi'' talas). Each of these is built from three types of component durations: the one-beat ''anudruta'', the two-beat ''druta'', and the variable ''laghu'', which may have three (''tisra''), four (''caturaśra''), five (''khaṇḍa''), seven (''miśra''), or nine (''saṅkīrṇa'') beats, and accounts for the five temporal species of each tāla. Two of the resulting thirty-five forms have seven beats in all: the ''khaṇda'' form of [[Rupak Tala|Rūpaka tāla]], with one ''druta'' and a five-beat (''khaṇda'') ''laghu'': {{serif|'''2+5'''}}, and the ''tisra'' form of Tripuṭa, with a three-beat ''laghu'' and two ''druta'': {{serif|'''3+2+2'''}}. ''Tisra'' Tripuṭa is one of the principal talas of the system, and so is often called simply by its basic name, Tripuṭa. ''Khaṇda'' Rūpaka, on the other hand, is a comparative rarity. The more common form, ''caturaśra'' Rūpaka, has a ''laghu'' of four beats and so a total beat pattern of {{serif|'''2+4'''}}.<ref name="Powers and Widdess 2001">Powers and Widdess 2001.</ref>
In the [[Carnatic music]] of south India, there are thirty-five [[Tala (music)|tāla]] in five temporal species, multiplied by seven classes of measurement—one of the five species is septuple.{{sfn|Anon.|1896|loc=520}} The classes of measurement in this "formal" system consist of [[Tala (music)#Tāla in Carnatic music|seven basic tālas]] (called ''sūḷādi'' talas). Each of these is built from three types of component durations: the one-beat ''anudruta'', the two-beat ''druta'', and the variable ''laghu'', which may have three (''tisra''), four (''caturaśra''), five (''khaṇḍa''), seven (''miśra''), or nine (''saṅkīrṇa'') beats, and accounts for the five temporal species of each tāla. Two of the resulting thirty-five forms have seven beats in all: the ''khaṇda'' form of [[Rupak Tala|Rūpaka tāla]], with one ''druta'' and a five-beat (''khaṇda'') ''laghu'': {{serif|'''2+5'''}}, and the ''tisra'' form of Tripuṭa, with a three-beat ''laghu'' and two ''druta'': {{serif|'''3+2+2'''}}. ''Tisra'' Tripuṭa is one of the principal talas of the system, and so is often called simply by its basic name, Tripuṭa. ''Khaṇda'' Rūpaka, on the other hand, is a comparative rarity. The more common form, ''caturaśra'' Rūpaka, has a ''laghu'' of four beats and so a total beat pattern of {{serif|'''2+4'''}}.<ref name="Powers and Widdess 2001">{{harvnb|Powers|Widdess|2001}}</ref>


Carnatic music also has an "informal" system of tālas, which uses a selection of the formal tālas. These include the septuple Tripuṭa, to which is added a ''Cāpu'' (fast) version of it, called ''miśra Cāpu'' ({{serif|'''3+2+2'''}}, or {{serif|'''3+4'''}}). ''Miśra Cāpu'' is one of the most characteristic rhythms in the music of southern India, accounting for well over half of the ''padam'' compositions by the 17th-century composer [[Kshetrayya]], and occurs in some of the best-known [[kriti|kīrtanam]] works by [[Tyagaraja]] (1767–1847). The Hindustani tālas used in the north also include septuple patterns.<ref name="Powers and Widdess 2001"/> The tala [[Rupak Tala|Rupak]], for example, has seven beats.<ref>Montfort n.d.</ref> Tīvra (also known at Gīt-tāl) is also a septuple tāla. Two tālas, Dīpcandī and [[Jhoomra|Jhūmrā]], have fourteen beats in all, but are divided symmetrically into two halves of {{serif|'''3+4'''}} beats each. The tālas Ādā-cautāl and [[Dhamar (music)|Dhamār]] are also fourteen beats long, but the former is divided asymmetrically, and the latter is only partially symmetrical: It has several different patterns, the most common of which falls into two seven-beat halves, but with different internal divisions: {{serif|'''5+2'''}} and {{serif|'''3+4'''}}, where the ''khālī'' (empty) beat marks the division of the cycle into two halves.<ref name="Powers and Widdess 2001"/>
Carnatic music also has an "informal" system of tālas, which uses a selection of the formal tālas. These include the septuple Tripuṭa, to which is added a ''Cāpu'' (fast) version of it, called ''miśra Cāpu'' ({{serif|'''3+2+2'''}}, or {{serif|'''3+4'''}}). ''Miśra Cāpu'' is one of the most characteristic rhythms in the music of southern India, accounting for well over half of the ''padam'' compositions by the 17th-century composer [[Kshetrayya]], and occurs in some of the best-known [[Kriti (music)|kīrtanam]] works by [[Tyagaraja]] (1767–1847). The Hindustani tālas used in the north also include septuple patterns.<ref name="Powers and Widdess 2001"/> The tala [[Rupak Tala|Rupak]], for example, has seven beats.{{sfn|Montfort|n.d.}} {{lang|hi-Latn|Tīvra}} (also known at Gīt-tāl) is also a septuple tāla. Two tālas, Dīpcandī and [[Jhoomra|Jhūmrā]], have fourteen beats in all, but are divided symmetrically into two halves of {{serif|'''3+4'''}} beats each. The tālas Ādā-cautāl and [[Dhamar (music)|Dhamār]] are also fourteen beats long, but the former is divided asymmetrically, and the latter is only partially symmetrical: It has several different patterns, the most common of which falls into two seven-beat halves, but with different internal divisions: {{serif|'''5+2'''}} and {{serif|'''3+4'''}}, where the ''khālī'' (empty) beat marks the division of the cycle into two halves.<ref name="Powers and Widdess 2001"/>


Folk music in Turkey employs metres consisting of five, seven, or eleven pulses, as well as metres with irregular subdivisions.<ref>Reinhard and Stokes 2001a.</ref> In Turkish art music, the system of rhythmic modes called ''[[Usul (music)|usul]]'' consist of rhythmic cycles of two to ten counting units. The pattern of seven beats is called ''devr-i hindi''<ref>Reinhard and Stokes 2001b.</ref> ({{serif|'''3+2+2'''}}) or ''devr-i turan'' ({{serif|'''2+2+3'''}}).{{Citation needed|date=September 2014}}<!--Reinhard and Stokes imply the length of the cycle alone determines the name, not the arrangement of subdividions.-->
Folk music in Turkey employs metres consisting of five, seven, or eleven pulses, as well as metres with irregular subdivisions.{{sfn|Reinhard|Stokes|2001a}} In Turkish art music, the system of rhythmic modes called ''[[Usul (music)|usul]]'' consist of rhythmic cycles of two to ten counting units. The pattern of seven beats is called ''devr-i hindi''.{{sfn|Reinhard|Stokes|2001b}}


===Balkan folk music===
===Balkan folk music===
Septuple rhythms are characteristic of some European folk idioms, particularly in the [[Balkans|Balkan countries]]. An example from Macedonia is the traditional tune "[[Jovano Jovanke]]", which can be transcribed in {{music|time|7|8}}.<ref>Bergeron 2010.</ref> [[Bulgarian dances]] are particularly noted for the use of a variety of irregular, or heterometric rhythms. The most popular of these is the ''rachenitsa'', a type of ''khoro'' in a rapid septuple meter divided {{serif|'''2+2+3'''}}. In the [[Pirin]] area, the ''khoro'' has a rhythm subdivided {{serif|'''3+2+2'''}}, and two varieties of it are the ''pravo makedonsko'' ("straight Macedonian") and the ''mazhka rachenitsa'' ("men's rachenitsa"). Septuple rhythms are also found in Bulgarian vocal music, such as the ''[[Koliada|koleda]]'' ritual songs sung by young men on Christmas Eve and Christmas to bless livestock, households, or specific family members.<ref>Buchanan 2001.</ref> The pattern {{serif|'''2+2+1+2'''}} occurs in Bulgarian tunes like ''Eleno Mome'' (Елено Моме) and ''Petrunino horo'' (Петрунино хоро){{Citation needed|date=April 2013}} cf. [[Bulgarian dances]].
Septuple rhythms are characteristic of some European folk idioms, particularly in the [[Balkans|Balkan countries]]. An example from [[North Macedonia]] is the traditional tune "[[Jovano Jovanke]]", which can be transcribed in {{music|time|7|8}}.{{sfn|Bergeron|2010}} [[Bulgarian dances]] are particularly noted for the use of a variety of irregular, or heterometric rhythms. The most popular of these is the ''{{lang|mk-Latn|rachenitsa}}'', a type of ''khoro'' in a rapid septuple meter divided {{serif|'''2+2+3'''}}. In the [[Pirin]] area, the ''khoro'' has a rhythm subdivided {{serif|'''3+2+2'''}}, and two varieties of it are the ''{{lang|mk-Latn|pravo makedonsko}}'' ("straight Macedonian") and the ''{{lang|mk-Latn|mazhka rachenitsa}}'' ("men's rachenitsa"). Septuple rhythms are also found in Bulgarian vocal music, such as the ''[[Koliada|koleda]]'' ritual songs sung by young men on Christmas Eve and Christmas to bless livestock, households, or specific family members.{{sfn|Buchanan|2001}}


Such irregular meters are also found throughout Greece, where they are sometimes identified as originating in neighboring countries. For example, in [[Epirus]], a district bordering [[Albania]], there is a style of singing in imitation of the sound of Byzantine bells, that employs [[Microtonal music|microtonal]] intervals and is described by the singers themselves as "Albanian" or "pastoral Vlach". The rhythms vary, but sometimes is in bars of seven beats, particularly in the area around [[Mount Parnassus]]. The {{music|time|7|8}} rhythm of the ''[[kalamatianos]]'' from the same region, however, is regarded as purely Greek.<ref>Chianis and Brandl 2001.</ref>
Such irregular meters are also found throughout Greece, where they are sometimes identified as originating in neighboring countries. For example, in [[Epirus]], a district bordering [[Albania]], there is a style of singing in imitation of the sound of Byzantine bells, that employs [[Microtonal music|microtonal]] intervals and is described by the singers themselves as "Albanian" or "pastoral Vlach". The rhythms vary, but sometimes is in bars of seven beats, particularly in the area around [[Mount Parnassus]]. The {{music|time|7|8}} rhythm of the ''[[kalamatianos]]'' from the same region, however, is regarded as purely Greek.{{sfn|Chianis and Brandl|2001}}


===European art music===
===European art music===

====16th century====
Thomas Morley's short song ''Christes Crosse'' from ''A Plaine and Easie Introduction to Practicall Musicke...'' (1597) uses true septupla proportion (notated as {{music|time|7|1}}) in the bass part against quaver quintupla ({{music|time|1|5}}) in the tenor, all over an alla-breve cantus firmus. This is intended as an example study to teach the reader the extent of what is possible through proportional notation in the Renaissance, and also to prepare them for difficult sight-singing.{{Citation needed|date=July 2018}}


====18th century====
====18th century====
The last movement of Joseph Haydn's Piano Sonata XVI:12, written as early as the 1750s, has been claimed to use exclusively seven-measure units in its background, if not in its foreground. Performers typically choose a tempo such that the notated {{music|time|3|8}} measure sounds like a single beat, projecting a perception of {{music|time|21|8}} septuple meter.<ref>Murphy 2012.</ref>
The last movement of Joseph Haydn's Piano Sonata XVI:12, written as early as the 1750s, has been claimed to use exclusively seven-measure units in its background, if not in its foreground. Performers typically choose a tempo such that the notated {{music|time|3|8}} measure sounds like a single beat, projecting a perception of {{music|time|21|8}} septuple meter.{{sfn|Murphy|2012}}


====19th century====
====19th century====
Though rare in the 19th century, septuple metre is occasionally found. Two examples from the piano repertoire entirely in septuple meter are Fugue No. 24, from ''[[36 Fugues (Reicha)|36 Fugues for Piano]]'' by [[Anton Reicha]] (notated in regularly alternating {{Music|cut-time}} and {{music|time|3|4}} bars),<ref>Reicha 1973, 2:56–58.</ref> and the Impromptu, Op. 32, no. 8, by [[Charles-Valentin Alkan]], notated in {{music|time|7|4}} time.<ref>Eddie 2007, 12 & 104; MacDonald 2001.</ref> The theme and first eight (of thirteen) ''Variations on a Hungarian Song'' Op. 21, No. 2 by [[Johannes Brahms]] is in septuple time, notated as regular alternations of {{music|time|3|4}} and {{Music|common-time}}, though various accenting factors often obscure the perceived metre.<ref>Lester 1986, 105–106.</ref> In the last two of the five versions of "Promenade" from ''[[Pictures at an Exhibition]]'' by [[Modest Mussorgsky]], {{music|time|7|4}} is mixed irregularly with other metres: (4th Promenade) {{music|time|5|4}}, {{music|time|6|4}}, and {{music|time|7|4}}, with a single {{music|time|3|4}} bar at the end; (5th Promenade) four pairs of regularly alternating {{music|time|5|4}} and {{music|time|6|4}}, then an irregular mixture of {{music|time|5|4}}, {{music|time|6|4}}, and {{music|time|7|4}} to the end.<ref>Mussorgsky 1914, 18, 24–25.</ref>
Though rare in the 19th century, septuple metre is occasionally found. Two examples from the piano repertoire entirely in septuple meter are Fugue No. 24, from ''[[36 Fugues (Reicha)|36 Fugues for Piano]]'' by [[Anton Reicha]] (notated in regularly alternating {{Music|cut-time}} and {{music|time|3|4}} bars),{{sfn|Reicha|1973|loc=2:56–58}} and the Impromptu, Op. 32, no. 8, by [[Charles-Valentin Alkan]], notated in {{music|time|7|4}} time.<ref>{{harvnb|Eddie|2007|loc=12 & 104}}; {{harvnb|Macdonald|2001}}</ref> The theme and first eight (of thirteen) ''Variations on a Hungarian Song'' Op. 21, No. 2 by [[Johannes Brahms]] is in septuple time, notated as regular alternations of {{music|time|3|4}} and {{Music|common-time}}, though various accenting factors often obscure the perceived metre.{{sfn|Lester|1986|loc=105–106}} In the last two of the five versions of "Promenade" from ''[[Pictures at an Exhibition]]'' by [[Modest Mussorgsky]], {{music|time|7|4}} is mixed irregularly with other metres: (4th Promenade) {{music|time|5|4}}, {{music|time|6|4}}, and {{music|time|7|4}}, with a single {{music|time|3|4}} bar at the end; (5th Promenade) four pairs of regularly alternating {{music|time|5|4}} and {{music|time|6|4}}, then an irregular mixture of {{music|time|5|4}}, {{music|time|6|4}}, and {{music|time|7|4}} to the end.{{sfn|Mussorgsky|1914|loc=18, 24–25}}


Symphonic and choral works containing occasional septuple bars include the conjuration of soothsayers in ''[[L'enfance du Christ]]'', Op. 25 (1854) by [[Hector Berlioz]], which "has a relatively extended passage of septuple metre (ten bars of {{music|time|7|4}}, then three of {{music|time|4|4}} and three of {{music|time|3|4}}; the pattern repeats with four each of {{music|time|4|4}} and {{music|time|3|4}})",{{sfn|Rushton|1983|p=128}} and the ''[[Dante Symphony]]'' by [[Franz Liszt]], which has several bars in {{music|time|7|4}}.<ref>Wiehmayer 1917, 81–82.</ref>
Symphonic and choral works containing occasional septuple bars include the conjuration of soothsayers in ''[[L'enfance du Christ]]'', Op. 25 (1854) by [[Hector Berlioz]], which "has a relatively extended passage of septuple metre (ten bars of {{music|time|7|4}}, then three of {{music|time|4|4}} and three of {{music|time|3|4}}; the pattern repeats with four each of {{music|time|4|4}} and {{music|time|3|4}})",{{sfn|Rushton|1983|p=128}} and the ''[[Dante Symphony]]'' by [[Franz Liszt]], which has several bars in {{music|time|7|4}}.{{sfn|Wiehmayer|1917|loc=81–82}}


In [[operetta]], parts of "Here's a man of jollity" in [[Gilbert and Sullivan]]'s ''[[The Yeomen of the Guard]]'' (1888) is in {{music|time|7|4}}, notated as alternating bars of {{music|time|4|4}} and {{music|time|3|4}}. The rest is in a mixture of {{music|time|5|4}} and {{music|time|4|4}}.<ref>Gilbert and Sullivan n.d., 40–43.</ref>
In [[operetta]], parts of "Here's a man of jollity" in [[Gilbert and Sullivan]]'s ''[[The Yeomen of the Guard]]'' (1888) is in {{music|time|7|4}}, notated as alternating bars of {{music|time|4|4}} and {{music|time|3|4}}. The rest is in a mixture of {{music|time|5|4}} and {{music|time|4|4}}.{{sfn|Gilbert and Sullivan|n.d.|loc=40–43}}


An example of [[chamber music]] from the later 19th century is found in the [[Piano Trio No. 3 (Brahms)|Piano Trio No. 3, Op. 101]], by Brahms. In the third movement (Andante grazioso), the main (outer) sections are in {{music|time|7|4}} (notated as a recurring {{music|time|3|4}} + {{music|time|2|4}} + {{music|time|2|4}}), while the central section is in [[Quintuple meter|compound-quintuple time]]: {{music|time|15|8}} (notated as {{music|time|9|8}} + {{music|time|6|8}}) with {{music|time|9|8}} [[Turnaround (music)|turnarounds]], and an eight-bar [[Coda (music)|coda]] in {{music|time|9|8}}.<ref>Brahms 1972, 134–37 of the score (= piano part).</ref>
An example of [[chamber music]] from the later 19th century is found in the [[Piano Trio No. 3 (Brahms)|Piano Trio No. 3, Op. 101]], by Brahms. In the third movement (Andante grazioso), the main (outer) sections are in {{music|time|7|4}} (notated as a recurring {{music|time|3|4}} + {{music|time|2|4}} + {{music|time|2|4}}), while the central section is in [[Quintuple meter|compound-quintuple time]]: {{music|time|15|8}} (notated as {{music|time|9|8}} + {{music|time|6|8}}) with {{music|time|9|8}} [[Turnaround (music)|turnarounds]], and an eight-bar [[Coda (music)|coda]] in {{music|time|9|8}}.{{sfn|Brahms|1972|loc=134–137 of the score (= piano part)}}


====20th century====
====20th century====
[[Igor Stravinsky]]'s name is often associated with rhythmic innovation in the 20th century, and septuple meter is sometimes found in his music—for example, the closing "General Rejoicing" section (Allegro non troppo), from rehearsal 203 to rehearsal 209, in his ballet ''[[The Firebird]]'' (1910) is written uniformly in {{music|time|7|4}} time.<ref>Stravinsky 1964, 169–72.</ref> Much more characteristically, septuple bars in Stravinsky's scores are found in a context of constantly changing meters, as for example in his ballet ''[[The Rite of Spring]]'' (1911–13), where the object appears to be the combination of two- and three-note subdivisions in irregular groupings.<ref>White 1979, 212–13.</ref> For example, in Part II, third tableau, "Glorification of the Chosen Maiden", bars of {{music|time|7|8}} and {{music|time|7|4}} are interspersed with bars of {{music|time|2|4}}, {{music|time|3|8}}, {{music|time|3|4}}, {{music|time|4|8}}, {{music|time|4|4}}, {{music|time|5|8}}, {{music|time|5|4}}, {{music|time|6|8}}, {{music|time|6|4}}, and {{music|time|9|8}} time.<ref>Stravinsky 1970, 102–114.</ref> This treatment of rhythm subsequently became so habitual for Stravinsky that, when he composed his [[Symphony in C (Stravinsky)|Symphony in C]] in 1938–40, he found it worth observing that the first movement had no changes of meter at all (though the metrical irregularities in the third movement of the same work were amongst the most extreme in his entire output).<ref>White 1979, 404–405.</ref>
[[Igor Stravinsky]]'s name is often associated with rhythmic innovation in the 20th century, and septuple meter is sometimes found in his music—for example, the closing "General Rejoicing" section (Allegro non troppo), from rehearsal 203 to rehearsal 209, in his ballet ''[[The Firebird]]'' (1910) is written uniformly in {{music|time|7|4}} time.{{sfn|Stravinsky|1964|loc=169–172}} Much more characteristically, septuple bars in Stravinsky's scores are found in a context of constantly changing meters, as for example in his ballet ''[[The Rite of Spring]]'' (1911–13), where the object appears to be the combination of two- and three-note subdivisions in irregular groupings.{{sfn|White|1979|loc=212–213}} For example, in Part II, third tableau, "Glorification of the Chosen Maiden", bars of {{music|time|7|8}} and {{music|time|7|4}} are interspersed with bars of {{music|time|2|4}}, {{music|time|3|8}}, {{music|time|3|4}}, {{music|time|4|8}}, {{music|time|4|4}}, {{music|time|5|8}}, {{music|time|5|4}}, {{music|time|6|8}}, {{music|time|6|4}}, and {{music|time|9|8}} time.{{sfn|Stravinsky|1970|loc=102–114}} This treatment of rhythm subsequently became so habitual for Stravinsky that, when he composed his [[Symphony in C (Stravinsky)|Symphony in C]] in 1938–40, he found it worth observing that the first movement had no changes of meter at all (though the metrical irregularities in the third movement of the same work were amongst the most extreme in his entire output).{{sfn|White|1979|loc=404–405}}


So many other composers followed Stravinsky's example in the use of irregular meters that the occasional occurrence of septuple-time bars becomes unremarkable from the 1920s onward.<ref>Hiley 2001.</ref> This is as true for composers regarded as conservative as for those labeled "progressive" or "avant garde". In the former category, this rhythmic usage was characteristic of compositions from the 1920s and 1930s by [[Gustav Holst]]. Septuple bars, for example, are found in passages in his opera ''[[The Perfect Fool]]'' (1918–22)—notably the two "earth" themes in the ballet of the elements, and the arrival of the Princess, which is "a genuine example of the septuple measure as distinct from those arising merely from prosody"<ref>Evans 1923, 391–92.</ref>—and in [[A Choral Fantasia (Holst)|''A Choral Fantasia'', Op. 51]] (bars 70–98, 179–85, and 201–209 are in {{music|time|7|4}}).<ref>Holst 1977, 7–11, 25–26, 31.</ref> Some of [[Maurice Ravel]]'s music incorporated septuple meter: for example, the brief "Danse générale" from Part I of ''[[Daphnis et Chloé]]'' is in {{music|time|7|4}} (subdivided as {{serif|'''3+4'''}}), the finale of the [[Piano Trio (Ravel)|Piano Trio]] freely alternates between {{music|time|5|4}} and {{music|time|7|4}}, and the main theme of the finale of his [[Sonata for Violin and Cello (Ravel)|Sonata for Violin and Cello]] is in "quasi {{music|time|7|4}}" (notated as a recurring {{music|time|2|4}} + {{music|time|2|4}} + {{music|time|3|4}}).<ref>DeVoto 2000, 107; Mawer 2000, 111, 146.</ref> An example from the next decade is [[Benjamin Britten]]'s String Quartet No. 2, Op. 35 (1945), where bars 2 and 13 after rehearsal '''K''' in the first movement, "Allegro calmo senza rigore", are in {{music|time|7|4}},<ref>Britten 1946, 14–15.</ref> and from the 1950s, the second subject of the third movement, Allegro, of [[Dmitri Shostakovich]]'s Piano Concerto No. 2, Op. 102 (1957), which is in a fast {{music|time|7|8}}.<ref>Shostakovich 1983, 103–120.</ref> Examples from more "progressive" composers include the first and third movements of the First Cantata, Op. 29 (1938–39), by [[Anton Webern]],<ref>Webern 1957, 10, 34–35, 38.</ref> and the fourth movement (Intermezzo interrotto) of [[Béla Bartók]]'s [[Concerto for Orchestra (Bartók)|Concerto for Orchestra]] (1943).<ref>Bartók 1946, 70–71.</ref>
So many other composers followed Stravinsky's example in the use of irregular meters that the occasional occurrence of septuple-time bars becomes unremarkable from the 1920s onward.{{sfn|Hiley|2001}} This is as true for composers regarded as conservative as for those labeled "progressive" or "avant garde". In the former category, this rhythmic usage was characteristic of compositions from the 1920s and 1930s by [[Gustav Holst]]. Septuple bars, for example, are found in passages in his opera ''[[The Perfect Fool]]'' (1918–22)—notably the two "earth" themes in the ballet of the elements, and the arrival of the Princess, which is "a genuine example of the septuple measure as distinct from those arising merely from prosody"{{sfn|Evans|1923|loc=391–92}}—and in [[A Choral Fantasia (Holst)|''A Choral Fantasia'', Op. 51]] (bars 70–98, 179–85, and 201–209 are in {{music|time|7|4}}).{{sfn|Holst|1977|loc=7–11, 25–26, 31}} Some of [[Maurice Ravel]]'s music incorporated septuple meter: for example, the brief "Danse générale" from Part I of ''[[Daphnis et Chloé]]'' is in {{music|time|7|4}} (subdivided as {{serif|'''3+4'''}}), the finale of the [[Piano Trio (Ravel)|Piano Trio]] freely alternates between {{music|time|5|4}} and {{music|time|7|4}}, and the main theme of the finale of his [[Sonata for Violin and Cello (Ravel)|Sonata for Violin and Cello]] is in "quasi {{music|time|7|4}}" (notated as a recurring {{music|time|2|4}} + {{music|time|2|4}} + {{music|time|3|4}}).<ref>{{harvnb|DeVoto|2000|loc=107}}; {{harvnb|Mawer|2000|loc=111, 146}}</ref> An example from the next decade is [[Benjamin Britten]]'s String Quartet No. 2, Op. 35 (1945), where bars 2 and 13 after rehearsal '''K''' in the first movement, "Allegro calmo senza rigore", are in {{music|time|7|4}},{{sfn|Britten|1946|loc=14–15}} and from the 1950s, the second subject of the third movement, Allegro, of [[Dmitri Shostakovich]]'s Piano Concerto No. 2, Op. 102 (1957), which is in a fast {{music|time|7|8}}.{{sfn|Shostakovich|1983|loc=103–120}} Examples from more "progressive" composers include the first and third movements of the First Cantata, Op. 29 (1938–39), by [[Anton Webern]],{{sfn|Webern|1957|loc=10, 34–35, 38}} and the fourth movement (Intermezzo interrotto) of [[Béla Bartók]]'s [[Concerto for Orchestra (Bartók)|Concerto for Orchestra]] (1943).{{sfn|Bartók|1946|loc=70–71}}


Septuple meter is sometimes employed to characterize particular sections of compositions, such as single variations of pieces in [[variation form]]. One example is the third movement (Variations on a Ground), of Holst's Double Concerto for two violins and orchestra, Op. 49, where the 13th and 17th variations are in {{music|time|7|4}} time.<ref>Holst 1973, 18, 21–22.</ref> An example from after the Second World War is found in Part I of [[Leonard Bernstein]]'s ''[[Symphony No. 2 (Bernstein)|The Age of Anxiety: Symphony No. 2]]'', a theme-and-variations movement in which "Variation X: Più mosso" is notated in regularly alternating {{Music|cut-time}} and {{music|time|3|4}} bars, each pair amounting to one {{music|time|7|4}} bar.<ref>Bernstein 1993, 40–43.</ref>
Septuple meter is sometimes employed to characterize particular sections of compositions, such as single variations of pieces in [[variation form]]. One example is the third movement (Variations on a Ground), of Holst's [[Double Concerto (Holst)|Double Concerto for two violins and orchestra]], Op. 49, where the 13th and 17th variations are in {{music|time|7|4}} time.{{sfn|Holst|1973|loc=18, 21–22.}} An example from after the Second World War is found in Part I of [[Leonard Bernstein]]'s ''[[Symphony No. 2 (Bernstein)|The Age of Anxiety: Symphony No. 2]]'', a theme-and-variations movement in which "Variation X: Più mosso" is notated in regularly alternating {{Music|cut-time}} and {{music|time|3|4}} bars, each pair amounting to one {{music|time|7|4}} bar.{{sfn|Bernstein|1993|loc=40–43}}


Compositions entirely or predominantly in septuple meter are less common. Five of Holst's settings of English translations of hymns from the ancient Sanskrit ''Rig Veda'', composed between 1907 and 1912, are in septuple meter, specifically "Song of the Frogs" and "Creation" (songs 6 and 8 from his [https://imslp.org/wiki/Hymns_from_the_Rig_Veda%2C_Op.24_(Holst%2C_Gustav) ''Hymns from the Rig Veda'', Op. 24], for voice and piano, composed in 1907–08) as well as "Funeral Hymn" ([https://imslp.org/wiki/Choral_Hymns_from_the_Rig_Veda%2C_Op.26_(Holst%2C_Gustav) ''Choral Hymns from the Rig Veda'', Op. 26], Group 1 No. 3 for SATB chorus and orchestra or piano, composed between 1908 and 1910), "Hymn to the Waters" (''Choral Hymns from the Rig Veda'' Group 3 no. 2 for SSA chorus and harp or piano, composed in 1909), and "Hymn to Manas" (''Choral Hymns from the Rig Veda'' Group 4 no. 3 for TTBB chorus with orchestra or unaccompanied, composed in 1912). The last movement, "Precipitato", of the [[Piano Sonata No. 7 (Prokofiev)|Piano Sonata No. 7]] by the Russian composer [[Sergei Prokofiev]], which is in {{music|time|7|8}},<ref>Prokofiev 1955, 2:199–207.</ref> and ''[[Sensemayá]]'', for orchestra, by the Mexican [[Silvestre Revueltas]] (predominantly in {{music|time|7|8}}, with occasional interruptions in {{music|time|7|16}} time and a brief 7-bar interlude at rehearsal 23 of {{music|time|9|8}} ({{music|time|3|4}} + {{music|time|3|8}}))<ref>Revueltas 1949.</ref> are particularly well-known instances. [[Béla Bartók]] sometimes adopted septuple dance rhythms from the folk music of Eastern Europe, as in "Bulgarian Rhythm (1)" and the second of the "Six Dances in Bulgarian Rhythm", nos. 113 and 149 from ''[[Mikrokosmos (Bartók)|Mikrokosmos]]'', both of which are in {{music|time|7|4}}.<ref>Bartók 1940, 4:32–33, 6:39–41.</ref> Other examples from the middle of the century include the {{music|time|7|4}} third movement, "Très Animé", of the [[Fantasia for saxophone, three horns, and strings|Fantasia for saxophone, 3 horns, and string orchestra]] (1948), by [[Heitor Villa-Lobos]],<ref>Villa-Lobos 1963, 25–36.</ref> "In the First Pentatonic Minor Mode (En el 1er modo pentáfono menor)", no. 5 from ''12 American Preludes'' for piano by [[Alberto Ginastera]], in {{music|time|7|8}},<ref>Ginastera 1946, 1:9.</ref> and "Old Joe Has Gone Fishing" by [[Benjamin Britten]] (from the 1945 opera ''[[Peter Grimes]]''), which is written in {{music|time|7|4}},<ref>Britten 1945; [http://www.boosey.com/shop/prod/Britten-Benjamin-Old-Joe-Has-Gone-Fishing-SATB/691822 Sample page].</ref> with the beats grouped as both {{serif|'''3+2+2'''}} and {{serif|'''2+2+2+1'''}} in a [[round (music)|round]], so that they interact to portray the rhythm of the ocean waves.{{Citation needed|date=June 2011}}
Compositions entirely or predominantly in septuple meter are less common. Five of Holst's settings of English translations of hymns from the ancient Sanskrit ''[[Rig Veda]]'', composed between 1907 and 1912, are in septuple meter, specifically "Song of the Frogs" and "Creation" (songs 6 and 8 from his ''Hymns from the Rig Veda'', Op. 24, for voice and piano, composed in 1907–08)<ref>{{IMSLP|work=Hymns from the Rig Veda, Op.24 (Holst, Gustav)|cname=''Hymns from the Rig Veda'', Op. 24}}</ref> as well as "Funeral Hymn" (''Choral Hymns from the Rig Veda'', Op. 26, Group 1, No. 3 for SATB chorus and orchestra or piano, composed between 1908 and 1910),<ref>{{IMSLP|work=Choral Hymns from the Rig Veda, Op.26 (Holst, Gustav)|cname=''Choral Hymns from the Rig Veda'', Op. 26}}</ref> "Hymn to the Waters" (''Choral Hymns from the Rig Veda'' Group 3 no. 2 for SSA chorus and harp or piano, composed in 1909), and "Hymn to Manas" (''Choral Hymns from the Rig Veda'' Group 4 no. 3 for TTBB chorus with orchestra or unaccompanied, composed in 1912). The last movement, "Precipitato", of the [[Piano Sonata No. 7 (Prokofiev)|Piano Sonata No. 7]] by the Russian composer [[Sergei Prokofiev]], which is in {{music|time|7|8}},{{sfn|Prokofiev|1955|loc=2:199–207}} and ''[[Sensemayá]]'', for orchestra, by the Mexican [[Silvestre Revueltas]] (predominantly in {{music|time|7|8}}, with occasional interruptions in {{music|time|7|16}} time and a brief 7-bar interlude at rehearsal 23 of {{music|time|9|8}} ({{music|time|3|4}} + {{music|time|3|8}})){{sfn|Revueltas|1949}} are particularly well-known instances. [[Béla Bartók]] sometimes adopted septuple dance rhythms from the folk music of Eastern Europe, as in "Bulgarian Rhythm (1)" and the second of the "Six Dances in Bulgarian Rhythm", nos. 113 and 149 from ''[[Mikrokosmos (Bartók)|Mikrokosmos]]'', both of which are in {{music|time|7|4}}.{{sfn|Bartók|1940|loc=4:32–33, 6:39–41}} Other examples from the middle of the century include the {{music|time|7|4}} third movement, "Très Animé", of the [[Fantasia for saxophone, three horns, and strings|Fantasia for saxophone, 3 horns, and string orchestra]] (1948), by [[Heitor Villa-Lobos]],{{sfn|Villa-Lobos|1963|loc=25–36}} "In the First Pentatonic Minor Mode (En el 1er modo pentáfono menor)", no. 5 from ''12 American Preludes'' for piano by [[Alberto Ginastera]], in {{music|time|7|8}},{{sfn|Ginastera|1946|loc=1:9}} and "Old Joe Has Gone Fishing" by [[Benjamin Britten]] (from the 1945 opera ''[[Peter Grimes]]''), which is written in {{music|time|7|4}},{{sfn|Britten|1945|loc=[http://www.boosey.com/shop/prod/Britten-Benjamin-Old-Joe-Has-Gone-Fishing-SATB/691822 Sample page]}} with the beats grouped as both {{serif|'''3+2+2'''}} and {{serif|'''2+2+2+1'''}} in a [[round (music)|round]].


==Other notable compositions in septuple meter==
==Other notable compositions in septuple meter==
Line 64: Line 58:


************************************************************************************************* -->
************************************************************************************************* -->
* "Aire", by [[Chicago (band)|Chicago]] ({{music|time|7|8}} and {{music|time|7|4}})<ref>{{Cite web|url=http://www.lipscomb.umn.edu/rock/Chicago.htm|first1=Scott|last1=Lipscomb (Dr.)|title=Chicago|website=Understanding Complex Meter|access-date=7 October 2021}}</ref>
* "Alien", by [[Lamb (electronic band)|Lamb]]<ref>Future Music, 2016</ref>
* "Alien", by [[Lamb (electronic band)|Lamb]]{{sfn|Future Music|2016}}
* "And the Money Kept Rolling In (and Out)" from ''[[Evita (musical)|Evita]]'' by [[Andrew Lloyd Webber]] ({{music|time|7|8}}, except for a three-bar introduction in {{music|time|4|4}}).<ref>Lloyd Webber and Rice 1979, 40–45.</ref>
* "And the Money Kept Rolling In (and Out)" from ''[[Evita (musical)|Evita]]'' by [[Andrew Lloyd Webber]] ({{music|time|7|8}}, except for a three-bar introduction in {{music|time|4|4}}).{{sfn|Lloyd Webber and Rice|1979|loc=40–45}}
*"[[Ant-Man (soundtrack)|''Ant-Man'' Main Theme]]" by [[Christophe Beck]] ({{music|time|7|4|}}).<ref>{{Cite web|url=https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0185689|title=Theme from Ant-Man|last=Christophe|first=Beck|last2=Samuel|first2=Fu|date=2018-06-20|website=Musicnotes.com|access-date=2019-04-04}}</ref>
*"[[Ant-Man (soundtrack)|''Ant-Man'' Main Theme]]" by [[Christophe Beck]] ({{music|time|7|4|}})<ref>{{Cite web|url=https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0185689|title=Theme from Ant-Man|last1=Christophe|first1=Beck|last2=Samuel|first2=Fu|date=20 June 2018|website=Musicnotes.com|access-date=4 April 2019}}</ref>
* "Another World of Beasts" from ''[[Final Fantasy VI]]'' by [[Nobuo Uematsu]] ({{music|time|7|8}}).<ref>Sakimoto and Niwa 1994, 124–25.</ref>
* "Another World of Beasts" from ''[[Final Fantasy VI]]'' by [[Nobuo Uematsu]] ({{music|time|7|8}}).{{sfn|Sakimoto|Niwa|1994|loc=124–125}}
* "Barstool Warrior" by [[Dream Theater]] from the album ''[[Distance Over Time]]'' ({{music|time|7|4}}) with one brief measure of ({{music|time|6|4}})<ref>{{cite web |last1=Petrucci |first1=John |title=John Petrucci Explains What Makes 'Barstool Warrior' Challenging Despite Not Being Fast |url=https://www.ultimate-guitar.com/news/upcoming_releases/john_petrucci_explains_what_makes_barstool_warrior_challenging_despite_not_being_fast.html |website=Ultimate Guitar |publisher=Ultimate Guitar |accessdate=27 March 2019}}</ref>
* "Barstool Warrior" by [[Dream Theater]] from the album ''[[Distance Over Time]]'' ({{music|time|7|4}}) with one brief measure of ({{music|time|6|4}})<ref>{{cite web |last1=Petrucci |first1=John |title=John Petrucci Explains What Makes 'Barstool Warrior' Challenging Despite Not Being Fast |url=https://www.ultimate-guitar.com/news/upcoming_releases/john_petrucci_explains_what_makes_barstool_warrior_challenging_despite_not_being_fast.html |website=Ultimate Guitar |access-date=27 March 2019}}</ref>
* "[[Don Ellis Orchestra 'Live' at Monterey!|Beat Me, Daddy, Seven to the Bar]]" by [[Don Ellis]] ({{music|time|7|8}}).<ref>{{cite thesis |last=Fenlon |first=Sean |date=2002 |title=The Exotic Rhythms Of Don Ellis |type= |chapter=Early Big Band (1965 – 1970) |publisher=[[Johns Hopkins University]] |docket= |oclc= |url=http://donellismusic.com/wp-content/uploads/2014/03/TheExoticRhythmsOfDonEllis-Dissertation.pdf |access-date=8 July 2018 |archive-url=https://web.archive.org/web/20170131192721/http://donellismusic.com/wp-content/uploads/2014/03/TheExoticRhythmsOfDonEllis-Dissertation.pdf |archive-date=31 January 2017 |url-status=live}}</ref>
* "[[Don Ellis Orchestra 'Live' at Monterey!|Beat Me, Daddy, Seven to the Bar]]" by [[Don Ellis]] ({{music|time|7|8}}){{sfn|Fenlon|2002|loc=ch. "Early Big Band (1965–1970)"}}
*"La Bosniaque", fifth movement of the second pentacle ("Révérences engrenées") of ''Automates en leur jardinet'' (2000–2001), {{music|time|7|16}}, mislabeled {{music|time|7|8}}.{{sfn|Pousseur|2001|loc=12–13.}}
*"La Bosniaque", fifth movement of the second pentacle ("Révérences engrenées") of [[Henri Pousseur]]'s ''Automates en leur jardinet'' (2000–2001), {{music|time|7|16}}, mislabeled {{music|time|7|8}}.{{sfn|Pousseur|2001|loc=12–13.}}
* "[[Trouble Will Find Me|Demons]]" by [[The National (band)|the National]] ({{music|time|7|4}}).<ref name="4ADTrouTheNational">{{cite web |title=The National: 'Trouble Will Find Me' |url=https://4ad.com/releases/648 |website=4AD |publisher=Beggars Group Ltd |accessdate=31 October 2019 |archive-url=https://web.archive.org/web/20151022122719/http://4ad.com/releases/21853 |archive-date=22 October 2015 |url-status=live}}</ref>
* "[[A Moon Shaped Pool|Desert Island Disk]]" by [[Radiohead]]({{music|time|7|4}})<ref>{{cite thesis |last=Hanenberg |first=Scott |date=2018 |title=Unpopular Meters: Irregular Grooves and Drumbeats in the Songs of Tori Amos, Radiohead, and Tool |type=PhD |chapter=Metric Irregularity in Practice |publisher=[[University of Toronto]] |url=https://tspace.library.utoronto.ca/handle/1807/91968 |page=247 |access-date=30 October 2019}}</ref>
* "[[Trouble Will Find Me|Demons]]" by [[The National (band)|the National]] ({{music|time|7|4}})<ref name="4ADTrouTheNational">{{cite web |title=The National: 'Trouble Will Find Me' |url=https://4ad.com/releases/648 |website=4AD |publisher=Beggars Group Ltd |access-date=31 October 2019 |archive-url=https://web.archive.org/web/20151022122719/http://4ad.com/releases/21853 |archive-date=22 October 2015 |url-status=live}}</ref>
* "[[A Moon Shaped Pool|Desert Island Disk]]" by [[Radiohead]]({{music|time|7|4}})<ref>{{cite thesis |last=Hanenberg |first=Scott |date=2018 |title=Unpopular Meters: Irregular Grooves and Drumbeats in the Songs of Tori Amos, Radiohead, and Tool |type=PhD |chapter=Metric Irregularity in Practice |publisher=[[University of Toronto]] |chapter-url=https://tspace.library.utoronto.ca/handle/1807/91968 |page=247 |access-date=30 October 2019}}</ref>
*"[[Don't Eat the Yellow Snow]]" by [[Frank Zappa]] ({{music|time|7|4}}).<ref>{{Cite web|url=https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0125667|title=Don't Eat the Yellow Snow|last=Frank|first=Zappa|last2=Frank|first2=Zappa|date=2013-10-07|website=Musicnotes.com|access-date=2019-04-04}}</ref>
*"[[Don't Eat the Yellow Snow]]" by [[Frank Zappa]] ({{music|time|7|4}})<ref>{{Cite web|url=https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0125667|title=Don't Eat the Yellow Snow|last=Frank|first=Zappa|date=7 October 2013|website=Musicnotes.com|access-date=4 April 2019}}</ref>
* "[[Seal (1994 album)|Dreaming in Metaphors]]" by [[Seal (musician)|Seal]].<ref>Seal and Isidore 1994.</ref>
* "[[Seal (1994 album)|Dreaming in Metaphors]]" by [[Seal (musician)|Seal]].{{sfn|Seal|Isidore|1994}}
* "[[Terrapin Station|Estimated Prophet]]" by the [[Grateful Dead]] ({{music|time|7|4}}).<ref>"The song's unusual {{music|time|7|4}} time signature also made it one of Garcia's favorites out of the entire Weir catalog." [https://books.google.com/books?id=Q7zc1zkuW1kC&pg=PA160&lpg=PA160&dq=%22estimated+prophet%22+%22time+signature%22&source=web&ots=V8SPZKoaHR&sig=miKEmppnkOQygaQm_k9HY5TQSNU What a Long, Strange Trip], by Stephen Peters, Thunder's Mouth Press, 1999 (p. 160).</ref>
* "[[Terrapin Station|Estimated Prophet]]" by the [[Grateful Dead]] ({{music|time|7|4}})<ref>"The song's unusual {{music|time|7|4}} time signature also made it one of Garcia's favorites out of the entire Weir catalog." [https://books.google.com/books?id=Q7zc1zkuW1kC&dq=%22estimated+prophet%22+%22time+signature%22&pg=PA160 What a Long, Strange Trip], by Stephen Peters, Thunder's Mouth Press, 1999 (p. 160).</ref>
* "[[The Fish (Schindleria Praematurus)]]" by [[Yes (band)|Yes]] ({{music|time|7|4}}).<ref>{{cite web |url=http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0059492 |title=The Fish |author=Squire, Chris |publisher=Musicnotes.com |date= 2007-09-24|accessdate=2015-02-25}}</ref>
* "Haggstrom", by [[Daniel Rosenfeld|C418]], on ''[[Minecraft – Volume Alpha]]'' ({{music|time|7|4}})<ref>{{cite web |url=https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0122679|title=Haggstrom |author=Rosenfeld, Daniel |publisher=Musicnotes.com |date= 2013-09-09|accessdate=2017-10-31}}</ref>
* "Etropolis" by [[Stefan Goldmann]] ({{music|time|7|16}})<ref>{{Cite web|url=https://www.textura.org/archives/c/chavez_goldmann.htm|title=Stefan Goldmann: Veiki |author=Schepper, Ron |website=www.textura.org|date= January 2020|access-date=2 June 2020}}</ref>
* "[[Fish Out of Water (Chris Squire album)|Lucky Seven]]" by [[Chris Squire]] ({{music|time|7|4}}).<ref>{{cite AV media |people=Squire, Chris (interviewee) |date=2007 |title=Interview With Chris Squire |trans-title= |medium=DVD |language= |url=https://www.youtube.com/watch?v=1z_6euDbt8w&feature=youtu.be&t=1890 |access-date=1 November 2019 |format=PAL |time=31:30 |location= |publisher=Sanctuary Records Group Ltd |id= |isbn= |oclc= |quote=Lucky Seven named after the fact it is in 7/4 |ref= }}</ref>
* "[[The Fish (Schindleria Praematurus)]]" by [[Yes (band)|Yes]] ({{music|time|7|4}})<ref>{{cite web |url=http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0059492 |title=The Fish |author=Squire, Chris |publisher=Musicnotes.com |date= 24 September 2007|access-date=25 February 2015}}</ref>
* "Haggstrom", by [[C418]], on ''[[Minecraft – Volume Alpha]]'' ({{music|time|7|4}})<ref>{{cite web |url=https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0122679|title=Haggstrom |author=Rosenfeld, Daniel |publisher=Musicnotes.com |date= 9 September 2013|access-date=31 October 2017}}</ref>
* "I Was Brought to My Senses" by Sting
*"[[Mother (The Police song)|Mother]]" by [[the Police]] ({{music|time|7|4}}).<ref>{{Cite web|url=https://www.jellynote.com/en/sheet-music/the-police/mother|title=Mother The Police Free Sheet Music & Tabs|website=www.jellynote.com|access-date=2019-04-04}}</ref>
* "[[Fish Out of Water (Chris Squire album)|Lucky Seven]]" by [[Chris Squire]] ({{music|time|7|4}})<ref>{{cite AV media |people=Squire, Chris (interviewee) |date=2007 |title=Interview With Chris Squire |medium=DVD |url=https://www.youtube.com/watch?v=1z_6euDbt8w&t=1890 |access-date=1 November 2019 |format=PAL |time=31:30 |publisher=Sanctuary Records Group Ltd |quote=Lucky Seven named after the fact it is in 7/4 }}</ref>
* "Fix the Sky a Little", by [[65daysofstatic]].{{sfn|Wolinkski|2014}}
* "Pussy Wiggle Stomp" by [[Don Ellis]] ({{music|time|7|4}}).<ref>{{cite thesis |last=Saull |first=Jordan |date=2015 |title=Non-Isochronous Meter: A Study of cross-cultural practice, analytic technique, and implications for jazz pedagogy |type=PhD |chapter=Appendix A: NI and Ternary Metered Jazz Compositions 1900 – 1969 |publisher=[[York University]] |docket= |oclc= |url=https://yorkspace.library.yorku.ca/xmlui/handle/10315/30023 |page=191 |access-date=27 September 2019}}</ref>
*"[[Mother (The Police song)|Mother]]" by [[the Police]] ({{music|time|7|4}})<ref>{{Cite web|url=https://www.jellynote.com/en/sheet-music/the-police/mother|title=Mother – The Police – Free Sheet Music & Tabs|website=www.jellynote.com|access-date=4 April 2019}}</ref>
* "[[Teaser and the Firecat|Rubylove]]" by [[Cat Stevens]] ({{music|time|7|8}}).<ref>Stevens 1991, 50–54.</ref>
* "Spiders" by [[Slipknot (band)|Slipknot]] ({{music|time|7|4}})<ref>{{Cite web |url=https://www.ft.com/content/55391dbc-b83f-11e9-8a88-aa6628ac896c |title=Slipknot: We Are Not Your Kind — some of their heaviest music yet |website=[[Financial Times]] |access-date=2019-12-08 |url-access=subscription}}</ref>
*Prelude in Lydian Mode by [[Alexei Stanchinsky]] ({{Music|time|21|16}})<ref>{{Cite web|title=Prelude in Lydian Mode (Stanchinsky, Aleksey)|url=https://imslp.org/wiki/Prelude_in_Lydian_Mode_(Stanchinsky,_Aleksey)|access-date=April 24, 2021|website=IMSLP}}</ref>
* "Pussy Wiggle Stomp" by [[Don Ellis]] ({{music|time|7|4}})<ref name=SaullJ2015>{{cite thesis |last=Saull |first=Jordan |date=2015 |title=Non-Isochronous Meter: A Study of cross-cultural practice, analytic technique, and implications for jazz pedagogy |type=PhD |chapter=Appendix A: NI and Ternary Metered Jazz Compositions 1900–1969 |publisher=[[York University]] |chapter-url=https://yorkspace.library.yorku.ca/xmlui/handle/10315/30023 |pages=189–191 |access-date=27 September 2019}}</ref>
* "St. Augustine In Hell" (1993)<ref>Genesis 2002, {{Page needed|date=December 2010}}.</ref> (1996)<ref>[https://www.sting.com/discography/album/11/Albums ''Mercury Falling'' – Review from ''Music Wire'' magazine by Ed Hewitt], sting.com</ref> by [[Sting (musician)|Sting]] ({{music|time|7|8}}).
* "[[Teaser and the Firecat|Rubylove]]" by [[Cat Stevens]] ({{music|time|7|8}}).{{sfn|Stevens|1991|loc=50–54}}
* "{{music|time|7|4}} (Shoreline)" by [[Broken Social Scene]] ({{music|time|7|4}}).<ref>{{Cite news| last =Sakamoto| first =John| title =The Anti-Hit List| page =H6| work=[[Toronto Star]]| date =2005-08-20}}</ref>
* "Senseless" by Norwegian gothic metal band [[Theatre of Tragedy]] is in septuple meter; it was originally track seven on their 2006 album ''[[Storm (Theatre of Tragedy album)|Storm]]''.{{sfn|HanSathanas|Santaniello|2015}}
* "[[Solsbury Hill (song)|Solsbury Hill]]" by [[Peter Gabriel]] ({{music|time|7|4}}).<ref name="Weisman2010">Weisman 2010, 85.</ref><ref name="bass"/>
* "St. Augustine In Hell" (1993){{sfn|Genesis|2002|loc={{Page needed|date=December 2010}}}} (1996)<ref>[https://www.sting.com/discography/album/11/Albums ''Mercury Falling'' – Review from ''Music Wire'' magazine by Ed Hewitt], sting.com</ref> by [[Sting (musician)|Sting]] ({{music|time|7|8}}).
* "State of Mine" by [[IQ (band)|IQ]], the closing instrumental from the first part of ''[[Subterranea (album)|Subterranea]]'' is an arrangement in {{music|time|7|8}} of a piano piece.<ref>Sander 1999.</ref>
* "7/4 (shoreline)" by [[Broken Social Scene]] ({{music|time|7|4}})<ref>{{Cite news| last =Sakamoto| first =John| title =The Anti-Hit List| page =H6| work=[[Toronto Star]]| date =20 August 2005}}</ref>
* "Stone Soup" by [[Ned McGowan]] ({{music|time|7|16}}).<ref>{{Cite web|url=http://www.nedmcgowan.com/music/Chamber-ensemble/stone-soup2001/|title=Ned McGowan – music – Chamber ensemble – Stone Soup (2001)|website=www.nedmcgowan.com|language=en|access-date=2017-12-20}}</ref><ref>{{Cite web|url=https://webshop.donemus.nl/action/front/sheetmusic/13781|title=Donemus Webwinkel – Stone Soup|website=webshop.donemus.nl|access-date=2017-12-20}}</ref>
* "[[Solsbury Hill (song)|Solsbury Hill]]" by [[Peter Gabriel]] ({{music|time|7|4}}).{{sfn|Weisman|2010|loc=85}}<ref name="bass"/>
* "Supplication" by the [[Grateful Dead]].<ref name="Allan n.d">Allan n.d.</ref>
* "Stone Soup" by [[Ned McGowan]] ({{music|time|7|16}})<ref>{{Cite web|url=http://www.nedmcgowan.com/music/Chamber-ensemble/stone-soup2001/|title=Ned McGowan – music – Chamber ensemble – Stone Soup (2001)|website=www.nedmcgowan.com|language=en|access-date=20 December 2017}}</ref><ref>{{Cite web|url=https://webshop.donemus.nl/action/front/sheetmusic/13781|title=Donemus Webwinkel – Stone Soup|website=webshop.donemus.nl|access-date=20 December 2017}}</ref>
* "Szamár Madár" by [[Venetian Snares]] (arrangement of a passage from [[Edward Elgar]]'s Cello Concerto, in {{music|time|7|4}})<ref>{{Cite journal|url=http://www.attackmagazine.com/technique/passing-notes/bored-of-44-other-time-signatures-in-dance-music/3/ |author=Anon.|title=Bored of 4/4: Other time signatures in Dance Music |journal=Attack Magazine|date=2014-11-06 }}</ref>
* "Theme from ''[[Tron]]''" by [[Wendy Carlos]] is in slow {{music|time|7|8}} ({{music|time|4+3|8}}).<ref>{{cite web|author=Serendip |url=http://www.wendycarlos.com/+tron.html |title=(last entry on her blog page) |publisher=Wendycarlos.com |date= |accessdate=2013-11-26}}</ref>
* "Szamár Madár" by [[Venetian Snares]] (arrangement of a passage from [[Edward Elgar]]'s Cello Concerto, in {{music|time|7|4}})<ref>{{Cite journal|url=http://www.attackmagazine.com/technique/passing-notes/bored-of-44-other-time-signatures-in-dance-music/3/ |author=Anon.|title=Bored of 4/4: Other time signatures in Dance Music |journal=Attack Magazine|date=6 November 2014 }}</ref>
* "Theme from ''[[Tron]]''" by [[Wendy Carlos]] is in slow {{music|time|7|8}} ({{music|time|4+3|8}})<ref>{{cite web|author=Serendip |url=http://www.wendycarlos.com/+tron.html |title=(last entry on her blog page) |publisher=Wendycarlos.com |access-date=26 November 2013}}</ref>
* "Ticks and Leeches" by [[Tool (band)|Tool]] ({{music|time|7|4}})<ref name="bass">Bennett 2008, 106.</ref>
* "The ''Tihai''" by [[Don Ellis]] ({{music|time|7|4}})<ref>Fenlon 2002, 37.</ref>
* "Ticks and Leeches" by [[Tool (band)|Tool]] ({{music|time|7|4}})<ref name="bass">{{harvnb|Bennett|2008|loc=106}}</ref>
* "Tombo in {{music|time|7|4}}" by José Neto, [[Flora Purim]], and Diana Moreira ({{music|time|7|4}})<ref>Neto, Purim, and Moreira 2005.</ref>
* "The ''Tihai''" by [[Don Ellis]] ({{music|time|7|4}}){{sfn|Fenlon|2002|loc=37}}
* "Tombo in {{music|time|7|4}}" by José Neto, [[Flora Purim]], and Diana Moreira ({{music|time|7|4}}){{sfn|Neto|Purim|Moreira|2005}}
* "[[Electric Bath|Turkish Bath]]" by Ron Myers, performed by the [[Don Ellis]] orchestra ({{music|time|7|4}})<ref>{{cite thesis |last=Saull |first=Jordan |date=2015 |title=Non-Isochronous Meter: A Study of cross-cultural practice, analytic technique, and implications for jazz pedagogy |type=PhD |chapter=Appendix A: NI and Ternary Metered Jazz Compositions 1900 – 1969 |publisher=[[York University]] |docket= |oclc= |url=https://yorkspace.library.yorku.ca/xmlui/handle/10315/30023 |page=190 |access-date=27 September 2019}}</ref>
* "[[Unsquare Dance]]" by [[Dave Brubeck]] ({{music|time|7|8}}).<ref>Kamien 1980, 40.</ref>
* "[[Electric Bath|Turkish Bath]]" by Ron Myers, performed by the [[Don Ellis]] orchestra ({{music|time|7|4}})<ref name=SaullJ2015/>
* "Waltz in 7/8" by [[Yanni]] ({{music|time|7|8}}).<ref>Yanni 1993, {{Page needed|date=December 2010}}.</ref>
* "[[Unsquare Dance]]" by [[Dave Brubeck]] ({{music|time|7|8}}).{{sfn|Kamien|1980|loc=40}}
* "Waltz in 7/8" by [[Yanni]] ({{music|time|7|8}}).{{sfn|Yanni|1993|loc={{Page needed|date=December 2010}}}}
* "What Would I Want? Sky" by [[Animal Collective]] is in {{music|time|7|8}}<ref>{{cite web|url=http://pitchfork.com/features/staff-lists/7742-the-top-100-tracks-of-2009/9/ |title=Staff Lists: The Top 100 Tracks of 2009 &#124; Features |publisher=Pitchfork |date=2009-12-14 |accessdate=2013-09-22}}</ref>
* "Whiplash" by [[Hank Levy]] is in ({{music|time|7|4}}) subdivided in multiple ways throughout the piece.<ref>{{cite web|url=https://alfredledgerlines.wordpress.com/2014/10/09/whiplash-conquering-complex-time-signatures-in-jazz/ |title=Whiplash—Conquering Complex Time Signatures in Jazz |author=Erik Morales |publisher=Alfred Music Blog |date=2014-10-09 |accessdate=2019-02-04}}</ref>
* "What Does He Want of Me" from [[Man of La Mancha]] is in {{music|time|7|8}}<ref>{{cite web|url=https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0077019|title=What Does He Want of Me|website=Musicnotes.com|date=14 September 2009|access-date=9 July 2021}}</ref>
*"[[Wonder Woman (2017 film)|''Wonder Woman'' Main Theme]]" by [[Hans Zimmer]], for the [[Wonder Woman (2017 film)|2017 Movie]] ({{music|time|7|8}}).<ref>{{Cite web|url=https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0178997|title=Wonder Woman Main Theme|last=Hans|first=Zimmer|last2=Rupert|first2=Gregson-Williams|date=2017-10-23|website=Musicnotes.com|access-date=2019-04-04|last3=Patrik|first3=Pietschmann}}</ref>
* "What Would I Want? Sky" by [[Animal Collective]] is in {{music|time|7|8}}<ref>{{cite web|url=https://pitchfork.com/features/staff-lists/7742-the-top-100-tracks-of-2009/9/ |title=Staff Lists: The Top 100 Tracks of 2009 &#124; Features |publisher=Pitchfork |date=14 December 2009 |access-date=22 September 2013}}</ref>
* "Whiplash" by [[Hank Levy]], in ({{music|time|7|4}}) subdivided in multiple ways throughout the piece<ref>{{cite web|url=https://alfredledgerlines.wordpress.com/2014/10/09/whiplash-conquering-complex-time-signatures-in-jazz/ |title=Whiplash—Conquering Complex Time Signatures in Jazz |author=Erik Morales |publisher=Alfred Music Blog |date=9 October 2014 |access-date=4 February 2019}}</ref>
* "Words, Words, Words" (Martin's Laughing Song), from act 2 of ''[[Candide (operetta)|Candide]]'', by [[Leonard Bernstein]] ({{music|time|7|8}}).<ref>{{cite web |last=Bernstein |year=1994 |pages=186–93 |url=http://www.leonardbernstein.com/studio/element2.asp?FeatID=9&AssetID=24 |title=Candide |accessdate=30 December 2007 |publisher=Leonard Bernstein website}} States that this number was added to ''Candide'' in 1971.</ref>
* "World Away" by [[Tweedy (band)|Tweedy]] ({{music|time|7|4}}).<ref>{{Cite web|url=https://www.treblezine.com/reviews/19095-tweedy-sukierae-review/|title=Tweedy : Sukierae|last=Terich|first=Jeff|website=Treble|language=en-US|access-date=2019-04-10}}</ref>
*"[[Wonder Woman (2017 film)|''Wonder Woman'' Main Theme]]" by [[Hans Zimmer]], for the [[Wonder Woman (2017 film)|2017 film]] ({{music|time|7|8}})<ref>{{Cite web|url=https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0178997|title=Wonder Woman Main Theme|last1=Hans|first1=Zimmer|last2=Rupert|first2=Gregson-Williams|date=23 October 2017|website=Musicnotes.com|access-date=4 April 2019|last3=Patrik|first3=Pietschmann}}</ref>
* "Words, Words, Words" (Martin's Laughing Song), from act 2 of ''[[Candide (operetta)|Candide]]'', by [[Leonard Bernstein]] ({{music|time|7|8}}){{citation needed|date=April 2021}}
* "World Away" by [[Tweedy (band)|Tweedy]] ({{music|time|7|4}})<ref>{{Cite web|url=https://www.treblezine.com/reviews/19095-tweedy-sukierae-review/|title=Tweedy : Sukierae|last=Terich|first=Jeff|website=Treble|date=15 October 2014|language=en-US|access-date=10 April 2019}}</ref>


===Partially in septuple meter===
===Partially in septuple meter===
Line 110: Line 106:


*************************************************************************************************-->
*************************************************************************************************-->
* Adagio, second movement from String Quartet No. 2 (1955) by [[Benjamin Lees]]. "largely in {{music|time|7|4}} meter".<ref>Cowell 1956, 243.</ref>
* Adagio, second movement from String Quartet No. 2 (1955) by [[Benjamin Lees]], "largely in {{music|time|7|4}} meter"{{sfn|Cowell|1956|loc=243}}
* "[[All You Need Is Love]]" by [[the Beatles]]. Verses in {{music|time|7|4}}.<ref>Robert Fontenot, "[http://oldies.about.com/od/thebeatlessongs/a/allyouneedlove.htm All You Need Is Love: The History of This Classic Beatles Song]". About.com (accessed 25 February 2015).</ref>
* "[[All You Need Is Love]]" by [[the Beatles]], verses in {{music|time|7|4}}<ref>Robert Fontenot, "[http://oldies.about.com/od/thebeatlessongs/a/allyouneedlove.htm All You Need Is Love: The History of This Classic Beatles Song] {{Webarchive|url=https://web.archive.org/web/20110707075444/http://oldies.about.com/od/thebeatlessongs/a/allyouneedlove.htm |date=7 July 2011 }}". About.com (accessed 25 February 2015).</ref>
* "[[Anyone Who Had a Heart (song)|Anyone Who Had a Heart]]" by [[Burt Bacharach]], sung by [[Dionne Warwick]] – {{music|time|7|8}} turnaround at the end of the bridge, as pointed out to Bacharach by [[Dionne Warwick]].{{sfn|Anon.|1978}} However the song features "{{music|time|5|4}}, {{music|time|4|4}}, to {{music|time|7|8}} and resolving on {{music|time|5|8}} in only eight bars" according to Allmusic.<ref>Greenwald, Matthew "[{{AllMusic|class=song|id=t2306355|pure_url=yes}} Anyone Who Had a Heart]", Allmusic.</ref>
* "Animals" by [[Bonobo (musician)|Bonobo]] is in {{music|time|7|8}} during the first half, before switching to {{music|time|4|4}} for the second half.<ref>{{Cite web|url=https://www.reddit.com/r/musictheory/comments/95ycrd/what_are_some_of_your_favorite_examples_of_songs/e3wj40k/|website=Reddit|access-date=2019-07-30|title=R/Musictheory – What are some of your favorite examples of songs in uncommon time signatures?}}</ref>{{better source|date=October 2019}}
* "Baroque Bordello" by [[The Stranglers]]: on the verse, the guitar is in {{music|time|7|8}} while the other instruments play in {{music|time|4|4}}.{{sfn|Cornwell and Drury|2001|loc={{Page needed|date=August 2012}}}}
* "[[Anyone Who Had a Heart (song)|Anyone Who Had a Heart]]" by [[Burt Bacharach]], sung by [[Dionne Warwick]] – {{music|time|7|8}} turnaround at the end of the bridge, as pointed out to Bacharach by [[Dionne Warwick]].<ref>Anon. 1978.</ref> However the song features "{{music|time|5|4}}, {{music|time|4|4}}, to {{music|time|7|8}} and resolving on {{music|time|5|8}} in only eight bars" according to Allmusic.<ref>Greenwald, Matthew "[{{Allmusic|class=song|id=t2306355|pure_url=yes}} Anyone Who Had a Heart]", Allmusic.</ref>
* "[[The Battle of Epping Forest]]" from ''[[Selling England by the Pound]]'' by [[Genesis (band)|Genesis]]. The intro + verse are in {{music|time|7|4}}, followed by several {{music|time|4|4}} sub-sections and then back to {{music|time|7|4}}.<ref name=":0">{{cite web|url=http://www.progarchives.com/Review.asp?id=210598|title=Selling England By The Pound review|date=6 April 2009 |publisher=ProgArchives.com|access-date=28 June 2009}}</ref>
* "Baroque Bordello" by [[The Stranglers]]: on the verse, the guitar is in {{music|time|7|8}} while the other instruments play in {{music|time|4|4}}.<ref>Cornwell and Drury 2001, {{Page needed|date=August 2012}}</ref>
* "[[The Battle of Epping Forest]]" from ''[[Selling England by the Pound]]'' by [[Genesis (band)|Genesis]]. The intro + verse are in {{music|time|7|4}}, followed by several {{music|time|4|4}} sub-sections and then back to {{music|time|7|4}}.<ref name=":0">{{cite web|url=http://www.progarchives.com/Review.asp?id=210598|title=Selling England By The Pound review|publisher=ProgArchives.com|accessdate=Jun 28, 2009}}</ref>
* "Box Elder" by [[Motion City Soundtrack]]: includes {{music|time|7|8}}<ref>{{cite web|url=https://www.sputnikmusic.com/review/50274/Motion-City-Soundtrack-Go/ |title=Motion City Soundtrack Go (album review 2) |publisher=Sputnikmusic |date=14 June 2012 |access-date=22 September 2013}}</ref>
* "Breadcrumb Trail" by [[Slint]], in Dave Hooper's 1997 arrangement, verses and other sections in {{music|time|7|4}}<ref>"I'm not claiming this is completely 100% accurate in terms of what these guys actually played" ({{harvnb|Hooper|1997}}).</ref>
* "Box Elder" by [[Motion City Soundtrack]]: includes {{music|time|7|8}}.<ref>{{cite web|url=https://www.sputnikmusic.com/review/50274/Motion-City-Soundtrack-Go/ |title=Motion City Soundtrack – Go (album review 2) |publisher=Sputnikmusic |date=2012-06-14 |accessdate=2013-09-22}}</ref>
* "Brighter than a Thousand Suns" from ''[[A Matter of Life and Death (album)|A Matter of Life and Death]]'' by [[Iron Maiden]], main riff and chorus in {{music|time|7|4}}, bridge in {{music|time|4|4}}<ref>{{cite web|url=http://metal-archives.com/review.php?id=122532|title=Reviews for Iron Maiden's A Matter of Life and Death|publisher=Metal-archives.com|access-date=30 July 2009}}</ref><ref>{{cite web|url=http://www.groove.no/html/review/23456977.html|title=A Matter of Life and Death (review)|publisher=Groove.no|access-date=30 July 2009}}</ref>
* "Breadcrumb Trail" by [[Slint]], in Dave Hooper's 1997 arrangement, has verses and other sections in {{music|time|7|4}}.<ref>"I'm not claiming this is completely 100% accurate in terms of what these guys actually played" (Hooper 1997).</ref>
* Measures 11-117 of the first movement of [[Leonard Bernstein]]'s ''[[Chichester Psalms]]'' are in {{music|time|7|4}}, notated and performed as {{music|time|4+3|4}}.<ref>''[[Chichester Psalms]]'', Boosey & Hawkes, Inc., 1965.</ref>
* "Brighter than a Thousand Suns" from ''[[A Matter of Life and Death (album)|A Matter of Life and Death]]'' by [[Iron Maiden]]. Main riff and chorus in {{music|time|7|4}}, bridge in {{music|time|4|4}}.<ref>{{cite web|url=http://metal-archives.com/review.php?id=122532|title=Reviews for Iron Maiden's A Matter of Life and Death|publisher=Metal-archives.com|accessdate=July 30, 2009}}</ref><ref>{{cite web|url=http://www.groove.no/html/review/23456977.html|title=A Matter of Life and Death (review)|publisher=Groove.no|accessdate=July 30, 2009}}</ref>
* "Cherokee" by [[Stephen Stills]]. The verses and the intro and outro are in {{music|time|7|4}}.<ref>Hughes 2009.</ref>
*"The Cinema Show" from ''[[Selling England by the Pound]]'' by [[Genesis (band)|Genesis]] concludes with an extended instrumental section in {{music|time|7|8}}<ref name=":0" />
* "[[Concerto Fantasy for Two Timpanists and Orchestra]]" by [[Philip Glass]] develops a theme in the third movement that shifts between {{music|time|4|4}} and {{music|time|7|8}}.<ref>{{cite web|url=http://americansymphony.org/concerto-fantasy-for-two-timpanists-and-orchestra/ |title=American Symphony Orchestra – Concerto Fantasy for Two Timpanists and Orchestra |publisher=Americansymphony.org |date=19 November 2000 |access-date=25 February 2015}}</ref>
*"Cinema Show" from ''[[Selling England by the Pound]]'' by [[Genesis (band)|Genesis]] concludes with an extended instrumental section in {{music|time|7|8}}<ref name=":0" />
* "Diary of a Madman" by [[Ozzy Osbourne]], verses in {{music|time|7|4}}<ref>Guitar April 1998, ""Diary of a Madman"". Transcribed by Jeff Jacobson.</ref>
* "[[Concerto Fantasy for Two Timpanists and Orchestra]]" by [[Philip Glass]] develops a theme in the third movement that shifts between {{music|time|4|4}} and {{music|time|7|8}}.<ref>{{cite web|url=http://americansymphony.org/concerto-fantasy-for-two-timpanists-and-orchestra/ |title=American Symphony Orchestra – Concerto Fantasy for Two Timpanists and Orchestra |publisher=Americansymphony.org |date=2000-11-19 |accessdate=2015-02-25}}</ref>
* "Ethiopia" by [[Red Hot Chili Peppers]], in {{music|time|7|4}} except for a {{music|time|4|4}} chorus<ref>{{cite web|url=https://www.youtube.com/watch?v=IrcKSpyq7M8 |title=Interview with a band member, explaining choice of septuple meter around 40 seconds in |publisher=YouTube.com |access-date=26 November 2013}}</ref>{{sfn|Anon.|2011}}
* "Diary of a Madman" by [[Ozzy Osbourne]]. The verses are in {{music|time|7|4}}.<ref>Guitar April 1998, ""Diary of a Madman"". Transcribed by Jeff Jacobson.</ref>
*"[[Golden Brown]]" by [[The Stranglers]] has an intro that alternates between bars of {{music|time|6|8}} and {{music|time|7|8}}. This motif returns multiple times during the song.<ref>{{Cite web|date=2017-09-09|title=Top 10 songs not in 4/4 time|url=https://www.independent.co.uk/voices/top-10-songs-not-4-4-time-a7935741.html|access-date=2021-05-28|website=The Independent|language=en}}</ref>
* "Ethiopia" by [[Red Hot Chili Peppers]] is {{music|time|7|4}} except for a {{music|time|4|4}} chorus.<ref>{{cite web|url=https://www.youtube.com/watch?v=IrcKSpyq7M8 |title=Interview with a band member, explaining choice of septuple meter around 40 seconds in |publisher=YouTube.com |date= |accessdate=2013-11-26}}</ref><ref>Anon. 2011.</ref>
* "[[Heart of Glass (song)|Heart of Glass]]" by [[Blondie (band)|Blondie]] has a break in {{music|time|7|8}} after the second chorus.<ref name="ROCK: Ex-Blondies have more fun">{{cite web|author=Nicholas Barber |url=https://www.independent.co.uk/life-style/rock-exblondies-have-more-fun-1318401.html |title=ROCK: Ex-Blondies have more fun – Life and Style |publisher=The Independent |date=1996-02-11 |accessdate=2015-02-25}}</ref>
* "Hartmann's Youkai Girl", from ''[[Subterranean Animism|Touhou Chireiden~ Subterranean Animism]]'', begins in {{music|time|7|8}}, but has later segments in {{music|time|4|4}}
* "[[Heart of Glass (song)|Heart of Glass]]" by [[Blondie (band)|Blondie]], a break in {{music|time|7|8}} after the second chorus<ref name="ROCK: Ex-Blondies have more fun">{{cite web|author=Nicholas Barber |url=https://www.independent.co.uk/life-style/rock-exblondies-have-more-fun-1318401.html |title=ROCK: Ex-Blondies have more fun – Life and Style |work=The Independent |date=11 February 1996 |access-date=25 February 2015}}</ref>
* "Heaven on Their Minds", from ''[[Jesus Christ Superstar]]'', by [[Andrew Lloyd Webber]]. Mainly in {{music|time|4|4}}, but turnarounds in b. 44–51 and 69–76 are in {{music|time|7|8}}.<ref>Lloyd Webber and Rice 1970, 6–7 and 9.</ref>
* "Heaven on Their Minds", from ''[[Jesus Christ Superstar]]'', by [[Andrew Lloyd Webber]]: mainly in {{music|time|4|4}}, but turnarounds in b. 44–51 and 69–76 in {{music|time|7|8}}{{sfn|Lloyd Webber and Rice|1970|loc=6–7 and 9}}
* "I Am the Doctor", by [[Murray Gold]], from the [[Doctor Who: Original Television Soundtrack – Series 5|soundtrack to the fifth series of ''Doctor Who'']].<ref>Plait 2012.</ref>
* "I Am the Doctor", by [[Murray Gold]], from the [[Doctor Who: Original Television Soundtrack – Series 5|soundtrack to the fifth series of ''Doctor Who'']]{{sfn|Plait|2012}}
* "I Tamper with the Evidence at the Murder Site of Odin" by [[Dethklok]] is in {{music|time|7|8}}, except for two interludes in common time.<ref name="Dethklok">Dethalbum II: Authentic Guitar TAB (Authentic Guitar Tab Edition)</ref>
* "I Tamper with the Evidence at the Murder Site of Odin" by [[Dethklok]], in {{music|time|7|8}}, except for two interludes in common time<ref name="Dethklok">Dethalbum II: Authentic Guitar TAB (Authentic Guitar Tab Edition)</ref>
* "I Was Brought To My Senses" by [[Sting (musician)|Sting]]. Intro is in {{music|time|4|4}}, but the rest is {{music|time|7|4}}.<ref>{{cite news |first=Jon |last=Pareles |title=Understated Showcase for Sting's New Songs |newspaper=New York Times |date=4 March 1996 |url=https://query.nytimes.com/gst/fullpage.html?res=9C0CE4D71E39F937A35750C0A960958260}}</ref>
* "I Was Brought to My Senses" by [[Sting (musician)|Sting]], intro in {{music|time|4|4}}, rest in {{music|time|7|4}}<ref>{{cite news|first=Jon|last=Pareles|author-link=Jon Pareles|title=Understated Showcase for Sting's New Songs|newspaper=[[The New York Times]]|date=4 March 1996|url=https://query.nytimes.com/gst/fullpage.html?res=9C0CE4D71E39F937A35750C0A960958260}}</ref>
* "I Was Made For Loving You" by [[Tori Kelly]] and [[Ed Sheeran]]. Intro and chorus alternate {{music|time|3|4}} + {{music|time|4|4}}<ref>Kelley and Sheeran 2015.</ref>
* "[[I Was Made for Loving You (Tori Kelly song)|I Was Made for Loving You]]" by [[Tori Kelly]] and [[Ed Sheeran]]. Intro and chorus alternate {{music|time|3|4}} + {{music|time|4|4}}{{sfn|Kelly and Sheeran|2015}}
* "[[Internet Symphony No. 1]]" by [[Tan Dun]], third movement contains measures in {{music|time|7|16}}
* "In the Dead of Night" by UK. Mainly in {{music|time|7|4}}. After the chorus that is a riff in {{music|time|4|4}} + {{music|time|4|4}} + {{music|time|5|8}}, ending in 4 bars {{music|time|4|4}}.<ref>''Guitar'' (February 1996), ""In the dead of night"", transcribed by Paul Pappas.{{Page needed|date=March 2012}}<!--Inclusive page numbers where this transcription can be found.--></ref>
* "In the House of Tom Bombadil" by [[Nickel Creek]], alternates between {{music|time|4|4}} and {{music|time|7|8}}.<ref>Teachout 2001.</ref>
* "In the House of Tom Bombadil" by [[Nickel Creek]], alternates between {{music|time|4|4}} and {{music|time|7|8}}.{{sfn|Teachout|2001}}
* "[[Jive Talkin']]" by [[Bee Gees]] has a recurring post-chorus synthesizer break notated as either {{music|time|7|4}} or alternating measures of {{music|time|3|4}} and {{music|time|4|4}}<ref>{{cite web|url=http://www.sheetzbox.com/piano/sheets/6904/Saturday_Night_Fever-Jive_Talkin_PianoTabs.html |title=Saturday Night Fever – Jive Talkin – Free Piano Sheet Music |publisher=Sheetzbox.com |date= |accessdate=2015-02-25}}</ref>{{Failed verification|date=October 2019|reason=Although the song is named, there is no mention of its meter, and the link is a commercial sales link.}}
* "[[Jive Talkin']]" by [[Bee Gees]] has a recurring post-chorus synthesizer break notated as either {{music|time|7|4}} or alternating measures of {{music|time|3|4}} and {{music|time|4|4}}<ref>{{cite web|url=http://www.sheetzbox.com/piano/sheets/6904/Saturday_Night_Fever-Jive_Talkin_PianoTabs.html |title=Saturday Night Fever – Jive Talkin – Free Piano Sheet Music |publisher=Sheetzbox.com |access-date=25 February 2015}}</ref>{{Failed verification|date=October 2019|reason=Although the song is named, there is no mention of its meter, and the link is a commercial sales link.}}
* "[[Jocko Homo]]" by [[Devo]] is primarily in {{music|time|7|8}}, but changes to {{music|time|4|4}} partway through.<ref>Steve Huey [{{Allmusic|class=album|id=r5601|pure_url=yes}} Jocko Homo]</ref>
* "[[Jocko Homo]]" by [[Devo]] primarily in {{music|time|7|8}}, but changes to {{music|time|4|4}} partway through<ref>Steve Huey [{{AllMusic|class=album|id=r5601|pure_url=yes}} Jocko Homo]</ref>
* "Laps in Seven", by [[Sam Bush]] ({{music|time|7|4}}). (except for the electric mandolin solo which is in {{music|time|4|4}} time)<ref>{{cite web| url = http://www.slantmagazine.com/music/music_review.asp?ID=873| first = Jonathan| accessdate = 2008-05-18| last = Keefe| title = Sam Bush: Laps in Seven}}</ref>
* "[[Matriphagy (album)|L.E.D.]]" by [[Tallah]] ({{music|time|7|8}})<ref>{{cite web | url=https://heavymetalculture.com/tallah-matriphagy-album-review/ | title=Heavy Metal Culture TALLAH "Matriphagy" Album Review | date=5 October 2020 }}</ref>
* "Laps in Seven", by [[Sam Bush]] ({{music|time|7|4}}). (except for the electric mandolin solo which is in {{music|time|4|4}} time)<ref>{{cite web| url = https://www.slantmagazine.com/music/music_review.asp?ID=873| first = Jonathan| access-date = 18 May 2008| last = Keefe| title = Sam Bush: Laps in Seven| website = [[Slant Magazine]]}}</ref>
* "Like a Beautiful Smile" by [[Sting (musician)|Sting]]. The main theme is three bars of {{music|time|7|8}} and one bar of {{music|time|8|8}}. The chorus is in {{music|time|8|8}}.<ref>Sting 2003, 100–12.</ref>
* "The Man Who Sailed Around His Soul" by [[XTC]]. Verses are in {{music|time|7|8}}.<ref>Alan Cross, Andy Partridge, Joe Jarrett, Christopher Wood, David Oh, Daniel Girard, and unknown questioners [https://web.archive.org/web/20120131021438/http://chalkhills.org/articles/Toronto990227.html Andy Partridge's Toronto Visit]", Chalkhills.org (27 February 1999) (archive from 31 January 2012, accessed 25 February 2015).</ref>
* "Like a Beautiful Smile" by [[Sting (musician)|Sting]]. The main theme is three bars of {{music|time|7|8}} and one bar of {{music|time|8|8}}. The chorus is in {{music|time|8|8}}.{{sfn|Sting|2003|loc=100–112}}
* "The Man Who Sailed Around His Soul" by [[XTC]], verses in {{music|time|7|8}}<ref>Alan Cross, Andy Partridge, Joe Jarrett, Christopher Wood, David Oh, Daniel Girard, and unknown questioners [https://web.archive.org/web/20120131021438/http://chalkhills.org/articles/Toronto990227.html Andy Partridge's Toronto Visit]", Chalkhills.org (27 February 1999) (archive from 31 January 2012, accessed 25 February 2015).</ref>
* "Meetings Along the Edge" by [[Philip Glass]] and [[Ravi Shankar]] develops two themes in 7 and one in 4 beats per measure.<ref>{{cite web |url=http://www.philipglass.com/music/recordings/passages.php |title=Music: Passages |publisher=Philip Glass |accessdate=2015-02-25 |url-status=dead |archiveurl=https://web.archive.org/web/20160610201536/http://www.philipglass.com/music/recordings/passages.php |archivedate=10 June 2016 |df=dmy-all }}</ref>
* "Meetings Along the Edge" by [[Philip Glass]] and [[Ravi Shankar]] develops two themes in 7 and one in 4 beats per measure.<ref>{{cite web |url=http://www.philipglass.com/music/recordings/passages.php |title=Music: Passages |publisher=Philip Glass |access-date=25 February 2015 |url-status=dead |archive-url=https://web.archive.org/web/20160610201536/http://www.philipglass.com/music/recordings/passages.php |archive-date=10 June 2016}}</ref>
* "Meheeco" by English group [[Sky (band)|Sky]]. The second part features an alternation of {{music|time|8|8}} – {{music|time|7|8}}. In the live versions, the drums would often continue playing {{music|time|8|8}} over the rest of the band's {{music|time|7|8}} bars, creating an [[isorhythm]].<ref>Sliwa 1998–2005.</ref>
* "Meheeco" by English group [[Sky (English/Australian band)|Sky]]. The second part features an alternation of {{music|time|8|8}} – {{music|time|7|8}}. In the live versions, the drums would often continue playing {{music|time|8|8}} over the rest of the band's {{music|time|7|8}} bars, creating an [[isorhythm]].{{sfn|Sliwa|1998–2005}}
* "A Mix Tape", from ''[[Avenue Q]]'', by [[Robert Lopez]] and [[Jeff Marx]]. Mostly in {{music|time|4|4}} time, with regularly alternating pairs of {{music|time|7|8}} and {{music|time|4|4}} in the opening and closing sections (spoken and vamped portions).{{sfn|Lopez and Marx|2004|loc=76–82}}
* "A Mix Tape", from ''[[Avenue Q]]'', by [[Robert Lopez]] and [[Jeff Marx]]. Mostly in {{music|time|4|4}} time, with regularly alternating pairs of {{music|time|7|8}} and {{music|time|4|4}} in the opening and closing sections (spoken and vamped portions).{{sfn|Lopez and Marx|2004|loc=76–82}}
* "[[Money (Pink Floyd song)|Money]]" by [[Pink Floyd]]. Predominantly in {{music|time|7|4}}.<ref name="bass"/><ref name="pandora_meters_podcast">{{cite web|url=http://blog.pandora.com/archives/podcast/2007/09/meters_time_sig.html |title=Pandora Presents&nbsp;... Meters & Time Signatures |accessdate=2015-02-25 |url-status=dead |archiveurl=https://web.archive.org/web/20090503150928/http://blog.pandora.com/archives/podcast/2007/09/meters_time_sig.html |archivedate=3 May 2009 }}</ref>
* "[[Money (Pink Floyd song)|Money]]" by [[Pink Floyd]], predominantly in {{music|time|7|4}}<ref name="bass"/><ref name="pandora_meters_podcast">{{cite web|url=http://blog.pandora.com/archives/podcast/2007/09/meters_time_sig.html |title=Pandora Presents&nbsp;... Meters & Time Signatures |access-date=25 February 2015 |url-status=dead |archive-url=https://web.archive.org/web/20090503150928/http://blog.pandora.com/archives/podcast/2007/09/meters_time_sig.html |archive-date=3 May 2009 }}</ref>
* "Mysterious Traveler" by [[Weather Report]] ([[Wayne Shorter]]). First section primarily in {{music|time|7|4}} (notated {{music|time|3|4}} + {{music|time|4|4}}) interspersed with occasional {{music|time|5|4}}. Second section in {{music|time|4|4}}.<ref>Anon. 2007, {{Page needed|date=August 2013}}<!--Since this source is an anthology of lead sheets in two volumes, both the volume number and inclusive pages of this song are needed.--></ref>
* "Mysterious Traveler" by [[Weather Report]] ([[Wayne Shorter]]). First section primarily in {{music|time|7|4}} (notated {{music|time|3|4}} + {{music|time|4|4}}) interspersed with occasional {{music|time|5|4}}. Second section in {{music|time|4|4}}.{{sfn|Anon.|2007|loc={{Page needed|date=August 2013|reason=Since this source is an anthology of lead sheets in two volumes, both the volume number and inclusive pages of this song are needed.}}}}
* "Nothing on My Back" by [[Sum 41]], from the album ''[[All Killer No Filler]]'', opening riff in {{music|time|7|4}}<ref>{{cite web|url=http://www.911tabs.com/link/?288017 |title=External Link |publisher=911Tabs.Com |access-date=22 September 2013}}</ref>
* "Natural Science" by [[Rush (band)|Rush]] is written partially in {{music|time|7|8}}<ref>Anon. 2016.</ref>{{Unreliable source?|date=October 2016}}<!--This is just an anonymous blog: why should it be regarded as reliable?-->
* "[[The Ocean (Led Zeppelin song)|The Ocean]]" by [[Led Zeppelin]], built upon the drum groove and lead guitar line: one bar of {{music|time|4|4}} and one bar of {{music|time|7|8}}<ref>{{cite web|author1=Wally Schnalle|title=How To Play 'The Ocean' By Led Zeppelin|url=http://drummagazine.com/how-to-play-the-ocean-by-led-zeppelin/|website=Drum Magazine|access-date=15 January 2018|date=11 March 2011}}</ref>
* "[[Bird Noises|No Time for Games]]" by [[Midnight Oil]] has an introduction and various other parts in {{music|time|7|4}} and verse and chorus in {{music|time|4|4}}.<ref>{{cite web|url=http://www.midnight-oil.info/powderworks/2003-May/008842.html |title=[Powderworks&#93; time signatures |publisher=Midnight-oil.info |date= |accessdate=2013-09-22}}</ref>{{Unreliable source?|date=July 2013}}<!--Blogs are not usually regarded as Reliable Sources. Is there a reason this one is an exception?-->
* "Oh, Happy We" from act 1 of ''[[Candide (operetta)|Candide]]'' by [[Leonard Bernstein]]: verses in {{music|time|7|4}}, turnarounds in {{music|time|3|4}}{{sfn|Bernstein|1994|loc=42–47}}
* "Nothing on My Back" by [[Sum 41]], from the album ''[[All Killer No Filler]]'', has an opening riff in {{music|time|7|4}}.<ref>{{cite web|url=http://www.911tabs.com/link/?288017 |title=External Link |publisher=911Tabs.Com |date= |accessdate=2013-09-22}}</ref>
* "[[Outshined]]" by [[Soundgarden]], verses in {{music|time|7|4}}<ref>{{cite web| url = {{AllMusic|class=song|id=t2765648|pure_url=yes}}| first = Steve| last = Huey| title = Outshined| work = [[AllMusic]]| quote = The song's main riff is in {{music|time|7|4}} time| access-date = 23 March 2008}}</ref>
* "[[The Ocean (Led Zeppelin song)|The Ocean]]" by [[Led Zeppelin]]. The song is built upon the drum groove and lead guitar line that is composed of one bar of {{music|time|4|4}} and one bar of {{music|time|7|8}}.<ref>{{cite web|author1=Wally Schnalle|title=How To Play 'The Ocean' By Led Zeppelin|url=http://drummagazine.com/how-to-play-the-ocean-by-led-zeppelin/|website=Drum Magazine|accessdate=15 January 2018|date=11 March 2011}}</ref>
* "Oh, Happy We" from act 1 of ''[[Candide (operetta)|Candide]]'' by [[Leonard Bernstein]]. Verses are in {{music|time|7|4}}, turnarounds in {{music|time|3|4}}.<ref>Bernstein 1994, 42–47.</ref>
* "[[Paranoid Android]]" by [[Radiohead]]. Producer Michael G noted that "Paranoid Android" "flips between {{music|time|4|4}} time and {{music|time|7|8}} time about 13 times".{{sfn|Lawrence|2006}}
* "Los peones de hacienda", from the ballet ''Estancia'' by [[Alberto Ginastera]]: bars 27–28 (third and fourth bars following rehearsal 65) in {{music|time|7|8}}{{sfn|Ginastera|1955|loc=18}}
* "[[Outshined]]" by [[Soundgarden]]. Verses in {{music|time|7|4}}.<ref>{{cite web| url = {{Allmusic|class=song|id=t2765648|pure_url=yes}}| first = Steve| last = Huey| title = Outshined| work = [[AllMusic]]| quote = The song's main riff is in {{music|time|7|4}} time| accessdate = 2008-03-23}}</ref>
* "Prequel to the Sequel" by [[Between the Buried and Me]], some scattered bars in {{music|time|7|8}} and other time signatures<ref>{{cite web|url=http://www.911tabs.com/link/?5598698 |title=External Link |publisher=911Tabs.Com |access-date=22 September 2013}}</ref>
* "[[Paranoid Android]]" by [[Radiohead]]. Producer Michael G noted that "Paranoid Android" "flips between {{music|time|4|4}} time and {{music|time|7|8}} time about 13 times".<ref>Lawrence 2006.</ref>
* "Presto ruvido", no. 4 of ''Sechs Bagatellen'' for wind quintet (1953) by [[György Ligeti]] (all in {{music|time|7|8}} except b. 36, 39, and 51, in {{music|time|3|8}}, {{music|time|2|8}}, and {{music|time|3|8}}, respectively){{sfn|Ligeti|1973|loc=flute p. 6, oboe pp. 4–5, clarinet pp. 6–7, horn pp. 4–5, bassoon pp. 6–7}}
* "Los peones de hacienda", from the ballet ''Estancia'' by [[Alberto Ginastera]]. Bars 27–28 (third and fourth bars following rehearsal 65) are in {{music|time|7|8}}.<ref>Ginastera 1955, 18.</ref>
* "[[Rand McNally (song)|Rand McNally]]" by Death Cab for Cutie (verses in {{music|time|7|8}})<ref>{{Cite web |title=Asphalt Meadows Is Death Cab for Cutie’s Most Consistent Album in Over a Decade |url=https://www.pastemagazine.com/music/death-cab-for-cutie/asphalt-meadows-album-review |access-date=2024-12-06 |website=Paste Magazine |language=en-US}}</ref>
*"Pick Up Summer" by [[Fu Manchu (band)|Fu Manchu]] is in [[quintuple meter]] created by regularly alternating {{music|time|7|4}} & {{music|time|8|4}}.<ref>{{cite web|author=BetZe13 |url=http://oddtimeobsessed.blogspot.com/2009/08/fu-manchu-pick-up-summer.html |title=Odd Time Obsessed: Fu Manchu – Pick Up Summer |publisher=Oddtimeobsessed.blogspot.com |date=2009-08-19 |accessdate=2013-09-22}}</ref>{{Unreliable source?|date=July 2013}}<!--Blogs are not usually considered Reliable Sources. Is this one an exception?-->
* "Prequel to the Sequel" by [[Between the Buried and Me]] has some scattered bars in {{music|time|7|8}} and other time signatures.<ref>{{cite web|url=http://www.911tabs.com/link/?5598698 |title=External Link |publisher=911Tabs.Com |date= |accessdate=2013-09-22}}</ref>
* "[[Revolting Children]]" from ''[[Matilda the Musical]]'' by [[Tim Minchin]]: sections of verses in {{music|time|7|8}}<ref>http://www.misswardmusic.com/uploads/1/1/8/3/11833617/revolting-children-i-matilda.pdf {{Bare URL PDF|date=August 2022}}</ref>
* "Presto ruvido", no. 4 of ''Sechs Bagatellen'' for wind quintet (1953) by [[György Ligeti]] (all in {{music|time|7|8}} except b. 36, 39, and 51, in {{music|time|3|8}}, {{music|time|2|8}}, and {{music|time|3|8}}, respectively).<ref>Ligeti 1973, flute p. 6, oboe pp. 4–5, clarinet pp. 6–7, horn pp. 4–5, bassoon pp. 6–7.</ref>
*"Ring Out Solstice Bells" by [[Jethro Tull (band)|Jethro Tull]] is in {{music|time|7|4}} alternating with {{music|time|4|4}} referencing its time signature with the lyric "seven maids move in seven time".<ref>{{cite web|url=https://www.songfacts.com/blog/interviews/ian-anderson-the-delight-in-making-music-is-that-you-dont-have-a-formula | title=Ian Anderson: "The delight in making music is that you don't have a formula"}}</ref>
*"Ring Out Solstice Bells" by [[Jethro Tull (band)|Jethro Tull]] is in {{music|time|7|4}} alternating with {{music|time|4|4}} referencing its time signature with the lyric "seven maids move in seven time".<ref>{{cite web|url=https://www.songfacts.com/blog/interviews/ian-anderson-the-delight-in-making-music-is-that-you-dont-have-a-formula | title=Ian Anderson: "The delight in making music is that you don't have a formula"}}</ref>
* "The River" by [[King Gizzard & the Lizard Wizard]] from their 2015 album ''[[Quarters!]]'' contains sections in both {{music|time|7|8}} and {{music|time|5|4}}.<ref>{{cite web|url=http://hero-magazine.com/article/39734/we-went-on-tour-with-king-gizzard-and-the-lizard-wizard-and-this-is-what-happened/|title=Lords of psych King Gizzard and the Lizard Wizard invited us on tour and this is what happened|last=Taylor|first=Alex James|date=27 May 2015|accessdate=26 March 2017}}</ref>
* "[[Schism (song)|Schism]]" by [[Tool (band)|Tool]], verse with alternating measures of {{music|time|5|8}} and {{music|time|7|8}}, chorus of alternating measures of {{music|time|6|8}} and {{music|time|7|8}}<ref>{{cite web | url=https://www.songsterr.com/a/wsa/tool-schism-tab-s6700t0 | title=Schism Tab by Tool Maynard James Keenan (Vocals) Bassoon}}</ref>
* "Seven" by [[Dave Matthews Band]] (verses in {{music|time|7|4}})<ref>{{cite web|url=http://antsmarching.org/columns/column.php?columnid=68 |title=Dave Matthews Band |publisher=antsmarching.org |access-date=25 February 2015}}</ref>
* "[[Schism (song)|Schism]]" by [[Tool (band)|Tool]]. Verse contains alternating measures of {{music|time|5|8}} and {{music|time|7|8}}, while chorus contains alternating measures of {{music|time|6|8}} and {{music|time|7|8}}.<ref>{{cite web | url=https://www.songsterr.com/a/wsa/tool-schism-tab-s6700t0 | title=Schism Tab by Tool – Maynard James Keenan (Vocals) – Bassoon}}</ref>
* "Selkies: The Endless Obession" by Between the Buried and Me has a main riff that alternates between {{music|time|7|8}} and {{music|time|6|8}}.<ref>{{cite web|url=http://guitarcats.com/guitar-tabs/between-the-burried-_and_-me/selkies-the-endless-obsession |title=Tab: Between the Burried & Me SELKIES THE ENDLESS OBSESSION |publisher=GuitarCats |date= |accessdate=2013-09-22}}</ref>
* "Speculation", composed by [[Shoji Meguro]] for the ''[[Persona 4]]'' video game soundtrack. Largely in {{music|time|7|4}}, with a bridge in {{music|time|3|4}}.<ref>{{cite web|url=http://kotaku.com/5964389/persona-4-goldens-soaring-soundtrack-is-love-at-first-listen |title=Persona 4 Golden's Soaring Soundtrack Is Love At First Listen |date=30 November 2012 |publisher=Kotaku.com |access-date=22 September 2013}}</ref>
* "Seven" by [[Dave Matthews Band]] (verses in {{music|time|7|4}})<ref>{{cite web|url=http://antsmarching.org/columns/column.php?columnid=68 |title=Dave Matthews Band |publisher=antsmarching.org |date= |accessdate=2015-02-25}}</ref>
* "[[We Are Not Your Kind|Spiders]]" by [[Slipknot (band)|Slipknot]] ({{music|time|7|4}})<ref>{{Cite news |url=https://www.ft.com/content/55391dbc-b83f-11e9-8a88-aa6628ac896c |title=Slipknot: We Are Not Your Kind — some of their heaviest music yet |website=[[Financial Times]] |date=9 August 2019 |access-date=8 December 2019 |url-access=subscription |last1=Taylor |first1=Sam }}</ref>
* "[[Spoonman]]" by [[Soundgarden]]. The intro, verses, drum solo, and parts of the bridge are in {{music|time|7|4}} (sometimes transcribed as {{music|time|14|8}}). Choruses, parts of the bridges, and guitar solo are in {{music|time|4|4}}, and the spoons solo is in {{music|time|6|8}}.{{sfn|Rotondi|1994|loc={{Page needed|date=August 2015}}}}
* ''[[Slava! A Political Overture]]'' by Leonard Bernstein. Large sections in {{music|time|7|8}}, generally conducted as {{music|time|2|8}}+{{music|time|2|8}}+{{music|time|3|8}}.<ref>{{Cite web|url=https://leonardbernstein.com/works/view/13/slava-a-political-overture|title=Works {{!}} Works {{!}} Leonard Bernstein|website=leonardbernstein.com|language=en|access-date=2017-11-12}}</ref>{{Failed verification|date=November 2017}}<!--This web page does not say anything about meters or time signatures. Is there a published score that could verify this claim?-->
*"Suicide Mission" by [[Jack Wall (composer)|Jack Wall]] for [[Mass Effect 2]]: "a large section or so of {{music|time|7|4}} throughout, particularly at the end"{{sfn|OC ReMix Community|2010}}
* "Speculation", composed by [[Shoji Meguro]] for the ''[[Persona 4]]'' video game soundtrack. Largely in {{music|time|7|4}}, with a bridge in {{music|time|3|4}}.<ref>{{cite web|author= |url=http://kotaku.com/5964389/persona-4-goldens-soaring-soundtrack-is-love-at-first-listen |title=Persona 4 Golden's Soaring Soundtrack Is Love At First Listen |publisher=Kotaku.com |date= |accessdate=2013-09-22}}</ref>
* "[[Tattooed Love Boys]]" by [[The Pretenders]]. Verses alternate between {{music|time|7|4}} and {{music|time|4|4}}.<ref>{{Cite news|url=https://query.nytimes.com/gst/fullpage.html?res=9E00EFDB153BF935A2575BC0A967948260&sec=&spon=&pagewanted=all|title=Substance Marks Pretenders II|work=[[The New York Times]]|quote=Tattooed Love Boys, for example, grafted a section in {{music|time|7|4}} time onto a section with a kind of modified Bo Diddley beat in {{music|time|4|4}}; James Honeyman Scott's ringing guitar figures held the piece together|access-date=14 August 2008|first=Robert|last=Palmer|author-link=Robert Palmer (American writer)|date=16 August 1981}}</ref>
* "[[Spoonman]]" by [[Soundgarden]]. The intro, verses, drum solo, and parts of the bridge are in {{music|time|7|4}} (sometimes transcribed as {{music|time|14|8}}). Choruses, parts of the bridges, and guitar solo are in {{music|time|4|4}}, and the spoons solo is in {{music|time|6|8}}.<ref>Rotondi 1994, {{Page needed|date=August 2015}}.</ref>
*"[[Jesus Christ Superstar|The Temple]]" from ''[[Jesus Christ Superstar]]'' is in {{music|time|7|4}} except for Jesus's solo, which is in {{music|time|4|4}}.<ref>{{Cite web|url=http://dosguys.com/JCS/pdf-index.htm|title=Jesus Christ Superstar Sheet Music pdf Files|website=dosguys.com|access-date=4 April 2019}}</ref>
*"Suicide Mission" by [[Jack Wall (composer)|Jack Wall]] for [[Mass Effect 2]] "a large section or so of {{music|time|7|4}} throughout, particularly at the end".<ref>OC Remix Community 2010.</ref>
* "[[Them Bones]]" by [[Alice in Chains]]: verses in {{music|time|7|8}}, chorus in {{music|time|4|4}}{{sfn|Cantrell|1992}}
* "[[Tattooed Love Boys]]" by [[The Pretenders]]. Verses alternate between {{music|time|7|4}} and {{music|time|4|4}}.<ref>{{Cite news| url = https://query.nytimes.com/gst/fullpage.html?res=9E00EFDB153BF935A2575BC0A967948260&sec=&spon=&pagewanted=all| title = Substance Marks Pretenders II| work = New York Times| quote = Tattooed Love Boys, for example, grafted a section in {{music|time|7|4}} time onto a section with a kind of modified Bo Diddley beat in {{music|time|4|4}}; James Honeyman Scott's ringing guitar figures held the piece together| accessdate = 2008-08-14 |first=Robert |last=Palmer |date=1981-08-16}}</ref>
* "Thunderchild" by [[Jeff Wayne]] from his concept album ''[[Jeff Wayne's Musical Version of The War of the Worlds|War of the Worlds]]'', primarily in {{music|time|7|8}}{{sfn|Wayne|1978|loc={{Page needed|date=October 2010}}}}
*"[[Jesus Christ Superstar|The Temple]]" from ''[[Jesus Christ Superstar]]'' is in {{music|time|7|4}} except for Jesus’s solo, which is in {{music|time|4|4}}.<ref>{{Cite web|url=http://dosguys.com/JCS/pdf-index.htm|title=Jesus Christ Superstar Sheet Music pdf Files|website=dosguys.com|access-date=2019-04-04}}</ref>
* "Time" by [[Anthrax (American band)|Anthrax]] from the album ''[[Persistence of Time]]''. Intro in {{music|time|7|4}}.<ref>{{cite web|url=http://www.metal-archives.com/reviews/Anthrax/Persistence_of_Time/ |title=Anthrax – Persistence of Time – Reviews – Encyclopaedia Metallum |publisher=The Metal Archives |access-date=22 September 2013}}</ref>
* "[[Them Bones]]" by [[Alice in Chains]]; the verses are in {{music|time|7|8}}, and the chorus is in {{music|time|4|4}}.<ref>Cantrell 1992.</ref>
* [[Tom Sawyer (song)|Tom Sawyer]] by [[Rush (band)|Rush]], switches between 4/4 and 7/4 time. <ref>{{cite web|url= http://www.rebelmusicteacher.com/blog/2017/1/10/changing-meter-in-rushs-tom-sawyer?format=amp |publisher=Revel Music Teacher |access-date=30 March 2024 |title=Typical Rush Time Changes: Changing & Asymmetrical Compound Meter in Rush's "Tom Sawyer" }}</ref>
* "Thunderchild" by [[Jeff Wayne]] from his concept album ''[[Jeff Wayne's Musical Version of The War of the Worlds|War of the Worlds]]'' is primarily in {{music|time|7|8}}.<ref>Wayne 1978, {{Page needed|date=October 2010}}.</ref>
* "Two Toccatas" by [[George Antheil]]. The first toccata features a middle section in {{music|time|7|8}}.<ref>{{Citation|last=George N. Gianopoulos|title=George Antheil – Two Toccatas for Solo Piano (1948) [Score-Video]|date=29 April 2016|url=https://www.youtube.com/watch?v=YyZsF1UAfwc|access-date=13 November 2017}}</ref>
* "Time" by [[Anthrax (American band)|Anthrax]] from the album ''[[Persistence of Time]]''. Intro in {{music|time|7|4}}.<ref>{{cite web|url=http://www.metal-archives.com/reviews/Anthrax/Persistence_of_Time/ |title=Anthrax – Persistence of Time – Reviews – Encyclopaedia Metallum |publisher=The Metal Archives |date= |accessdate=2013-09-22}}</ref>
* ''Variations et fugue sur un thème original'', Op. 42, by [[Zygmunt Stojowski]]: theme in {{music|time|7|4}}, also the variations 2, 3, and 10{{sfn|Stojowski|1923}}
* "[[Tom Sawyer (song)|Tom Sawyer]]" by [[Rush (band)|Rush]] instrumental section in {{music|time|7|8}} with a few measures of {{music|time|13|16}}<ref>Anon. n.d.</ref>{{Unreliable source?|date=September 2012}}<!--This appears merely to be a blog site. How is it a reliable source?-->
* "La Villa Strangiato" by [[Rush (band)|Rush]], some sections in {{music|time|7|8}}{{sfn|Banasiewicz|1988|loc={{Page needed|date=December 2010|reason=It should not take all of Chapter 7 (originally offered in place of a page number) to establish this simple fact.}}}}
* "Two Toccatas" by [[George Antheil]]. The first toccata features a middle section in {{music|time|7|8}}.<ref>{{Citation|last=George N. Gianopoulos|title=George Antheil – Two Toccatas for Solo Piano (1948) [Score-Video]|date=2016-04-29|url=https://www.youtube.com/watch?v=YyZsF1UAfwc|accessdate=2017-11-13}}</ref>
* "Wind It Up" by [[Moe (band)|moe.]]: long middle section in {{music|time|7|4}}, rest of the song in {{music|time|4|4}} and {{music|time|6|8}}{{sfn|Moe|2008|loc={{Page needed|date=June 2013|reason=Inclusive pages for Wind It Up needed.}}}}
* ''Variations et fugue sur un thème original'', Op. 42, by [[Zygmunt Stojowski]]. The theme is in {{music|time|7|4}}, as are variations 2, 3, and 10.<ref>Stojowski 1923.</ref>
* "La Villa Strangiato" by [[Rush (band)|Rush]] has some sections in {{music|time|7|8}}.<ref name="Rush: Visions">Banasiewicz 1988, {{Page needed|date=December 2010}}<!--It should not take all of "Chapter 7" (originally offered in place of a page number) to establish this simple fact.--></ref>
* "Wind It Up" by [[Moe (band)|moe.]] has a long middle section in {{music|time|7|4}}, while the rest of the song is in {{music|time|4|4}} and {{music|time|6|8}}.<ref>Moe 2008, {{Page needed|date=June 2013}}<!--Inclusive pages for "Wind It Up" needed.-->.</ref>


==See also==
==See also==
Line 179: Line 174:
{{Reflist|colwidth=30em}}
{{Reflist|colwidth=30em}}


==Sources==
===Sources===
{{div col|colwidth=45em}}
* Allan, Alex. n.d. "[https://web.archive.org/web/20161201211610/http://www.whitegum.com/rhythm.htm Grateful Dead Songs with Unusual Time Signatures]". Alex Allan's personal website (archived 10 December 2016; accessed 7 June 2018).{{Unreliable source?|date=November 2013}}<!--This was a self-published website, wasn't it?-->
* {{wikicite|ref={{harvid|Anon.|1896}}|reference=Anon. 1896. "Indian Music". ''[[The Musical Times and Singing Class Circular]]'', 37, no. 642 (1 August): 519–21.}}
* Anon. n.d. [http://www.songfacts.com/detail.php?id=3105 'Tom Sawyer' by Rush]". Songfacts.com (accessed 22 September 2013).
* {{wikicite|ref={{harvid|Anon.|1978}}|reference=Anon. 1978. Unpaginated introduction to ''[http://www.bacharachonline.com/bacharach_articles/bacharach_essay.html Bacharach and David]'' (songbook). Hollywood: Almo Productions. Reprinted Bacharachonline.com (accessed 25 February 2015).}}
* Anon. 1896. "Indian Music". ''The Musical Times and Singing Class Circular'', 37, no. 642 (1 August): 519–21.
* {{wikicite|ref={{harvid|Anon.|2007}}|reference=Anon. 2007. ''The Real Book'', 2 vols. Milwaukee: Hal Leonard Publishing Corp. {{ISBN|978-1-4234-2451-2}} (vol. 1) 9781423424529 (vol. 2).}}
* Anon. 1978. Unpaginated introduction to ''[http://www.bacharachonline.com/bacharach_articles/bacharach_essay.html Bacharach and David]'' (songbook). Hollywood: Almo Productions. Reprinted Bacharachonline.com (accessed 25 February 2015).
* {{wikicite|ref={{harvid|Anon.|2011}}|reference=Anon. 2011. "[https://www.nme.com/news/red-hot-chili-peppers/58670 Red Hot Chili Peppers Debut New Songs at Japan's Summer Sonic—Video]". ''[[NME]]'' (16 August) (Accessed 10 January 2013).}}
* Anon. 2007. ''The Real Book'', 2 vols. Milwaukee: Hal Leonard Publishing Corp. {{ISBN|978-1-4234-2451-2}} (vol. 1) 9781423424529 (vol. 2).
* {{wikicite|ref={{harvid|Banasiewicz|1988}}|reference=Banasiewicz, Bill. 1988. ''Rush Visions: The Official Biography''. London and New York: Omnibus Press. {{ISBN|0-7119-1162-2}}.}}
* Anon. 2011. "[http://www.nme.com/news/red-hot-chili-peppers/58670 Red Hot Chili Peppers Debut New Songs at Japan's Summer Sonic—Video]". ''NME Online Magazine Video Radio Mobile'' (16 August) (Accessed 10 January 2013).
* {{wikicite|ref={{harvid|Bartók|1940}}|reference=Bartók, Béla. 1940. ''Mikrokosmos: Progressive Piano Pieces = Pièces de piano progressives = Zongoramuzsika a kezdet legkezdetétöl'', 6 vols. New York and London: Boosey & Hawkes.}}
* Anon. 2013. "[https://web.archive.org/web/20151022122719/http://4ad.com/releases/21853 Releases: The National—Trouble Will Find Me]" 4ad.com (20 May; archive from 22 October 2015, accessed 6 June 2018).
* {{wikicite|ref={{harvid|Bartók|1946}}|reference=Bartók, Béla. 1946. ''Concerto for Orchestra'', revised edition, 1993 (full score). London, New York, Bonn, Sidney, Tokyo: Boosey & Hawkes.}}
* Anon. 2016. "[http://www.songfacts.com/detail.php?id=8916 Natural Science by Rush]". Song Facts Blog (accessed 17 October 2016).
* {{wikicite|ref={{harvid|Bennett|2008}}|reference=Bennett, Dan. 2008. ''The Total Rock Bassist''. Van Nuys, California: Alfred Music Publishing. {{ISBN|0-7390-5269-1}}}}
* Banasiewicz, Bill. 1988. ''Rush Visions: The Official Biography''. London and New York: Omnibus Press. {{ISBN|0-7119-1162-2}}.
* {{wikicite|ref={{harvid|Bergeron|2010}}|reference=Bergeron, Guy (arr.). 2010. "[http://www.free-scores.com/download-sheet-music.php?pdf=21260 Jovano Jovanke]" (trad. Macedonian). Freescores.com (Accessed 10 October 2011).}}
* Bartók, Béla. 1940. ''Mikrokosmos: Progressive Piano Pieces = Pièces de piano progressives = Zongoramuzsika a kezdet legkezdetétöl'', 6 vols. New York and London: Boosey & Hawkes.
* {{wikicite|ref={{harvid|Bernstein|1993}}|reference=Bernstein, Leonard. 1993. ''The Age of Anxiety: Symphony No.&nbsp;2'', for piano and orchestra, after W. H. Auden, revised version, full score, corrected edition. [New York]: Jalni Publications, Inc., Boosey & Hawkes.}}
* Bartók, Béla. 1946. ''Concerto for Orchestra'', revised edition, 1993 (full score). London, New York, Bonn, Sidney, Tokyo: Boosey & Hawkes.
* {{wikicite|ref={{harvid|Bernstein|1994}}|reference=Bernstein, Leonard. 1994. ''Candide: A Comic Operetta in Two Acts'', Scottish Opera edition of the opera-house version (1989). Book by Hugh Wheeler, based on the satire by Voltaire; lyrics by Richard Wilbur, with additional lyrics by Stephen Sondheim, John Latouche, Dorothy Parker, Lillian Hellman, and Leonard Bernstein; edited by Charles Harmon. [New York]: Jalni Publications; Boosey & Hawkes.}}
* Bennett, Dan. 2008. ''The Total Rock Bassist''. Van Nuys, California: Alfred Music Publishing. {{ISBN|0-7390-5269-1}}
* {{wikicite|ref={{harvid|Brahms|1972}}|reference=Brahms, Johannes. 1972. ''Trios, für Klavier, Violine und Violoncello'', nach Eigenschriften, Erstausgaben und Handexemplaren des Komponisten hrsg. von Ernst Herttrich; Fingersatz der Klavierstimme von Hans-Martin Theopold. Munich: G. Henle Verlag.}}
* Berg, Alban. 1925. ''Kammerkonzert für Klavier und Geige mit dreizehn Bläsern''. Philharmonia no. 423. Vienna and London: Universal Edition.
* {{wikicite|ref={{harvid|Britten|1945}}|reference=Britten, Benjamin. 1945. ''Old Joe Has Gone Fishing''. London: Boosey & Hawkes. ISMN 9790060014864}}
* Bergeron, Guy (arr.). 2010. "[http://www.free-scores.com/download-sheet-music.php?pdf=21260 Jovano Jovanke]" (trad. Macedonian). Freescores.com (Accessed 10 October 2011).
* {{wikicite|ref={{harvid|Britten|1946}}|reference=Britten, Benjamin. 1946. ''Quartet No. 2 in C'', Op. 36. London: Boosey & Hawkes.}}
* Bernstein, Leonard. 1993. ''The Age of Anxiety: Symphony No.&nbsp;2'', for piano and orchestra, after W. H. Auden, revised version, full score, corrected edition. [New York]: Jalni Publications, Inc., Boosey & Hawkes.
* {{wikicite|ref={{harvid|Buchanan|2001}}|reference=Buchanan, Donna A. 2001. "Bulgaria, §II: Traditional Music". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.}}
* Bernstein, Leonard. 1994. ''Candide: A Comic Operetta in Two Acts'', Scottish Opera edition of the opera-house version (1989). Book by Hugh Wheeler, based on the satire by Voltaire; lyrics by Richard Wilbur, with additional lyrics by Stephen Sondheim, John Latouche, Dorothy Parker, Lillian Hellman, and Leonard Bernstein; edited by Charles Harmon. [New York]: Jalni Publications, Inc.; Boosey & Hawkes.
* {{wikicite|ref={{harvid|Cantrell|1992}}|reference=Cantrell, Jerry. 1992. "[http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0059207 Them Bones]" (sheet music). S.l.: Buttnugget Publishing.}}
* Brahms, Johannes. 1972. ''Trios, für Klavier, Violine und Violoncello'', nach Eigenschriften, Erstausgaben und Handexemplaren des Komponisten hrsg. von Ernst Herttrich; Fingersatz der Klavierstimme von Hans-Martin Theopold. Munich: G. Henle Verlag.
* {{wikicite|ref={{harvid|Chianis and Brandl|2001}}|reference=Chianis, Sotirios, and Rudolph M. Brandl. 2001. "Greece, §IV: Traditional Music". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.}}
* Britten, Benjamin. 1945. ''Old Joe Has Gone Fishing''. London: Boosey & Hawkes. ISMN 9790060014864
* {{wikicite|ref={{harvid|Cornwell and Drury|2001}}|reference=Cornwell, Hugh, and Jim Drury. 2001. "Song by Song". Sanctuary Publishing.}}{{Full citation needed|date=August 2012|reason=By the format offered, this is an article in a newspaper or journal, the name of which is needed; if it is misformatted and is a book, the title should be in italics, in which case the place of publication is needed.}}
* Britten, Benjamin. 1946. ''Quartet No. 2 in C'', Op. 36. London: Boosey & Hawkes.
* {{wikicite|ref={{harvid|Cowell|1956}}|reference=Cowell, Henry. 1956. "Current Chronicle: United States: New York" ''[[The Musical Quarterly]]'' 42, no. 2 (April): 240–44.}}
* Buchanan, Donna A. 2001. "Bulgaria, §II: Traditional Music". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.
* {{wikicite|ref={{harvid|DeVoto|2000}}|reference=DeVoto, Mark. 2000. "Harmony in the Chamber Music". In ''[https://books.google.com/books?id=OY6Fe6_2yx4C The Cambridge Companion to Ravel]'', edited by Deborah Mawer, 97–117. Cambridge and New York: Cambridge University Press. {{ISBN|978-0-521-64856-1}}.}}
* Cantrell, Jerry. 1992. "[http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0059207 Them Bones]" (sheet music). S.l.: Buttnugget Publishing.
* {{wikicite|ref={{harvid|Eddie|2007}}|reference=Eddie, William Alexander. 2007. ''Charles Valentin Alkan: His Life and His Music''. Aldershot, England; Burlington, Vermont: Ashgate. {{ISBN|1-84014-260-X}}}}
* Chianis, Sotirios, and Rudolph M. Brandl. 2001. "Greece, §IV: Traditional Music". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.
* {{wikicite|ref={{harvid|Evans|1923}}|reference=Evans, Edwin. 1923. "''The Perfect Fool''". ''[[The Musical Times]]'' 64, no. 964 (1 June): 389–93.}}
* Cornwell, Hugh, and Jim Drury. 2001. "Song by Song". Sanctuary Publishing.{{Full citation needed|date=August 2012}}<!--By the format offered, this is an article in a newspaper or journal, the name of which is needed; if it is misformatted and is a book, the title should be in italics, in which case the place of publication is needed.-->
* {{wikicite|ref={{harvid|Fenlon|2002}}|reference=Fenlon, Sean. 2002. "The Exotic Rhythms of Don Ellis". DMA diss. Baltimore: Johns Hopkins University, Peabody Institute. {{ISBN|0-493-60448-0}}.}}
* Cowell, Henry. 1956. "Current Chronicle: United States: New York" ''The Musical Quarterly'' 42, no. 2 (April): 240–44.
* {{wikicite|ref={{harvid|Future Music|2016}}|reference=Future Music. 2016. [https://www.musicradar.com/news/tech/classic-album-lamb-on-fear-of-fours-632685 "Classic Album: Lamb on Fear of Fours"]. musicradar.com (accessed 5 February 2020).}}
* DeVoto, Mark. 2000. "Harmony in the Chamber Music". In ''[https://books.google.com/books?id=OY6Fe6_2yx4C The Cambridge Companion to Ravel]'', edited by Deborah Mawer, 97–117. Cambridge and New York: Cambridge University Press. {{ISBN|978-0-521-64856-1}}.
* {{wikicite|ref={{harvid|Genesis|2002}}|reference=Genesis (musical group). 2002. ''Genesis Guitar Anthology''. Hal Leonard Guitar Recorded Version. [United States]: EMI Music; Milwaukee: Hal Leonard. {{ISBN|0-634-02067-6}}.}}
* Eddie, William Alexander. 2007. ''Charles Valentin Alkan: His Life and His Music''. Aldershot, England; Burlington, Vermont: Ashgate. {{ISBN|1-84014-260-X}}
* {{wikicite|ref={{harvid|Gilbert and Sullivan|n.d.}}|reference=Gilbert, W[illiam]. S., and Arthur Sullivan. n.d. ''The Yeomen of the Guard'' (vocal score), revised edition. London: Chappell & Co., Ltd.}}
* Evans, Edwin. 1923. "''The Perfect Fool''". ''Musical Times'' 64, no. 964 (1 June): 389–93.
* {{wikicite|ref={{harvid|Ginastera|1946}}|reference=Ginastera, Alberto. 1946. ''12 American Preludes (Doce Preludios Americanos)'', 2 vols. New York: Carl Fischer.}}
* Fenlon, Sean. 2002. "The Exotic Rhythms of Don Ellis". DMA diss. Baltimore: Johns Hopkins University, Peabody Institute. {{ISBN|0-493-60448-0}}.
* {{wikicite|ref={{harvid|Ginastera|1955}}|reference=Ginastera, Alberto. 1955. ''Estancia: Ballet in One Act and Five Scenes''. Reduction for piano. Buenos Aires: Barry Editorial, Com., Ind., S. R. L.; [n.p.]: Boosey & Hawkes.}}
* Fienberg, Gary Andrew. 2004. "It Doesn't Have to Be Sanctified to Swing: A Musical Biography of Don Ellis". PhD diss. Pittsburgh: Carnegie Mellon University. {{ISBN|0-496-86817-9}}.
* {{cite web|author1=HanSathanas|last2=Santaniello|first2=Christopher|title=''Storm'' – Additional notes|date=7 February 2015|website=The Metal Archives|url=https://www.metal-archives.com/albums/Theatre_of_Tragedy/Storm/438934#album_tabs_notes|access-date=29 May 2020}}
* Frampton, John Ross. 1926. "Some Evidence for the Naturalness of the Less Usual Rhythms". ''Musical Quarterly'' 12, no. 3 (July): 400–405.
* {{wikicite|ref={{harvid|Hiley|2001}}|reference=Hiley, David. 2001. "Quintuple Metre". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]], vol. 20:682–83. London: Macmillan Publishers.}}
* Future Music. 2016. [https://www.musicradar.com/news/tech/classic-album-lamb-on-fear-of-fours-632685 "Classic Album: Lamb on Fear of Fours"]. musicradar.com (accessed 5 February, 2020).
* {{wikicite|ref={{harvid|Holst|1973}}|reference=Holst, Gustav. 1973. ''Double Concerto'', Op. 49, for two violins and orchestra. Revised edition by [[Imogen Holst]]. London: Curwen Edition, Faber Music; New York: G. Schirmer. First published in 1930 by J Curwen & Sons Ltd.}}
* Genesis (musical group). 2002. ''Genesis Guitar Anthology''. Hal Leonard Guitar Recorded Version. [United States]: EMI Music Pub.; Milwaukee: Hal Leonard Corporation. {{ISBN|0-634-02067-6}}.
* {{wikicite|ref={{harvid|Holst|1977}}|reference=Holst, Gustav. 1977. ''A Choral Fantasia'', Op. 51, edited by Imogen Holst. London, Zürich, Mainz, and New York: Ernst Eulenburg Ltd.}}
* Gilbert, W[illiam]. S., and Arthur Sullivan. n.d. ''The Yeomen of the Guard'' (vocal score), revised edition. London: Chappell & Co., Ltd.
* {{wikicite|ref={{harvid|Hooper|1997}}|reference=Hooper, Dave. 1997. "[http://www.guitaretab.com/s/slint/17473.html?vm=r&s=1 Slint—Breadcrumb Trail Tab, for Two Guitars and Bassline]". Guitaretab.com (Accessed 23 June 2013).}}
* Ginastera, Alberto. 1946. ''12 American Preludes (Doce Preludios Americanos)'', 2 vols. New York: Carl Fischer.
* {{wikicite|ref={{harvid|Kamien|1980}}|reference=[[Roger Kamien|Kamien, Roger]]. 1980. ''Music: An Appreciation'', second edition. New York: [[McGraw-Hill]]. {{ISBN|0-07-033279-7}}.}}
* Ginastera, Alberto. 1955. ''Estancia: Ballet in One Act and Five Scenes''. Reduction for piano. Buenos Aires: Barry Editorial, Com., Ind., S. R. L.; [n.p.]: Boosey & Hawkes.
* {{wikicite|ref={{harvid|Kelly and Sheeran|2015}}|reference=[[Tori Kelly|Kelly, Tori]], and [[Ed Sheeran]]. 2015. "[http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0151602 I Was Made for Loving You]" [S.l.]: Tori Kelly Publishing and Sony/ATV Songs.}}
* Griffiths, Paul. 1982. "Maxwell Davies's Piano Sonata". ''Tempo'', new series, no. 140 (March): 5–9.
* {{wikicite|ref={{harvid|Lawrence|2006}}|reference=Lawrence, Eddy. 2006. "[https://www.timeout.com/london/music/easy-star-all-stars-3 Easy Star All Stars]". ''[[Time Out (magazine)|Time Out]]'' (14 August). Accessed 24 October 2008.}}
* Hiley. 2001. {{Full citation needed|date=June 2018}}<!--There is a single SFN inline citation to "Hiley 2001", but no corresponding item here in the reflist.-->
* {{wikicite|ref={{harvid|Lester|1986}}|reference=Lester, Joel. 1986. ''The Rhythms of Tonal Music''. Carbondale: Southern Illinois University Press. {{ISBN|978-0-8093-1282-5}}.}}
* Holst, Gustav. 1973. ''Double Concerto'', Op. 49, for two violins and orchestra. Revised edition by Imogen Holst. London: Curwen Edition, Faber Music Ltd.; New York: G. Schirmer Inc. First published in 1930 by J Curwen & Sons Ltd.
* {{wikicite|ref={{harvid|Ligeti|1973}}|reference=[[György Ligeti|Ligeti, György]]. 1973. ''Sechs Bagatellen für Bläserquintett'' (Five parts: flute, oboe, clarinet in B-flat, horn in F, bassoon). Mainz and New York: Schott.}}
* Hooper, Dave. 1997. "[http://www.guitaretab.com/s/slint/17473.html?vm=r&s=1 Slint—Breadcrumb Trail Tab, for Two Guitars and Bassline]". Guitaretab.com (Accessed 23 June 2013).
* {{wikicite|ref={{harvid|Lloyd Webber and Rice|1970}}|reference=Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1970. ''Jesus Christ Superstar'', vocal score, selections. New York: Universal—MCA Music; Miami: Warner Bros. {{ISBN|0-88188-541-X}}}}
* Hughes, Kevin. 2009. [http://www.kevinhughesmusic.com/StephenStills/SoloStills.html Stephen Stills: 7 Years That Rocked the Music World: SoloStills] KevinHughesMusic.com (accessed 1 August 2015).{{Unreliable source?|date=August 2015|reason=Self-published blog site.}}
* {{wikicite|ref={{harvid|Lloyd Webber and Rice|1979}}|reference=Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1979. ''Evita'', vocal score, selections. Melville, New York: Leeds Music, MCA Music.}}
* Janssen, Guillaume. 2013. "[http://spellbindingmusic.com/nomad-soul-collective-murmuration/ Nomad Soul Collective: Murmuration]". Spellbinding Music website (12 February) (Accessed 15 August 2013).
* {{wikicite|ref={{harvid|Lopez and Marx|2004}}|reference=[[Robert Lopez|Lopez, Robert]], and [[Jeff Marx]]. 2004. "A Mix Tape." In ''[https://web.archive.org/web/20171228022648/http://www.vome.org/AveQ/Band/1)%20Avenue%20Q%20-%20Keyboard%20I_Conductor.pdf Avenue Q]'' (piano conductor score), by Robert Lopez and Jeff Marx, 76–82. vome.org (archive from 28 December 2017; accessed 28 October 2019).}}
* [[Roger Kamien|Kamien, Roger]]. 1980. ''Music: An Appreciation'', second edition. New York: [[McGraw-Hill]]. {{ISBN|0-07-033279-7}}.
* {{wikicite|ref={{harvid|Macdonald|2001}}|reference=[[Hugh Macdonald (musicologist)|Macdonald, Hugh]]. 2001. "Alkan [Morhange], (Charles-)Valentin". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.}}
* Kelly, Tori, and Ed Sheeran. 2015. "[http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0151602 I Was Made for Loving You]" [S.l.]: Tori Kelly Publishing and Sony/ATV Songs LLC.
* {{wikicite|ref={{harvid|Mawer|2000}}|reference=Mawer, Deborah. 2000. "Ballet and the Apotheosis of the Dance". In ''[https://books.google.com/books?id=OY6Fe6_2yx4C The Cambridge Companion to Ravel]'', edited by Deborah Mawer, 140–61. Cambridge and New York: Cambridge University Press. {{ISBN|978-0-521-64856-1}}. {{doi|10.1017/CCOL9780521640268.007}}.}}
* Kirkman, Jon. 2007. "Interview With Chris Squire". In ''Fish Out of Water'', deluxe expanded edition (disc 2, track 3). Sanctuary Records Group Ltd.{{Full citation needed|date=October 2014}}<!--Medium (sounds like it might be a DVD, but CD is also possible) and catalog number are needed.-->
* {{wikicite|ref={{harvid|Moe|2008}}|reference=Moe. (musical group). 2008. ''Best of Moe: Guitar, Bass, Vocal'', transcribed by Jeff Jacobson. [New York]: Cherry Lane Music. {{ISBN|978-1-57560-947-8}}.}}
* Lawrence, Eddy. 2006. "[http://www.timeout.com/london/music/easy-star-all-stars-3 Easy Star All Stars]". ''[[Time Out (magazine)|Time Out]]'' (14 August). Accessed 24 October 2008.
* {{wikicite|ref={{harvid|Montfort|n.d.}}|reference=Montfort, Matthew. n.d. "North Indian Talas". Ancient-Future.com (Accessed 13 January 2013).}}
* Lester, Joel. 1986. ''The Rhythms of Tonal Music''. Carbondale: Southern Illinois University Press. {{ISBN|978-0-8093-1282-5}}.
* {{wikicite|ref={{harvid|Moore|1969}}|reference=Moore, Sidney. 1969. "Thai Songs in 7/4 Meter". ''[[Ethnomusicology (journal)|Ethnomusicology]]'' 13, no. 2 (May): 309–12.}}
* Ligeti, György. 1973. ''Sechs Bagatellen für Bläserquintett'' (Five parts: flute, oboe, clarinet in B-flat, horn in F, bassoon). Mainz and New York: Schott.
* {{cite journal|last=Murphy|first=Scott|year=2012|title=Septimal Time in an Early Finale of Haydn|journal=[[Intégral: The Journal of Applied Musical Thought|Intégral]]|volume=26|pages=97–130|jstor=23629591}}
* Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1970. ''Jesus Christ Superstar'', vocal score, selections. New York: Universal—MCA Music Pub.; Miami: Warner Bros. Publications. {{ISBN|0-88188-541-X}}
* {{cite journal|last=Murphy|first=Scott|date=September 2016|url=http://mtosmt.org/issues/mto.16.22.3/mto.16.22.3.murphy.html|title=Cohn's Platonic Model and the Regular Irregularities of Recent Popular Multimedia|journal=[[Music Theory Online]]|volume=22|number=3|doi=10.30535/mto.22.3.6|doi-access=free}}
* Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1979. ''Evita'', vocal score, selections. Melville, New York: Leeds Music Corp, MCA Music.
* {{wikicite|ref={{harvid|Mussorgsky|1914}}|reference=Mussorgsky, Modest Petrovich. 1914. ''Tableaux d'une exposition (Pictures at an Exhibition): 10 Pieces for Piano'', edited by O. Thümer. [n.p.]: Augener; London: Stainer and Bell; New York: Galaxy Music Corporation.}}
* {{wikicite|ref={{harvid|Lopez and Marx|2004}}|reference=Lopez, Robert, and Jeff Marx. 2004. "A Mix Tape." In ''[https://web.archive.org/web/20171228022648/http://www.vome.org/AveQ/Band/1)%20Avenue%20Q%20-%20Keyboard%20I_Conductor.pdf Avenue Q]'' (piano conductor score), by Robert Lopez and Jeff Marx, 76–82. vome.org (archive from 28December 2017; accessed 28 October 2019).}}
* {{wikicite|ref={{harvid|Neto|Purim|Moreira|2005}}|reference=Neto, José, [[Flora Purim]], and Diana Moreira. 2005. "[http://www.duplang.com/images/Tombo.pdf Tombo in 7/4—Samba de Janeiro]". In ''Non-Stop to Brazil'', 2 vols., 2:242. Angelo Publishing Company.}}{{Full citation needed|date=August 2013|reason=Place of publication and editor needed.}}
* Macdonald, Hugh. 2001. "Alkan [Morhange], (Charles-)Valentin". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.
* {{wikicite|ref={{harvid|OC ReMix Community|2010}}|reference=OC ReMix Community. 2010. "[http://ocremix.org/info/Composer_Interview:_Wall_of_Sound Composer Interview: Wall of Sound]" (4 May). Overclocked Remix website (Accessed 13 April 2012).}}
* Mawer, Deborah. 2000. "Ballet and the Apotheosis of the Dance". In ''[https://books.google.com/books?id=OY6Fe6_2yx4C The Cambridge Companion to Ravel]'', edited by Deborah Mawer, 140–61. Cambridge and New York: Cambridge University Press. {{ISBN|978-0-521-64856-1}}. {{doi|10.1017/CCOL9780521640268.007}}.
* {{wikicite|ref={{harvid|Plait|2012}}|reference=Plait, Phil. 2012. "[http://blogs.discovermagazine.com/badastronomy/2012/01/08/i-am-the-piano-doctor-man/ Bad Astronomy &#91;blog&#93;: I Am the Piano Doctor Man]". ''Discover Magazine'' (8 January) (Accessed 3 March 2012).}}
* Moe. (musical group). 2008. ''Best of Moe: Guitar, Bass, Vocal'', transcribed by Jeff Jacobson. [New York]: Cherry Lane Music. {{ISBN|978-1-57560-947-8}}.
* Montfort, Matthew. n.d. "North Indian Talas". Ancient-Future.com (Accessed 13 January 2013).
* Moore, Sidney. 1969. "Thai Songs in 7/4 Meter". ''Ethnomusicology'' 13, no. 2 (May): 309–12.
* Murphy, Scott. 2012. "Septimal Time in an Early Finale of Haydn". ''Intégral'' 26:97–130.
* Murphy, Scott. 2016. "[http://mtosmt.org/issues/mto.16.22.3/mto.16.22.3.murphy.html 'Cohn's Platonic Model and the Regular Irregularities of Recent Popular Multimedia']". ''Music Theory Online'' 22/3.
* Mussorgsky, Modest Petrovich. 1914. ''Tableaux d'une exposition (Pictures at an Exhibition): 10 Pieces for Piano'', edited by O. Thümer. [N.p.]: Augener; London: Stainer and Bell Ltd; New York: Galaxy Music Corporation.
* Neto, José, [[Flora Purim]], and Diana Moreira. 2005. "[http://www.duplang.com/images/Tombo.pdf Tombo in 7/4—Samba de Janeiro]". In ''Non-Stop to Brazil'', 2 vols., 2:242. Angelo Publishing Company.{{Full citation needed|date=August 2013}}<!--Place of publication and editor needed.-->
* OC ReMix Community. 2010. "[http://ocremix.org/info/Composer_Interview:_Wall_of_Sound Composer Interview: Wall of Sound]" (4 May). Overclocked Remix website (Accessed 13 April 2012).
* Okada, Mike. 2013. "[http://www.vancouverweekly.com/the-national-demons/ The National 'Demons']". ''Vancouver Weekly'' online (Accessed 2 May).
* Perkins, Wayne L. 2000. "Don Ellis' Use of 'New Rhythms' in His Compositions : The Great Divide (1969), Final Analysis (1969) and Strawberry Soup (1971)" (vol.&nbsp;1); "Original Compositions: ''She's Only 19'' (1999), ''Malibu Shuffle'' (1999) and ''Cruisin' P.C.H.'' (1999)" (vol.&nbsp;2). Ph.D. diss. Los Angeles: University of California Los Angeles.
* Plait, Phil. 2012. "[http://blogs.discovermagazine.com/badastronomy/2012/01/08/i-am-the-piano-doctor-man/ Bad Astronomy &#91;blog&#93;: I Am the Piano Doctor Man]". ''Discover Magazine'' (8 January) (Accessed 3 March 2012).
* {{wikicite|ref={{harvid|Pousseur|2001}}|reference=Pousseur, Henri. 2001. ''Automates en leur jardinet''. Milan: Edizioni Suvini Zerboni.}}
* {{wikicite|ref={{harvid|Pousseur|2001}}|reference=Pousseur, Henri. 2001. ''Automates en leur jardinet''. Milan: Edizioni Suvini Zerboni.}}
* Powers, Harold S., and Richard Widdess. 2001. "India, subcontinent of, §III, 4: Theory and practice of classical music: Rhythm & tāla". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.
* {{wikicite|ref={{harvid|Powers|Widdess|2001}}|reference=Powers, Harold S., and Richard Widdess. 2001. "India, subcontinent of, §III, 4: Theory and practice of classical music: Rhythm & tāla". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.}}
*Prokofiev, Sergei. 1955. ''Sobranie sochinenii'' [Собрание сочинений, "Collected Works"], 20 vols. Moscow: Gos. Muzykalnoe Izd-vo.
* {{wikicite|ref={{harvid|Prokofiev|1955}}|reference=Prokofiev, Sergei. 1955. ''Sobranie sochinenii'' [Собрание сочинений, "Collected Works"], 20 vols. Moscow: Gos. Muzykalnoe Izd-vo.}}
*[[Gardner Read|Read, Gardner]]. 1964. ''Music Notation: A Manual of Modern Practice''. Boston: Allyn and Bacon, Inc.
* {{wikicite|ref={{harvid|Read|1964}}|reference=[[Gardner Read|Read, Gardner]]. 1964. ''Music Notation: A Manual of Modern Practice''. Boston: Allyn and Bacon}}
* [[Anton Reicha|Reicha, Anton]]. 1973. ''36 Fugen für Klavier'', edited by Václav Jan Sýkora. Kassel: Bärenreiter.
* {{wikicite|ref={{harvid|Reicha|1973}}|reference=[[Anton Reicha|Reicha, Anton]]. 1973. ''36 Fugen für Klavier'', edited by Václav Jan Sýkora. Kassel: Bärenreiter.}}
* [[Kurt Reinhard (musicologist)|Reinhard, Kurt]], and Martin Stokes. 2001a. "Turkey, II. Folk Music". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.
* {{wikicite|ref={{harvid|Reinhard|Stokes|2001a}}|reference=[[Kurt Reinhard (musicologist)|Reinhard, Kurt]], and Martin Stokes. 2001a. "Turkey, II. Folk Music". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.}}
* Reinhard, Kurt, and Martin Stokes. 2001b. "Turkey, IV. Art Music: 3 'Usul'". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.
* {{wikicite|ref={{harvid|Reinhard|Stokes|2001b}}|reference=Reinhard, Kurt, and Martin Stokes. 2001b. "Turkey, IV. Art Music: 3 'Usul'". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.}}
*Revueltas, Silvestre. 1949. ''Sensemayá''. G. Schirmer's Edition of Study Scores of Orchestral Works and Chamber Music 51. New York: G. Schirmer, Inc.
* {{wikicite|ref={{harvid|Revueltas|1949}}|reference=Revueltas, Silvestre. 1949. ''Sensemayá''. G. Schirmer's Edition of Study Scores of Orchestral Works and Chamber Music 51. New York: G. Schirmer}}
* Rotondi, James. 1994. "Alone in the Superunknown." ''Guitar Player'' (April): {{Page needed|date=August 2015}}<!--Inclusive page numbers needed.-->.
* {{wikicite|ref={{harvid|Rotondi|1994}}|reference=Rotondi, James. 1994. "Alone in the Superunknown." ''Guitar Player'' (April): {{Page needed|date=August 2015}}<!--Inclusive page numbers needed.-->.}}
*{{cite book|last=Rushton|first=Julian|authorlink=Julian Rushton|year=1983|title=The Musical Language of Berlioz|series=Cambridge Studies in Music|location=Cambridge and New York|publisher=Cambridge University Press|isbn=978-0-521-24279-0|ref=harv}}
*{{cite book|last=Rushton|first=Julian|author-link=Julian Rushton|year=1983|title=The Musical Language of Berlioz|series=Cambridge Studies in Music|location=Cambridge and New York|publisher=Cambridge University Press|isbn=978-0-521-24279-0}}
* {{wikicite|ref={{harvid|Sakimoto|Niwa|1994}}|reference=[[Hitoshi Sakimoto|Sakimoto, Hitoshi]] and Asako Niwa. 1994. ''Final Fantasy VI: Original Sound Version''. Tokyo: Square Enix Co. Distributed by Doremi Music Publishing. {{ISBN|4-8108-2634-1}}. {{ISBN|978-4-8108-2634-0}}.}}
* [[Stanley Sadie|Sadie, Stanley]]. 1965. "Chichester: Southern Cathedrals Festival". ''[[The Musical Times]]'' 106, no. 1471 (September): 693–94.
* {{wikicite|ref={{harvid|Seal|Isidore|1994}}|reference=Seal, and Gus Isidore. 1994. "[http://www.musicroom.com/se/id_no/0519219/details.html Dreaming in Metaphors]". London: Perfect Songs Limited.}}
*[[Hitoshi Sakimoto|Sakimoto, Hitoshi]] and Asako Niwa. 1994. ''Final Fantasy VI: Original Sound Version''. Tokyo: Square Enix Co., Ltd. Distributed by Doremi Music Publishing Co. Ltd. {{ISBN|4-8108-2634-1}}. {{ISBN|978-4-8108-2634-0}}.
* {{wikicite|ref={{harvid|Shostakovich|1983}}|reference=Shostakovich, Dmitri. 1983. ''Sobranie sochinenii'' tom 13 [Собрание сочинений том 13, Collected Works volume 13]. Moscow: Izdatelstvo "Muzyka".}}
*Sander, Ed. 1999. "[http://www.dprp.net/proghistory/index.php?i=1997_01 1997: IQ: Subterranea]" (part 1). DPRP: Dutch Progressive Rock Page. (Accessed 3 December 2010)
* {{wikicite|ref={{harvid|Sliwa|1998–2005}}|reference=Sliwa, Richard. 1998–2005. "[http://plum.cream.org/sky/sky3.htm Sky 3]". plum.cream.org website (accessed 10 January 2015).}}
*Saull, Jordan. 2015. "[https://yorkspace.library.yorku.ca/xmlui/handle/10315/30023 Non-Isochronous Meter: A Study of Cross-Cultural Practice, Analytic Technique, and Implications for Jazz Pedagogy]". PhD diss. [[York University]] (accessed 27 September 2019).
* {{wikicite|ref={{harvid|Stevens|1991}}|reference=Stevens, Cat. 1991. ''Classic Cat Stevens: A Collection of All the Music from Four Landmark Cat Stevens Albums''. New York: Amsco Publications. {{ISBN|0-8256-1285-3}} (US); {{ISBN|0-7119-2316-7}} (UK)}}
* Seal, and Gus Isidore. 1994. "[http://www.musicroom.com/se/id_no/0519219/details.html Dreaming in Metaphors]". London: Perfect Songs Limited.
* {{wikicite|ref={{harvid|Sting|2003}}|reference=Sting. 2003. ''Sacred Love'', music arranged by Jack Long. Bury St. Edmunds: Magnetic, EMI.}}
*Shostakovich, Dmitri. 1983. ''Sobranie sochinenii'' tom 13 [Собрание сочинений том 13, Collected Works volume 13]. Moscow: Izdatelstvo "Muzyka".
* {{wikicite|ref={{harvid|Stojowski|1923}}|reference=[[Zygmunt Stojowski|Stojowski, Sigismond]]. 1923. ''Variations et Fugue sur un thème original pour piano. Op. 42'' (score). Paris: Au Ménestrel, 1923.}}
*Sliwa, Richard. 1998–2005. "[http://plum.cream.org/sky/sky3.htm Sky 3]". plum.cream.org website (accessed 10 January 2015).
* {{wikicite|ref={{harvid|Stravinsky|1964}}|reference=Stravinsky, Igor. 1964. ''The Firebird'' (score). Moscow: Gos. muzykal'noe izd-vo. Reprinted Mineola, New York: Dover Publications, 1987.}}
*Stevens, Cat. 1991. ''Classic Cat Stevens: A Collection of All the Music from Four Landmark Cat Stevens Albums''. New York: Amsco Publications. {{ISBN|0-8256-1285-3}} (US); {{ISBN|0-7119-2316-7}} (UK)
* {{wikicite|ref={{harvid|Stravinsky|1970}}|reference=Stravinsky, Igor. 1970. ''The Rite of Spring (Le Sacre du printemps)'' (score). New York: International Music Company.}}
*Sting. 2003. ''Sacred Love'', music arranged by Jack Long. Bury St. Edmunds: Magnetic, EMI.
* {{wikicite|ref={{harvid|Teachout|2001}}|reference=[[Terry Teachout|Teachout, Terry]]. 2001. [https://query.nytimes.com/gst/fullpage.html?res=9500EFDC123DF934A15756C0A9679C8B63&sec=&spon=&pagewanted=2 "Bluegrass that Can Twang and Be Cool, Too"] (page 2 of 3). ''[[The New York Times]]'' (27 May). (Accessed 28 November 2007).}}
*[[Zygmunt Stojowski|Stojowski, Sigismond]]. 1923. ''Variations et Fugue sur un thème original pour piano. Op. 42'' (score). Paris: Au Ménestrel, 1923.
* {{wikicite|ref={{harvid|Villa-Lobos|1963}}|reference=Villa-Lobos, Heitor. 1963. ''Fantasia'', for saxophone, 3 horns, and string orchestra. New York: Southern Music Publishing Co.; Hamburg: Peer Musikverlag}}
* Stravinsky, Igor. 1964. ''The Firebird'' (score). Moscow: Gos. muzykal'noe izd-vo. Reprinted Mineola NY: Dover Publications, 1987.
* Stravinsky, Igor. 1970. ''The Rite of Spring (Le Sacre du printemps'' (score). New York: International Music Company.
* {{wikicite|ref={{harvid|Wayne|1978}}||reference=Wayne, Jeff. 1978. ''The War of the Worlds'' (musical score). New York and London: Wise Publications.}}
* {{wikicite|ref={{harvid|Webern|1957}}|reference=Webern, Anton. 1957. ''I. Kantate, für Sopran-Solo, gemischten Chor und Orchester, Op. 29''. Philharmonia no. 447. Vienna and London: Universal Edition.}}
*[[Terry Teachout|Teachout, Terry]]. 2001. [https://query.nytimes.com/gst/fullpage.html?res=9500EFDC123DF934A15756C0A9679C8B63&sec=&spon=&pagewanted=2 "Bluegrass that Can Twang and Be Cool, Too"] (page 2 of 3). ''[[The New York Times]]'' (27 May). (Accessed 28 November 2007).
* {{wikicite|ref={{harvid|Weisman|2010}}|reference=Weisman, Loren. 2010. ''[https://books.google.com/books?id=mjPoJ42H9LEC The Artist's Guide to Success in the Music Business]''. Bothell, Washington: Book Publishers Network. {{ISBN|978-1-935359-33-3}} (Accessed 11 April 2012).}}
*Vai, Steve. 1995. ''Alien Love Secrets'' (guitar/tab)). [N.p.]: Sy Vy Music; Milwaukee: MCA Music Publishers. {{ISBN|0-7935-4449-1}}.
* {{wikicite|ref={{harvid|White|1979}}|reference=White, Eric Walter. 1979. ''Stravinsky: The Composer and His Works'', second edition. Berkeley and Los Angeles: The University of California Press. {{ISBN|0-520-03985-8}}.}}
*Villa-Lobos, Heitor. 1963. ''Fantasia'', for saxophone, 3 horns, and string orchestra. New York: Southern Music Publishing Co., Inc.; Hamburg: Peer Musikverlag G.m.b.H.
* {{wikicite|ref={{harvid|Wiehmayer|1917}}|reference={{ill|Theodor Wiehmayer|de|Johann Theodor Wiehmayer|lt=Wiehmayer, Theodor}}. 1917. ''Musikalische Rhythmik und Metrik''. Magdeburg: Heinrichshofen's Verlag.}}
*[[John Warrack|Warrack, John]]. 1963. "A New Look at Gustav Holst". ''[[The Musical Times]]'' 104, no. 1440 (February): 100–103.
* {{wikicite|ref={{harvid|Wolinkski|2014}}|reference=Wolinkski, Paul. 2014. [http://www.thrashhits.com/2014/03/65daysofstatic-the-fall-of-math-ten-years-later-with-paul-wolinski/ "65daysofstatic – The Fall of Math: ten years later with Paul Wolinski"]. Thrash Hits. 26 March 2014 (accessed 5 February 2020).}}
*Wayne, Jeff. 1978. ''The War of the Worlds'' (musical score). New York and London: Wise Publications.
* {{wikicite|ref={{harvid|Yanni|1993}}|reference=Yanni. 1993. ''The Best of Yanni: Piano Solos: 11 Selections from His Top Recordings'', transcriptions and arrangements by Richard Boukas. Milwaukee: Hal Leonard}}
*Webern, Anton. 1957. ''I. Kantate, für Sopran-Solo, gemischten Chor und Orchester, Op. 29''. Philharmonia no. 447. Vienna and London: Universal Edition.
{{div col end}}
*Weisman, Loren. 2010. ''[https://books.google.com/books?id=mjPoJ42H9LEC&source=gbs_navlinks_s The Artist's Guide to Success in the Music Business]''. Bothell, WA: Book Publishers Network. {{ISBN|978-1-935359-33-3}} (Accessed 11 April 2012).
* White, Eric Walter. 1979. ''Stravinsky: The Composer and His Works'', second edition. Berkeley and Los Angeles: The University of California Press. {{ISBN|0-520-03985-8}}.
*{{ill|Theodor Wiehmayer|de|Johann Theodor Wiehmayer|lt=Wiehmayer, Theodor}}. 1917. ''Musikalische Rhythmik und Metrik''. Magdeburg: Heinrichshofen's Verlag.
*Wright, Danny. 2013. "[http://www.thisisfakediy.co.uk/articles/tracks/the-national-demons/ Track Reviews: The National—Demons]". ''DIY Weekly'''s blog page, thisisfakediy.co.uk (9 April) (Accessed 2 May 2013).
*Yanni. 1993. ''The Best of Yanni: Piano Solos: 11 Selections from His Top Recordings'', transcriptions and arrangements by Richard Boukas. Milwaukee: Hal Leonard Pub. Corp.


{{Musical meters}}
{{Musical meters}}

Latest revision as of 00:56, 6 December 2024

21
8
as 3
4
with 7 subdivisions
21
8
as 7
4
with 3 subdivisions

Septuple meter (British: metre) or (chiefly British) septuple time is a meter with each bar (American: measure) divided into 7 notes of equal duration, usually 7
4
or 7
8
(or in compound meter, 21
8
time). The stress pattern can be 2+2+3, 3+2+2, or occasionally 2+3+2, although a survey of certain forms of mostly American popular music suggests that 2+2+3 is the most common among these three in these styles.[1]

A time signature of 21
8
, however, does not necessarily mean that the bar is a compound septuple meter with seven beats, each divided into three. This signature may, for example, be used to indicate a bar of triple meter in which each beat is subdivided into seven parts. In this case, the meter is sometimes characterized as "triple septuple time".[2] It is also possible for a 21
8
time signature to be used for an irregular, or "additive" metrical pattern, such as groupings of 3 + 3 + 3 + 2 + 3 + 2 + 3 + 2 eighth notes.

Septuple meter can also be notated by using regularly alternating bars of triple and duple or quadruple meters, for example 4
4
+ 3
4
, or 6
8
+ 6
8
+ 9
8
, or through the use of compound meters, in which two or three numerals take the place of the expected numerator 7, for example, 2+2+3
8
, or 5+2
8
.[3]

History

[edit]

Before the 20th century, septuple time was rare in European concert music but is more commonly found in European folk music and in other world cultures.

Asia and the Middle East

[edit]

In the Thai dance-drama genre lakhon nok and the masked dance-drama khon there is a unique group of songs based on a rhythmic cycle of seven beats, quite unlike the usual rhythmic structures of Thai traditional music. Portions of this repertoire of songs in additive meter date back to the Ayudhia period (1350–1767).[4]

In the Carnatic music of south India, there are thirty-five tāla in five temporal species, multiplied by seven classes of measurement—one of the five species is septuple.[5] The classes of measurement in this "formal" system consist of seven basic tālas (called sūḷādi talas). Each of these is built from three types of component durations: the one-beat anudruta, the two-beat druta, and the variable laghu, which may have three (tisra), four (caturaśra), five (khaṇḍa), seven (miśra), or nine (saṅkīrṇa) beats, and accounts for the five temporal species of each tāla. Two of the resulting thirty-five forms have seven beats in all: the khaṇda form of Rūpaka tāla, with one druta and a five-beat (khaṇda) laghu: 2+5, and the tisra form of Tripuṭa, with a three-beat laghu and two druta: 3+2+2. Tisra Tripuṭa is one of the principal talas of the system, and so is often called simply by its basic name, Tripuṭa. Khaṇda Rūpaka, on the other hand, is a comparative rarity. The more common form, caturaśra Rūpaka, has a laghu of four beats and so a total beat pattern of 2+4.[6]

Carnatic music also has an "informal" system of tālas, which uses a selection of the formal tālas. These include the septuple Tripuṭa, to which is added a Cāpu (fast) version of it, called miśra Cāpu (3+2+2, or 3+4). Miśra Cāpu is one of the most characteristic rhythms in the music of southern India, accounting for well over half of the padam compositions by the 17th-century composer Kshetrayya, and occurs in some of the best-known kīrtanam works by Tyagaraja (1767–1847). The Hindustani tālas used in the north also include septuple patterns.[6] The tala Rupak, for example, has seven beats.[7] Tīvra (also known at Gīt-tāl) is also a septuple tāla. Two tālas, Dīpcandī and Jhūmrā, have fourteen beats in all, but are divided symmetrically into two halves of 3+4 beats each. The tālas Ādā-cautāl and Dhamār are also fourteen beats long, but the former is divided asymmetrically, and the latter is only partially symmetrical: It has several different patterns, the most common of which falls into two seven-beat halves, but with different internal divisions: 5+2 and 3+4, where the khālī (empty) beat marks the division of the cycle into two halves.[6]

Folk music in Turkey employs metres consisting of five, seven, or eleven pulses, as well as metres with irregular subdivisions.[8] In Turkish art music, the system of rhythmic modes called usul consist of rhythmic cycles of two to ten counting units. The pattern of seven beats is called devr-i hindi.[9]

Balkan folk music

[edit]

Septuple rhythms are characteristic of some European folk idioms, particularly in the Balkan countries. An example from North Macedonia is the traditional tune "Jovano Jovanke", which can be transcribed in 7
8
.[10] Bulgarian dances are particularly noted for the use of a variety of irregular, or heterometric rhythms. The most popular of these is the rachenitsa, a type of khoro in a rapid septuple meter divided 2+2+3. In the Pirin area, the khoro has a rhythm subdivided 3+2+2, and two varieties of it are the pravo makedonsko ("straight Macedonian") and the mazhka rachenitsa ("men's rachenitsa"). Septuple rhythms are also found in Bulgarian vocal music, such as the koleda ritual songs sung by young men on Christmas Eve and Christmas to bless livestock, households, or specific family members.[11]

Such irregular meters are also found throughout Greece, where they are sometimes identified as originating in neighboring countries. For example, in Epirus, a district bordering Albania, there is a style of singing in imitation of the sound of Byzantine bells, that employs microtonal intervals and is described by the singers themselves as "Albanian" or "pastoral Vlach". The rhythms vary, but sometimes is in bars of seven beats, particularly in the area around Mount Parnassus. The 7
8
rhythm of the kalamatianos from the same region, however, is regarded as purely Greek.[12]

European art music

[edit]

18th century

[edit]

The last movement of Joseph Haydn's Piano Sonata XVI:12, written as early as the 1750s, has been claimed to use exclusively seven-measure units in its background, if not in its foreground. Performers typically choose a tempo such that the notated 3
8
measure sounds like a single beat, projecting a perception of 21
8
septuple meter.[13]

19th century

[edit]

Though rare in the 19th century, septuple metre is occasionally found. Two examples from the piano repertoire entirely in septuple meter are Fugue No. 24, from 36 Fugues for Piano by Anton Reicha (notated in regularly alternating cut time and 3
4
bars),[14] and the Impromptu, Op. 32, no. 8, by Charles-Valentin Alkan, notated in 7
4
time.[15] The theme and first eight (of thirteen) Variations on a Hungarian Song Op. 21, No. 2 by Johannes Brahms is in septuple time, notated as regular alternations of 3
4
and common time, though various accenting factors often obscure the perceived metre.[16] In the last two of the five versions of "Promenade" from Pictures at an Exhibition by Modest Mussorgsky, 7
4
is mixed irregularly with other metres: (4th Promenade) 5
4
, 6
4
, and 7
4
, with a single 3
4
bar at the end; (5th Promenade) four pairs of regularly alternating 5
4
and 6
4
, then an irregular mixture of 5
4
, 6
4
, and 7
4
to the end.[17]

Symphonic and choral works containing occasional septuple bars include the conjuration of soothsayers in L'enfance du Christ, Op. 25 (1854) by Hector Berlioz, which "has a relatively extended passage of septuple metre (ten bars of 7
4
, then three of 4
4
and three of 3
4
; the pattern repeats with four each of 4
4
and 3
4
)",[18] and the Dante Symphony by Franz Liszt, which has several bars in 7
4
.[19]

In operetta, parts of "Here's a man of jollity" in Gilbert and Sullivan's The Yeomen of the Guard (1888) is in 7
4
, notated as alternating bars of 4
4
and 3
4
. The rest is in a mixture of 5
4
and 4
4
.[20]

An example of chamber music from the later 19th century is found in the Piano Trio No. 3, Op. 101, by Brahms. In the third movement (Andante grazioso), the main (outer) sections are in 7
4
(notated as a recurring 3
4
+ 2
4
+ 2
4
), while the central section is in compound-quintuple time: 15
8
(notated as 9
8
+ 6
8
) with 9
8
turnarounds, and an eight-bar coda in 9
8
.[21]

20th century

[edit]

Igor Stravinsky's name is often associated with rhythmic innovation in the 20th century, and septuple meter is sometimes found in his music—for example, the closing "General Rejoicing" section (Allegro non troppo), from rehearsal 203 to rehearsal 209, in his ballet The Firebird (1910) is written uniformly in 7
4
time.[22] Much more characteristically, septuple bars in Stravinsky's scores are found in a context of constantly changing meters, as for example in his ballet The Rite of Spring (1911–13), where the object appears to be the combination of two- and three-note subdivisions in irregular groupings.[23] For example, in Part II, third tableau, "Glorification of the Chosen Maiden", bars of 7
8
and 7
4
are interspersed with bars of 2
4
, 3
8
, 3
4
, 4
8
, 4
4
, 5
8
, 5
4
, 6
8
, 6
4
, and 9
8
time.[24] This treatment of rhythm subsequently became so habitual for Stravinsky that, when he composed his Symphony in C in 1938–40, he found it worth observing that the first movement had no changes of meter at all (though the metrical irregularities in the third movement of the same work were amongst the most extreme in his entire output).[25]

So many other composers followed Stravinsky's example in the use of irregular meters that the occasional occurrence of septuple-time bars becomes unremarkable from the 1920s onward.[26] This is as true for composers regarded as conservative as for those labeled "progressive" or "avant garde". In the former category, this rhythmic usage was characteristic of compositions from the 1920s and 1930s by Gustav Holst. Septuple bars, for example, are found in passages in his opera The Perfect Fool (1918–22)—notably the two "earth" themes in the ballet of the elements, and the arrival of the Princess, which is "a genuine example of the septuple measure as distinct from those arising merely from prosody"[27]—and in A Choral Fantasia, Op. 51 (bars 70–98, 179–85, and 201–209 are in 7
4
).[28] Some of Maurice Ravel's music incorporated septuple meter: for example, the brief "Danse générale" from Part I of Daphnis et Chloé is in 7
4
(subdivided as 3+4), the finale of the Piano Trio freely alternates between 5
4
and 7
4
, and the main theme of the finale of his Sonata for Violin and Cello is in "quasi 7
4
" (notated as a recurring 2
4
+ 2
4
+ 3
4
).[29] An example from the next decade is Benjamin Britten's String Quartet No. 2, Op. 35 (1945), where bars 2 and 13 after rehearsal K in the first movement, "Allegro calmo senza rigore", are in 7
4
,[30] and from the 1950s, the second subject of the third movement, Allegro, of Dmitri Shostakovich's Piano Concerto No. 2, Op. 102 (1957), which is in a fast 7
8
.[31] Examples from more "progressive" composers include the first and third movements of the First Cantata, Op. 29 (1938–39), by Anton Webern,[32] and the fourth movement (Intermezzo interrotto) of Béla Bartók's Concerto for Orchestra (1943).[33]

Septuple meter is sometimes employed to characterize particular sections of compositions, such as single variations of pieces in variation form. One example is the third movement (Variations on a Ground), of Holst's Double Concerto for two violins and orchestra, Op. 49, where the 13th and 17th variations are in 7
4
time.[34] An example from after the Second World War is found in Part I of Leonard Bernstein's The Age of Anxiety: Symphony No. 2, a theme-and-variations movement in which "Variation X: Più mosso" is notated in regularly alternating cut time and 3
4
bars, each pair amounting to one 7
4
bar.[35]

Compositions entirely or predominantly in septuple meter are less common. Five of Holst's settings of English translations of hymns from the ancient Sanskrit Rig Veda, composed between 1907 and 1912, are in septuple meter, specifically "Song of the Frogs" and "Creation" (songs 6 and 8 from his Hymns from the Rig Veda, Op. 24, for voice and piano, composed in 1907–08)[36] as well as "Funeral Hymn" (Choral Hymns from the Rig Veda, Op. 26, Group 1, No. 3 for SATB chorus and orchestra or piano, composed between 1908 and 1910),[37] "Hymn to the Waters" (Choral Hymns from the Rig Veda Group 3 no. 2 for SSA chorus and harp or piano, composed in 1909), and "Hymn to Manas" (Choral Hymns from the Rig Veda Group 4 no. 3 for TTBB chorus with orchestra or unaccompanied, composed in 1912). The last movement, "Precipitato", of the Piano Sonata No. 7 by the Russian composer Sergei Prokofiev, which is in 7
8
,[38] and Sensemayá, for orchestra, by the Mexican Silvestre Revueltas (predominantly in 7
8
, with occasional interruptions in 7
16
time and a brief 7-bar interlude at rehearsal 23 of 9
8
(3
4
+ 3
8
))[39] are particularly well-known instances. Béla Bartók sometimes adopted septuple dance rhythms from the folk music of Eastern Europe, as in "Bulgarian Rhythm (1)" and the second of the "Six Dances in Bulgarian Rhythm", nos. 113 and 149 from Mikrokosmos, both of which are in 7
4
.[40] Other examples from the middle of the century include the 7
4
third movement, "Très Animé", of the Fantasia for saxophone, 3 horns, and string orchestra (1948), by Heitor Villa-Lobos,[41] "In the First Pentatonic Minor Mode (En el 1er modo pentáfono menor)", no. 5 from 12 American Preludes for piano by Alberto Ginastera, in 7
8
,[42] and "Old Joe Has Gone Fishing" by Benjamin Britten (from the 1945 opera Peter Grimes), which is written in 7
4
,[43] with the beats grouped as both 3+2+2 and 2+2+2+1 in a round.

Other notable compositions in septuple meter

[edit]

Partially in septuple meter

[edit]

See also

[edit]

References

[edit]
  1. ^ Murphy 2016.
  2. ^ Read 1964, 152.
  3. ^ Read 1964, 161, 164–165.
  4. ^ Moore 1969, 309–310.
  5. ^ Anon. 1896, 520.
  6. ^ a b c Powers & Widdess 2001
  7. ^ Montfort n.d.
  8. ^ Reinhard & Stokes 2001a.
  9. ^ Reinhard & Stokes 2001b.
  10. ^ Bergeron 2010.
  11. ^ Buchanan 2001.
  12. ^ Chianis and Brandl 2001.
  13. ^ Murphy 2012.
  14. ^ Reicha 1973, 2:56–58.
  15. ^ Eddie 2007, 12 & 104; Macdonald 2001
  16. ^ Lester 1986, 105–106.
  17. ^ Mussorgsky 1914, 18, 24–25.
  18. ^ Rushton 1983, p. 128.
  19. ^ Wiehmayer 1917, 81–82.
  20. ^ Gilbert and Sullivan n.d., 40–43.
  21. ^ Brahms 1972, 134–137 of the score (= piano part).
  22. ^ Stravinsky 1964, 169–172.
  23. ^ White 1979, 212–213.
  24. ^ Stravinsky 1970, 102–114.
  25. ^ White 1979, 404–405.
  26. ^ Hiley 2001.
  27. ^ Evans 1923, 391–92.
  28. ^ Holst 1977, 7–11, 25–26, 31.
  29. ^ DeVoto 2000, 107; Mawer 2000, 111, 146
  30. ^ Britten 1946, 14–15.
  31. ^ Shostakovich 1983, 103–120.
  32. ^ Webern 1957, 10, 34–35, 38.
  33. ^ Bartók 1946, 70–71.
  34. ^ Holst 1973, 18, 21–22..
  35. ^ Bernstein 1993, 40–43.
  36. ^ Hymns from the Rig Veda, Op. 24: Scores at the International Music Score Library Project
  37. ^ Choral Hymns from the Rig Veda, Op. 26: Scores at the International Music Score Library Project
  38. ^ Prokofiev 1955, 2:199–207.
  39. ^ Revueltas 1949.
  40. ^ Bartók 1940, 4:32–33, 6:39–41.
  41. ^ Villa-Lobos 1963, 25–36.
  42. ^ Ginastera 1946, 1:9.
  43. ^ Britten 1945, Sample page.
  44. ^ Lipscomb (Dr.), Scott. "Chicago". Understanding Complex Meter. Retrieved 7 October 2021.
  45. ^ Future Music 2016.
  46. ^ Lloyd Webber and Rice 1979, 40–45.
  47. ^ Christophe, Beck; Samuel, Fu (20 June 2018). "Theme from Ant-Man". Musicnotes.com. Retrieved 4 April 2019.
  48. ^ Sakimoto & Niwa 1994, 124–125.
  49. ^ Petrucci, John. "John Petrucci Explains What Makes 'Barstool Warrior' Challenging Despite Not Being Fast". Ultimate Guitar. Retrieved 27 March 2019.
  50. ^ Fenlon 2002, ch. "Early Big Band (1965–1970)".
  51. ^ Pousseur 2001, 12–13..
  52. ^ "The National: 'Trouble Will Find Me'". 4AD. Beggars Group Ltd. Archived from the original on 22 October 2015. Retrieved 31 October 2019.
  53. ^ Hanenberg, Scott (2018). "Metric Irregularity in Practice". Unpopular Meters: Irregular Grooves and Drumbeats in the Songs of Tori Amos, Radiohead, and Tool (PhD). University of Toronto. p. 247. Retrieved 30 October 2019.
  54. ^ Frank, Zappa (7 October 2013). "Don't Eat the Yellow Snow". Musicnotes.com. Retrieved 4 April 2019.
  55. ^ Seal & Isidore 1994.
  56. ^ "The song's unusual 7
    4
    time signature also made it one of Garcia's favorites out of the entire Weir catalog." What a Long, Strange Trip, by Stephen Peters, Thunder's Mouth Press, 1999 (p. 160).
  57. ^ Schepper, Ron (January 2020). "Stefan Goldmann: Veiki". www.textura.org. Retrieved 2 June 2020.
  58. ^ Squire, Chris (24 September 2007). "The Fish". Musicnotes.com. Retrieved 25 February 2015.
  59. ^ Rosenfeld, Daniel (9 September 2013). "Haggstrom". Musicnotes.com. Retrieved 31 October 2017.
  60. ^ Squire, Chris (interviewee) (2007). Interview With Chris Squire (PAL) (DVD). Sanctuary Records Group Ltd. Event occurs at 31:30. Retrieved 1 November 2019. Lucky Seven named after the fact it is in 7/4
  61. ^ Wolinkski 2014.
  62. ^ "Mother – The Police – Free Sheet Music & Tabs". www.jellynote.com. Retrieved 4 April 2019.
  63. ^ "Prelude in Lydian Mode (Stanchinsky, Aleksey)". IMSLP. Retrieved 24 April 2021.
  64. ^ a b Saull, Jordan (2015). "Appendix A: NI and Ternary Metered Jazz Compositions 1900–1969". Non-Isochronous Meter: A Study of cross-cultural practice, analytic technique, and implications for jazz pedagogy (PhD). York University. pp. 189–191. Retrieved 27 September 2019.
  65. ^ Stevens 1991, 50–54.
  66. ^ HanSathanas & Santaniello 2015.
  67. ^ Genesis 2002, [page needed].
  68. ^ Mercury Falling – Review from Music Wire magazine by Ed Hewitt, sting.com
  69. ^ Sakamoto, John (20 August 2005). "The Anti-Hit List". Toronto Star. p. H6.
  70. ^ Weisman 2010, 85.
  71. ^ a b c Bennett 2008, 106
  72. ^ "Ned McGowan – music – Chamber ensemble – Stone Soup (2001)". www.nedmcgowan.com. Retrieved 20 December 2017.
  73. ^ "Donemus Webwinkel – Stone Soup". webshop.donemus.nl. Retrieved 20 December 2017.
  74. ^ Anon. (6 November 2014). "Bored of 4/4: Other time signatures in Dance Music". Attack Magazine.
  75. ^ Serendip. "(last entry on her blog page)". Wendycarlos.com. Retrieved 26 November 2013.
  76. ^ Fenlon 2002, 37.
  77. ^ Neto, Purim & Moreira 2005.
  78. ^ Kamien 1980, 40.
  79. ^ Yanni 1993, [page needed].
  80. ^ "What Does He Want of Me". Musicnotes.com. 14 September 2009. Retrieved 9 July 2021.
  81. ^ "Staff Lists: The Top 100 Tracks of 2009 | Features". Pitchfork. 14 December 2009. Retrieved 22 September 2013.
  82. ^ Erik Morales (9 October 2014). "Whiplash—Conquering Complex Time Signatures in Jazz". Alfred Music Blog. Retrieved 4 February 2019.
  83. ^ Hans, Zimmer; Rupert, Gregson-Williams; Patrik, Pietschmann (23 October 2017). "Wonder Woman Main Theme". Musicnotes.com. Retrieved 4 April 2019.
  84. ^ Terich, Jeff (15 October 2014). "Tweedy : Sukierae". Treble. Retrieved 10 April 2019.
  85. ^ Cowell 1956, 243.
  86. ^ Robert Fontenot, "All You Need Is Love: The History of This Classic Beatles Song Archived 7 July 2011 at the Wayback Machine". About.com (accessed 25 February 2015).
  87. ^ Anon. 1978.
  88. ^ Greenwald, Matthew "Anyone Who Had a Heart", Allmusic.
  89. ^ Cornwell and Drury 2001, [page needed].
  90. ^ a b "Selling England By The Pound review". ProgArchives.com. 6 April 2009. Retrieved 28 June 2009.
  91. ^ "Motion City Soundtrack – Go (album review 2)". Sputnikmusic. 14 June 2012. Retrieved 22 September 2013.
  92. ^ "I'm not claiming this is completely 100% accurate in terms of what these guys actually played" (Hooper 1997).
  93. ^ "Reviews for Iron Maiden's A Matter of Life and Death". Metal-archives.com. Retrieved 30 July 2009.
  94. ^ "A Matter of Life and Death (review)". Groove.no. Retrieved 30 July 2009.
  95. ^ Chichester Psalms, Boosey & Hawkes, Inc., 1965.
  96. ^ "American Symphony Orchestra – Concerto Fantasy for Two Timpanists and Orchestra". Americansymphony.org. 19 November 2000. Retrieved 25 February 2015.
  97. ^ Guitar April 1998, ""Diary of a Madman"". Transcribed by Jeff Jacobson.
  98. ^ "Interview with a band member, explaining choice of septuple meter around 40 seconds in". YouTube.com. Retrieved 26 November 2013.
  99. ^ Anon. 2011.
  100. ^ "Top 10 songs not in 4/4 time". The Independent. 9 September 2017. Retrieved 28 May 2021.
  101. ^ Nicholas Barber (11 February 1996). "ROCK: Ex-Blondies have more fun – Life and Style". The Independent. Retrieved 25 February 2015.
  102. ^ Lloyd Webber and Rice 1970, 6–7 and 9.
  103. ^ Plait 2012.
  104. ^ Dethalbum II: Authentic Guitar TAB (Authentic Guitar Tab Edition)
  105. ^ Pareles, Jon (4 March 1996). "Understated Showcase for Sting's New Songs". The New York Times.
  106. ^ Kelly and Sheeran 2015.
  107. ^ Teachout 2001.
  108. ^ "Saturday Night Fever – Jive Talkin – Free Piano Sheet Music". Sheetzbox.com. Retrieved 25 February 2015.
  109. ^ Steve Huey Jocko Homo
  110. ^ "Heavy Metal Culture — TALLAH – "Matriphagy" Album Review". 5 October 2020.
  111. ^ Keefe, Jonathan. "Sam Bush: Laps in Seven". Slant Magazine. Retrieved 18 May 2008.
  112. ^ Sting 2003, 100–112.
  113. ^ Alan Cross, Andy Partridge, Joe Jarrett, Christopher Wood, David Oh, Daniel Girard, and unknown questioners Andy Partridge's Toronto Visit", Chalkhills.org (27 February 1999) (archive from 31 January 2012, accessed 25 February 2015).
  114. ^ "Music: Passages". Philip Glass. Archived from the original on 10 June 2016. Retrieved 25 February 2015.
  115. ^ Sliwa 1998–2005.
  116. ^ Lopez and Marx 2004, 76–82.
  117. ^ "Pandora Presents ... Meters & Time Signatures". Archived from the original on 3 May 2009. Retrieved 25 February 2015.
  118. ^ Anon. 2007, [page needed].
  119. ^ "External Link". 911Tabs.Com. Retrieved 22 September 2013.
  120. ^ Wally Schnalle (11 March 2011). "How To Play 'The Ocean' By Led Zeppelin". Drum Magazine. Retrieved 15 January 2018.
  121. ^ Bernstein 1994, 42–47.
  122. ^ Huey, Steve. "Outshined". AllMusic. Retrieved 23 March 2008. The song's main riff is in 7
    4
    time
  123. ^ Lawrence 2006.
  124. ^ Ginastera 1955, 18.
  125. ^ "External Link". 911Tabs.Com. Retrieved 22 September 2013.
  126. ^ Ligeti 1973, flute p. 6, oboe pp. 4–5, clarinet pp. 6–7, horn pp. 4–5, bassoon pp. 6–7.
  127. ^ "Asphalt Meadows Is Death Cab for Cutie's Most Consistent Album in Over a Decade". Paste Magazine. Retrieved 6 December 2024.
  128. ^ http://www.misswardmusic.com/uploads/1/1/8/3/11833617/revolting-children-i-matilda.pdf [bare URL PDF]
  129. ^ "Ian Anderson: "The delight in making music is that you don't have a formula"".
  130. ^ "Schism Tab by Tool – Maynard James Keenan (Vocals) – Bassoon".
  131. ^ "Dave Matthews Band". antsmarching.org. Retrieved 25 February 2015.
  132. ^ "Persona 4 Golden's Soaring Soundtrack Is Love At First Listen". Kotaku.com. 30 November 2012. Retrieved 22 September 2013.
  133. ^ Taylor, Sam (9 August 2019). "Slipknot: We Are Not Your Kind — some of their heaviest music yet". Financial Times. Retrieved 8 December 2019.
  134. ^ Rotondi 1994, [page needed].
  135. ^ OC ReMix Community 2010.
  136. ^ Palmer, Robert (16 August 1981). "Substance Marks Pretenders II". The New York Times. Retrieved 14 August 2008. Tattooed Love Boys, for example, grafted a section in 7
    4
    time onto a section with a kind of modified Bo Diddley beat in 4
    4
    ; James Honeyman Scott's ringing guitar figures held the piece together
  137. ^ "Jesus Christ Superstar Sheet Music pdf Files". dosguys.com. Retrieved 4 April 2019.
  138. ^ Cantrell 1992.
  139. ^ Wayne 1978, [page needed].
  140. ^ "Anthrax – Persistence of Time – Reviews – Encyclopaedia Metallum". The Metal Archives. Retrieved 22 September 2013.
  141. ^ "Typical Rush Time Changes: Changing & Asymmetrical Compound Meter in Rush's "Tom Sawyer"". Revel Music Teacher. Retrieved 30 March 2024.
  142. ^ George N. Gianopoulos (29 April 2016), George Antheil – Two Toccatas for Solo Piano (1948) [Score-Video], retrieved 13 November 2017
  143. ^ Stojowski 1923.
  144. ^ Banasiewicz 1988, [page needed].
  145. ^ Moe 2008, [page needed].

Sources

[edit]
  • Anon. 1896. "Indian Music". The Musical Times and Singing Class Circular, 37, no. 642 (1 August): 519–21.
  • Anon. 1978. Unpaginated introduction to Bacharach and David (songbook). Hollywood: Almo Productions. Reprinted Bacharachonline.com (accessed 25 February 2015).
  • Anon. 2007. The Real Book, 2 vols. Milwaukee: Hal Leonard Publishing Corp. ISBN 978-1-4234-2451-2 (vol. 1) 9781423424529 (vol. 2).
  • Anon. 2011. "Red Hot Chili Peppers Debut New Songs at Japan's Summer Sonic—Video". NME (16 August) (Accessed 10 January 2013).
  • Banasiewicz, Bill. 1988. Rush Visions: The Official Biography. London and New York: Omnibus Press. ISBN 0-7119-1162-2.
  • Bartók, Béla. 1940. Mikrokosmos: Progressive Piano Pieces = Pièces de piano progressives = Zongoramuzsika a kezdet legkezdetétöl, 6 vols. New York and London: Boosey & Hawkes.
  • Bartók, Béla. 1946. Concerto for Orchestra, revised edition, 1993 (full score). London, New York, Bonn, Sidney, Tokyo: Boosey & Hawkes.
  • Bennett, Dan. 2008. The Total Rock Bassist. Van Nuys, California: Alfred Music Publishing. ISBN 0-7390-5269-1
  • Bergeron, Guy (arr.). 2010. "Jovano Jovanke" (trad. Macedonian). Freescores.com (Accessed 10 October 2011).
  • Bernstein, Leonard. 1993. The Age of Anxiety: Symphony No. 2, for piano and orchestra, after W. H. Auden, revised version, full score, corrected edition. [New York]: Jalni Publications, Inc., Boosey & Hawkes.
  • Bernstein, Leonard. 1994. Candide: A Comic Operetta in Two Acts, Scottish Opera edition of the opera-house version (1989). Book by Hugh Wheeler, based on the satire by Voltaire; lyrics by Richard Wilbur, with additional lyrics by Stephen Sondheim, John Latouche, Dorothy Parker, Lillian Hellman, and Leonard Bernstein; edited by Charles Harmon. [New York]: Jalni Publications; Boosey & Hawkes.
  • Brahms, Johannes. 1972. Trios, für Klavier, Violine und Violoncello, nach Eigenschriften, Erstausgaben und Handexemplaren des Komponisten hrsg. von Ernst Herttrich; Fingersatz der Klavierstimme von Hans-Martin Theopold. Munich: G. Henle Verlag.
  • Britten, Benjamin. 1945. Old Joe Has Gone Fishing. London: Boosey & Hawkes. ISMN 9790060014864
  • Britten, Benjamin. 1946. Quartet No. 2 in C, Op. 36. London: Boosey & Hawkes.
  • Buchanan, Donna A. 2001. "Bulgaria, §II: Traditional Music". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Cantrell, Jerry. 1992. "Them Bones" (sheet music). S.l.: Buttnugget Publishing.
  • Chianis, Sotirios, and Rudolph M. Brandl. 2001. "Greece, §IV: Traditional Music". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Cornwell, Hugh, and Jim Drury. 2001. "Song by Song". Sanctuary Publishing.[full citation needed]
  • Cowell, Henry. 1956. "Current Chronicle: United States: New York" The Musical Quarterly 42, no. 2 (April): 240–44.
  • DeVoto, Mark. 2000. "Harmony in the Chamber Music". In The Cambridge Companion to Ravel, edited by Deborah Mawer, 97–117. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-64856-1.
  • Eddie, William Alexander. 2007. Charles Valentin Alkan: His Life and His Music. Aldershot, England; Burlington, Vermont: Ashgate. ISBN 1-84014-260-X
  • Evans, Edwin. 1923. "The Perfect Fool". The Musical Times 64, no. 964 (1 June): 389–93.
  • Fenlon, Sean. 2002. "The Exotic Rhythms of Don Ellis". DMA diss. Baltimore: Johns Hopkins University, Peabody Institute. ISBN 0-493-60448-0.
  • Future Music. 2016. "Classic Album: Lamb on Fear of Fours". musicradar.com (accessed 5 February 2020).
  • Genesis (musical group). 2002. Genesis Guitar Anthology. Hal Leonard Guitar Recorded Version. [United States]: EMI Music; Milwaukee: Hal Leonard. ISBN 0-634-02067-6.
  • Gilbert, W[illiam]. S., and Arthur Sullivan. n.d. The Yeomen of the Guard (vocal score), revised edition. London: Chappell & Co., Ltd.
  • Ginastera, Alberto. 1946. 12 American Preludes (Doce Preludios Americanos), 2 vols. New York: Carl Fischer.
  • Ginastera, Alberto. 1955. Estancia: Ballet in One Act and Five Scenes. Reduction for piano. Buenos Aires: Barry Editorial, Com., Ind., S. R. L.; [n.p.]: Boosey & Hawkes.
  • HanSathanas; Santaniello, Christopher (7 February 2015). "Storm – Additional notes". The Metal Archives. Retrieved 29 May 2020.
  • Hiley, David. 2001. "Quintuple Metre". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell, vol. 20:682–83. London: Macmillan Publishers.
  • Holst, Gustav. 1973. Double Concerto, Op. 49, for two violins and orchestra. Revised edition by Imogen Holst. London: Curwen Edition, Faber Music; New York: G. Schirmer. First published in 1930 by J Curwen & Sons Ltd.
  • Holst, Gustav. 1977. A Choral Fantasia, Op. 51, edited by Imogen Holst. London, Zürich, Mainz, and New York: Ernst Eulenburg Ltd.
  • Hooper, Dave. 1997. "Slint—Breadcrumb Trail Tab, for Two Guitars and Bassline". Guitaretab.com (Accessed 23 June 2013).
  • Kamien, Roger. 1980. Music: An Appreciation, second edition. New York: McGraw-Hill. ISBN 0-07-033279-7.
  • Kelly, Tori, and Ed Sheeran. 2015. "I Was Made for Loving You" [S.l.]: Tori Kelly Publishing and Sony/ATV Songs.
  • Lawrence, Eddy. 2006. "Easy Star All Stars". Time Out (14 August). Accessed 24 October 2008.
  • Lester, Joel. 1986. The Rhythms of Tonal Music. Carbondale: Southern Illinois University Press. ISBN 978-0-8093-1282-5.
  • Ligeti, György. 1973. Sechs Bagatellen für Bläserquintett (Five parts: flute, oboe, clarinet in B-flat, horn in F, bassoon). Mainz and New York: Schott.
  • Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1970. Jesus Christ Superstar, vocal score, selections. New York: Universal—MCA Music; Miami: Warner Bros. ISBN 0-88188-541-X
  • Lloyd Webber, Andrew (music), and Tim Rice (lyrics). 1979. Evita, vocal score, selections. Melville, New York: Leeds Music, MCA Music.
  • Lopez, Robert, and Jeff Marx. 2004. "A Mix Tape." In Avenue Q (piano conductor score), by Robert Lopez and Jeff Marx, 76–82. vome.org (archive from 28 December 2017; accessed 28 October 2019).
  • Macdonald, Hugh. 2001. "Alkan [Morhange], (Charles-)Valentin". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Mawer, Deborah. 2000. "Ballet and the Apotheosis of the Dance". In The Cambridge Companion to Ravel, edited by Deborah Mawer, 140–61. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-64856-1. doi:10.1017/CCOL9780521640268.007.
  • Moe. (musical group). 2008. Best of Moe: Guitar, Bass, Vocal, transcribed by Jeff Jacobson. [New York]: Cherry Lane Music. ISBN 978-1-57560-947-8.
  • Montfort, Matthew. n.d. "North Indian Talas". Ancient-Future.com (Accessed 13 January 2013).
  • Moore, Sidney. 1969. "Thai Songs in 7/4 Meter". Ethnomusicology 13, no. 2 (May): 309–12.
  • Murphy, Scott (2012). "Septimal Time in an Early Finale of Haydn". Intégral. 26: 97–130. JSTOR 23629591.
  • Murphy, Scott (September 2016). "Cohn's Platonic Model and the Regular Irregularities of Recent Popular Multimedia". Music Theory Online. 22 (3). doi:10.30535/mto.22.3.6.
  • Mussorgsky, Modest Petrovich. 1914. Tableaux d'une exposition (Pictures at an Exhibition): 10 Pieces for Piano, edited by O. Thümer. [n.p.]: Augener; London: Stainer and Bell; New York: Galaxy Music Corporation.
  • Neto, José, Flora Purim, and Diana Moreira. 2005. "Tombo in 7/4—Samba de Janeiro". In Non-Stop to Brazil, 2 vols., 2:242. Angelo Publishing Company.[full citation needed]
  • OC ReMix Community. 2010. "Composer Interview: Wall of Sound" (4 May). Overclocked Remix website (Accessed 13 April 2012).
  • Plait, Phil. 2012. "Bad Astronomy [blog]: I Am the Piano Doctor Man". Discover Magazine (8 January) (Accessed 3 March 2012).
  • Pousseur, Henri. 2001. Automates en leur jardinet. Milan: Edizioni Suvini Zerboni.
  • Powers, Harold S., and Richard Widdess. 2001. "India, subcontinent of, §III, 4: Theory and practice of classical music: Rhythm & tāla". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Prokofiev, Sergei. 1955. Sobranie sochinenii [Собрание сочинений, "Collected Works"], 20 vols. Moscow: Gos. Muzykalnoe Izd-vo.
  • Read, Gardner. 1964. Music Notation: A Manual of Modern Practice. Boston: Allyn and Bacon
  • Reicha, Anton. 1973. 36 Fugen für Klavier, edited by Václav Jan Sýkora. Kassel: Bärenreiter.
  • Reinhard, Kurt, and Martin Stokes. 2001a. "Turkey, II. Folk Music". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Reinhard, Kurt, and Martin Stokes. 2001b. "Turkey, IV. Art Music: 3 'Usul'". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Revueltas, Silvestre. 1949. Sensemayá. G. Schirmer's Edition of Study Scores of Orchestral Works and Chamber Music 51. New York: G. Schirmer
  • Rotondi, James. 1994. "Alone in the Superunknown." Guitar Player (April): [page needed].
  • Rushton, Julian (1983). The Musical Language of Berlioz. Cambridge Studies in Music. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-24279-0.
  • Sakimoto, Hitoshi and Asako Niwa. 1994. Final Fantasy VI: Original Sound Version. Tokyo: Square Enix Co. Distributed by Doremi Music Publishing. ISBN 4-8108-2634-1. ISBN 978-4-8108-2634-0.
  • Seal, and Gus Isidore. 1994. "Dreaming in Metaphors". London: Perfect Songs Limited.
  • Shostakovich, Dmitri. 1983. Sobranie sochinenii tom 13 [Собрание сочинений том 13, Collected Works volume 13]. Moscow: Izdatelstvo "Muzyka".
  • Sliwa, Richard. 1998–2005. "Sky 3". plum.cream.org website (accessed 10 January 2015).
  • Stevens, Cat. 1991. Classic Cat Stevens: A Collection of All the Music from Four Landmark Cat Stevens Albums. New York: Amsco Publications. ISBN 0-8256-1285-3 (US); ISBN 0-7119-2316-7 (UK)
  • Sting. 2003. Sacred Love, music arranged by Jack Long. Bury St. Edmunds: Magnetic, EMI.
  • Stojowski, Sigismond. 1923. Variations et Fugue sur un thème original pour piano. Op. 42 (score). Paris: Au Ménestrel, 1923.
  • Stravinsky, Igor. 1964. The Firebird (score). Moscow: Gos. muzykal'noe izd-vo. Reprinted Mineola, New York: Dover Publications, 1987.
  • Stravinsky, Igor. 1970. The Rite of Spring (Le Sacre du printemps) (score). New York: International Music Company.
  • Teachout, Terry. 2001. "Bluegrass that Can Twang and Be Cool, Too" (page 2 of 3). The New York Times (27 May). (Accessed 28 November 2007).
  • Villa-Lobos, Heitor. 1963. Fantasia, for saxophone, 3 horns, and string orchestra. New York: Southern Music Publishing Co.; Hamburg: Peer Musikverlag
  • Wayne, Jeff. 1978. The War of the Worlds (musical score). New York and London: Wise Publications.
  • Webern, Anton. 1957. I. Kantate, für Sopran-Solo, gemischten Chor und Orchester, Op. 29. Philharmonia no. 447. Vienna and London: Universal Edition.
  • Weisman, Loren. 2010. The Artist's Guide to Success in the Music Business. Bothell, Washington: Book Publishers Network. ISBN 978-1-935359-33-3 (Accessed 11 April 2012).
  • White, Eric Walter. 1979. Stravinsky: The Composer and His Works, second edition. Berkeley and Los Angeles: The University of California Press. ISBN 0-520-03985-8.
  • Wiehmayer, Theodor [de]. 1917. Musikalische Rhythmik und Metrik. Magdeburg: Heinrichshofen's Verlag.
  • Wolinkski, Paul. 2014. "65daysofstatic – The Fall of Math: ten years later with Paul Wolinski". Thrash Hits. 26 March 2014 (accessed 5 February 2020).
  • Yanni. 1993. The Best of Yanni: Piano Solos: 11 Selections from His Top Recordings, transcriptions and arrangements by Richard Boukas. Milwaukee: Hal Leonard