List of musical works in unusual time signatures

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Listed here are musical compositions or pieces in Western music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.[1]

The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti. The Piano Sonata No. 14 in C-sharp minor "Quasi una fantasia", Op. 27, No. 2, by Ludwig van Beethoven, popularly known as the Moonlight Sonata, includes two examples: in the relatively slow first movement the predominant rhythm is in triplet eighth notes (quavers), whereas in the second movement the basic tempo is faster but the music is notated in quarter notes (crotchets) and half notes (minims), giving a visual clue to the nature of the phrasing. The first movement could be written in 12
8 and still convey the same rhythm, phrasing, and tempo. Similarly, the second movement could be notated in 3
8 instead of 3
4 without changing the phrasing.[2] More to the point of the present article, a perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length, but is notated in ordinary 4
4 time, with each variation lasting 2¾ bars, and therefore commencing each time one crotchet earlier than the preceding one.[3]

These examples are grouped by time signature, and listed alphabetically by title.

Contents

⅗/4

Partially in ⅗
4

  • Mädchentotenlieder, by Bo Nilsson. Bar 97 is in ⅗
    4     time.[4]

⅔/2 and ⅔/4

Partially in ⅔
2 or ⅔
4

⅘/4

Partially in ⅘
4

  • Mädchentotenlieder, by Bo Nilsson. Bar 112 is in ⅘
    4     time.[7]

1/1, 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64

Partially in 1
1, 1
2, 1
4, 1
8, 1
16, 1
32, or 1
64

1½/4

Partially in 1½
4

  • Lincolnshire Posy, Lord Melbourne by Percy Grainger. Some parts mark this measure as 1½
    4     while others mark it as 3
    8    . This trombone part has a bar of 1½
    4     on the bottom of page 4. [19]

4/3/2 or 4/3/4

Partially in 4/3
2 or 4/3
4

2/1

Partially in 2
1

2/16

2½/4

Partially in 2½
4

3/16

3/32

  • "Lilliputsche Chaconne", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann.[29]

3½/4

Partially in 3½
4

32/2/4

  • "Reverie der Laputier, nebst ihren Aufweckern", from Intrada, nebst burlesquer Suite, for two violins (the so-called "Gulliver Suite") by Georg Philipp Telemann.[30]

3⅔/4

4/16

Partially in 4
16

  • "Andante espressivo", second movement from Piano Sonata No. 3 in F minor, Op. 5, by Johannes Brahms (b. 37–66, 77–90).[33]

4½/4

Partially in 4½
4

5/1, 5/2, 5/4, 5/8, 5/16, 5/32, 5/64, or 5/128

<templatestyles src="Module:Hatnote/styles.css"></templatestyles>

Main article: Quintuple meter

5½/4

Partially in 5½
4

6/2

Partially in 6
2

  • "In the First Pentatonic Major Mode (En el 1er modo pentáfono mayor)", no. 12 from 12 American Preludes for piano (1944) by Alberto Ginastera (bar 23 in 6
    2    ).[35]
  • "Molto adagio" (Adagio for Strings), second movement of Samuel Barber’s String Quartet, op. 11, bars 15 and 26 are in 6
    2    .[36]

6½/8

Partially in 6½
8

  • Schism by Tool is described by the band as largely in 6½
    8     and includes numerous other times.[37]

7/1, 7/2, 7/4, 7/8, 7/16, 7/32, 7/64, or 7/128

<templatestyles src="Module:Hatnote/styles.css"></templatestyles>

Main article: Septuple meter

8/4 or 8/8

Note: 8
4 or 8
8 may refer to an evenly divided compound duple or quadruple meter. While this is arguably extremely common in music, the notations "8
4" and "8
8" themselves are not, so all divisions of this time signature are listed here.
  • "Six Dances in Bulgarian Rhythm" 4, from Béla Bartók's Mikrokosmos (no. 151), is in 3+2+3
    8    .[38]
  • "Six Dances in Bulgarian Rhythm" 6, from Béla Bartók's Mikrokosmos (no. 153), is in 3+3+2
    8    .[39]

Partially in 8
4, 8
8, or 8
16

9/2, 9/4 or 9/8 (not ordinary triple-compound)

  • "Big Lie Small World", by Sting is in 9
    8     with varying division.[60]
  • "I Hung My Head", by Sting is in 2+3+2+2
    8    [61]
  • "Niska Banja," SATB choral arrangement by Nick Page of a Serbian Gypsy dance, is in 2+2+2+3
    8    [62]
  • "Six Dances in Bulgarian Rhythm" 1, from Béla Bartók's Mikrokosmos (no. 148), is in 4+2+3
    8    .[63]
  • "Six Dances in Bulgarian Rhythm" 5, from Béla Bartók's Mikrokosmos (no. 152), is in 2+2+2+3
    8    .[64]

Partially in 9
2, 9
4, or 9
8

  • "Apocalypse in 9
    8    " by Genesis. Penultimate movement of the "Supper's Ready" suite, rhythm section plays a 9
    8     riff as 3+2+4, organ solo plays polymetrically over this (sometimes 4
    4    , sometimes 7
    4    .)[65]
  • "Blue Rondo à la Turk" (1958) by the Dave Brubeck Quartet, from the album Time Out - Played as 2+2+2+3 and 3+3+3, with some alternating sections of 4
    4    [66]
  • "The Count of Tuscany" by Dream Theater. The verse riff is in 9
    4    , with a rhythm of 3+2+2+3+3+2+3
    8    .[67]
  • "Los peones de hacienda", from the ballet Estancia by Alberto Ginastera. The refrain, at rehearsal numbers 62, 65, 67, 68, 69+3, and 70 is marked "9
    8     (3
    4     - 3
    8    )"; the remainder is variously in 6
    8    , 3
    4    , 5
    8    , and 7
    8    .[68]

10/4, 10/8 or 10/16

Partially in 10
4, 10
8 or 10
16

11/4 or 11/8

Partially in 11
4 or 11
8

13/4, 13/8, or 13/16

Partially in 13
4 or 13
8

15/8 or 15/16

Other than compound quintuple meter:

Partially in 15
4, 15
8 or 15
16

17/4 or 17/8

Partially in 17
4 or 17
8

18/8 or 18/16

<templatestyles src="Module:Hatnote/styles.css"></templatestyles>

See also: Sextuple meter

19/4, 19/8, or 19/16

Partially in 19
4, 19
8, or 19
16

20/4 or 20/8

Partially in 20
4 or 20
8

21/4, 21/8, 21/16, or 21/32

<templatestyles src="Module:Hatnote/styles.css"></templatestyles>

See also: Septuple meter

Partially in 21
4, 21
8, 21
16 or 21
32

  • "The Art Of Dying" by Gojira (2008) cycles from 4
    4     to 2
    4     to 21
    16     (grouped 5+5+5+3+3) and repeats this pattern during the intro and beginning of the song.[131]
  • "Deux moulins", from Airs a III. IIII. V. et VI. parties (première livre, 1608) by Claude Le Jeune (first two sections, Rechant à 3 and Réprise à 5, are barred as 21
    4    ; the last section of the piece is in 20
    4    ).[128]
  • In the Dead of the Night suite by UK, "contains an instrumental refrain in 21
    16    ".[89]
  • "Keep It Greasy" by Frank Zappa (On Joe's Garage, the first verse and guitar solo are counted in 19
    16     and another part is in 21
    16    ).[132]
  • Klavierstück IX (1954–55/61) by Karlheinz Stockhausen. Bars 6, 17, 120, and 149 are in 21
    8     time.[133]
  • Sonata for Cello and Piano (1948), by Elliott Carter, includes 21
    32     time.[134]

22/8

23/4 or 23/16

  • "Low Light" by Jacky Ligon from his Between Moments EP (2013) is in 23
    4    .[136]

Partially in 23
4 or 23
16

24/1 or 24/16

25/8 or 25/16

Partially in 25
8 or 25
16

  • "Tenemos Roads", by National Health includes "some extremely intricate passages in 25
    16    ".[89]

26/8

32/8

Partially in 32
8

33/8

Partially in 33
8

34/8

Partially in 34
8

42/8

Partially in 42
8

59/48

Partially in 59
48

  • Evol by Damian LeGassick alternates a rhythm notated as five beats in the time of seven with another in 59
    48     time.[149]

87/8

Partially in 87
8

142/8

Partially in 142
8

Combined unusual signatures

  • "All You Need Is Love" by The Beatles. The main verse pattern contains a total of 29 beats, split into two 7
    4     measures, a single bar of 8
    4    , followed by a one bar return of 7
    4     before repeating the pattern. The chorus, however, maintains a steady 4
    4     beat with the exception of the last bar of 6
    4    .[150]
  • "Bastard" by Ben Folds. A combination of the time signatures 3
    2    , 3
    4    , 4
    4    , 5
    4    , 6
    4    , and 7
    4    .[151]
  • "The Dance of Eternity" by Dream Theater. This instrumental contains mixtures of faster and slower beat groupings in 8, 7, 6, 5, and 4. It goes through over 128 time signature changes in just over six minutes.[152]
  • "The Eynsham Poacher", a traditional song; in the arrangement by Dave Pegg, most of the tune is in 12
    8    , but there are five other time signatures: several single bars at 9
    8     occur in the refrain and elsewhere; the bridge has a six-bar phrase of three bars at 2
    4    , one at 6
    8    , then two at 2
    4    ; whilst the 9
    8     finale includes a bar each of 1
    4     and 4
    4    .[clarification needed][153]
  • "Firth of Fifth": Introduction, by Tony Banks of Genesis, mixes duple and quadruple meters with 13
    16     and 15
    16     signatures.[154]
  • "Fish On" by Primus. The intro has a free time feel, but is transcribed as: 4
    4    , 2
    4    , 4
    4    , 3
    4    , 4
    4    , 2
    4    , 4
    4    , 2
    4    , 7
    8    , 12
    8    , 14
    8    , 4
    4    , 4
    4    , 12
    8     (7 times) and 6
    8    .[155]
  • "Here Comes the Sun", by The Beatles. The bridge can be transcribed as 11
    8     + 4
    4     + 7
    8    [156]
  • "I Say a Little Prayer" by Dionne Warwick uses two measures of 4
    4    , one measure of 10
    4     and two measures of 4
    4     for verses and 11
    4     for its chorus.[157]
  • "Losing It" by Rush. Intro and verses are composed out of ten bars in 5
    8    , other parts are in 11
    8    .[158][159][160]
  • "No Time for Games" by Midnight Oil has an introduction and various other parts in 7
    4     and verse and chorus in 4
    4    .[161][dead link][162]
  • "On the Floor" by Maartin Allcock. A tune where passages of mixed time signatures (5
    4    , 4
    4    , 3
    4    , 6
    8    , 6
    4    , 7
    4     – with no more than two consecutive bars in the same time) alternate with longer passages in 4
    4    .[163]
  • "Trial Before Pilate (Including the Thirty-Nine Lashes)", from the musical Jesus Christ Superstar by Andrew Lloyd Webber, includes 4
    4    , 3
    4    , 5
    8    , 2
    4    , 6
    8    , 6
    4    , 5
    4    , 7
    4    , 7
    8    , and 2
    8    , and the time signature in the piece varies a total of 41 times.[164]

See also

Notes and references

  1. ↑ Ian Waugh first lists 2
    2    , 2
    4    , 2
    8    , 3
    2    , 3
    4    , 3
    8    , 4
    2    , 4
    4    , 4
    8    , 6
    4    , 6
    8    , 6
    16    , 9
    4    , 9
    8    , 9
    16    , 12
    4    , 12
    8    , and 12
    16     (Waugh 2003, 76), then says "we've listed all the popular time signatures" (Waugh 2003, 77).
  2. ↑ Ted Ross, The Art of Music Engraving and Processing: A Complete Manual, Reference and Text Book on Preparing Music for Reproduction and Print, 3rd edition, revised (Miami: Hansen Books; Santa Rosa, CA: NPC Imaging/Shattinger International Music Corporation, 2001),[page needed].
  3. ↑ Britten 1945b.
  4. ↑ Nilsson 1958, 10; Read 1964, 172.
  5. ↑ Boulez 1957, 19–20.
  6. ↑ Nilsson 1958, 10 & 12; Read 1964, 172.
  7. ↑ Nilsson 1958, 11; Read 1964, 172.
  8. ↑ Revueltas 1971, 32, 34–38.
  9. ↑ Copland 1945, 56–59.
  10. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  11. ↑ 11.0 11.1 11.2 11.3 Read 1964, 158.
  12. ↑ Myaskovsky 1947, 4–8, 23–30, 41–44, 59–65, 70–73.
  13. ↑ Nilsson 1958, 3–15.
  14. ↑ Dream Theater Keyboard Anthology. Transcribed by Chris Romero and Jordan Baker 2004, 30.
  15. ↑ Dream Theater Black Clouds and Silver Linings Authentic Guitar TAB. 2009, 7.
  16. ↑ Stravinsky n.d., 26.
  17. ↑ Piano Sonata No. 5 (Scriabin): Scores at the International Music Score Library Project. Leipzig: Edition Peters, 1971, plate E.P. 12588.
  18. ↑ Borodin [8888], 44–86.
  19. ↑ http://imslp.org/wiki/Lincolnshire_Posy_(Grainger,_Percy)
  20. ↑ Boulez 1957, 18.
  21. ↑ Nilsson 1958, 8; Read 1964, 172.
  22. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  23. ↑ Alkan n.d. (ca.1861),[page needed].
  24. ↑ 24.0 24.1 24.2 24.3 http://petrucci.mus.auth.gr/imglnks/usimg/f/f3/IMSLP14991-Stanchinksy_-_12_Sketches.pdf
  25. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  26. ↑ http://imslp.org/wiki/Lincolnshire_Posy_(Grainger,_Percy)
  27. ↑ 27.0 27.1 27.2 27.3 27.4 27.5 27.6 Read 1964, 170.
  28. ↑ http://conquest.imslp.info/files/imglnks/usimg/9/91/IMSLP289811-PMLP02189-Schumann__Robert_Werke_Breitkopf_Gregg_Serie_7_Band_2_RS_51_Op_13_scan.pdf
  29. ↑ Telemann 1728, 32; Telemann 1970, 13; Zohn 2004, 247: "The ‘Lilliputsche Chaconne’ is anything but stately as it flashes by (at least on the page) in a blur of demisemiquavers in 3/32 time. . . ."
  30. ↑ Telemann 1728, 40; Zohn 2004, 247: "The ‘Reverie der Laputier, nebst ihren Aufweckern’ . . . teases the reader with a nonsensical time signature, 32/2
    4    , in an apparent allusion to the Laputians’ love for, and incompetence in, mathematics." Dietz Degan, the editor of Telemann 1970, transcribes this piece simply in 2
    2    .
  31. ↑ Strait 2000, 56.
  32. ↑ Revueltas 1958, 3–15.
  33. ↑ Brahms 1928, 78–79, 79–80.
  34. ↑ Ives 1920, 56.
  35. ↑ Ginastera 1946, 1:12–13.
  36. ↑ Barber 1943, 11–12.
  37. ↑ Wagner 2010, 312–13.
  38. ↑ Bartók 1940, 6:45–48.
  39. ↑ Bartók 1940, 6:51–55.
  40. ↑ Stravinsky 1965, 16.
  41. ↑ Britten 1946, 14–15.
  42. ↑ Bartók 1937, 130–33.
  43. ↑ Davies 1985, 202.
  44. ↑ Bartók 1937, 1–5, 7–8, 10.
  45. ↑ Holst 1977, 4–6, 18–19, 23–24, 27–30.
  46. ↑ Birtwistle 1996, 6–7 and 9.
  47. ↑ Suspended Animation Authentic Guitar TAB, transcribed by Jordan Baker. 2005, 81-85, 88-89, 105-107
  48. ↑ Stravinsky 1958, 11–12 and 19.
  49. ↑ Britten 1941, 30–32.
  50. ↑ Stravinsky 1962, 54, 56, 58, 60–61, 63, and 66.
  51. ↑ Stravinsky 1924, 50.
  52. ↑ Dethalbum III Authentic Guitar TAB, transcribed by Jordan Baker. 2013, 10[full citation needed]
  53. ↑ Stravinsky 1967, 19.
  54. ↑ Bartók 1993, 72.
  55. ↑ Davies 1985, 48–49.
  56. ↑ Bernstein 1950, 48, 52–54.
  57. ↑ Stravinsky n.d., 11–12.
  58. ↑ Stravinsky 1970, 99.
  59. ↑ Andriessen 1976, 1–4, 82–88, 90, 92, 95–97, 99, 119.
  60. ↑ Gable 2009, 91.
  61. ↑ Gable 2009, 91.
  62. ↑ Page 1989.
  63. ↑ Bartók 1940, 6:35–38.
  64. ↑ Bartók 1940, 6:48–50.
  65. ↑ Seconds Out Songbook 1978 Wise Publications
  66. ↑ Dryden, Ken. "Blue Rondo a la Turk", Allmusic: "unusual time signature of 9
    8    ".
  67. ↑ Dream Theater Black Clouds and Silver Linings Authentic Guitar TAB, transcribed by Jordan Baker. 2009, 138
  68. ↑ Ginastera 1955, 17–20.
  69. ↑ Eddie 2007, 62.
  70. ↑ Banks 2009.
  71. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  72. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  73. ↑ Liner notes to The Mason Williams Phonograph Record Warner Brothers LP, WS 1729. Burbank: Warner Brothers-Seven Arts Records, 1968.
  74. ↑ http://www.talkbass.com/forum/f22/how-do-you-figure-out-time-signatures-476426/[unreliable source?]
  75. ↑ Britten 1946, 14.
  76. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  77. ↑ 77.0 77.1 Dreiblats 2013.
  78. ↑ Bars 2–5 are in 10
    8     time (Stravinsky 1958, 52).
  79. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  80. ↑ Le Jeune 1951–59, 2:85–88.
  81. ↑ rec.music.gdead FAQ.[unreliable source?]
  82. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  83. ↑ Howard Brubeck (ed.), Dave Brubeck Deluxe Piano Album, (San Francisco: Derry Music Co., 1965), pp. 22-28.
  84. ↑ Villa-Lobos 1969, 3–18.
  85. ↑ J. A. Fuller Maitland and W. Barclay Squire (eds.), The Fitzwilliam Virginal Book, vol. 2 (Leipzig: Breitkopf und Härtel, 1899; reprinted New York: Dover Publications, Inc., 1963), 34–39.
  86. ↑ Elroy 2008.[unreliable source?]
  87. ↑ Macan 1997, 48–49.
  88. ↑ http://imslp.info/files/imglnks/usimg/9/9d/IMSLP15483-Stanchinksy_-_Piano_Sonata_No.2.pdf
  89. ↑ 89.0 89.1 89.2 89.3 89.4 89.5 Macan 1997, 49.
  90. ↑ Macan 1997, 48.
  91. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  92. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  93. ↑ Primus (musical group), Primus Anthology: A thru N: For Guitar and Bass, transcribed by Jeff Jacobsen (New York: Cherry Lane Music, 2000), 17–20. ISBN 1575601540.
  94. ↑ Nilsson 1958, 7.
  95. ↑ 95.0 95.1 Lua error in package.lua at line 80: module 'strict' not found.
  96. ↑ 96.0 96.1 Lua error in package.lua at line 80: module 'strict' not found.
  97. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  98. ↑ Perkins 2000, 1:18.
  99. ↑ Stevenson 2014.
  100. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  101. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  102. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  103. ↑ Stravinsky 1967, 35.
  104. ↑ Jerry 2014.
  105. ↑ Andrew Lloyd Webber, T. S. Eliot - "Cats" Hal Leonard (HL00359466), ISBN 0-88188-447-2
  106. ↑ Andriessen 1976, 46, 69, and 101.
  107. ↑ Genesis 2001,[page needed].
  108. ↑ Davison and Apel 1974, 9; Pöhlmann and West 2001, 96–99.
  109. ↑ Perkins 2000, 2:18–40 (score).
  110. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  111. ↑ 111.0 111.1 111.2 111.3 Read 1964, 157.
  112. ↑ Medtner 1998, 134.
  113. ↑ Andriessen 1976, 65 and 74.
  114. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  115. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  116. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  117. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  118. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  119. ↑ Dreiblats 2012.
  120. ↑ Alkan n.d. (ca.1862),[page needed].
  121. ↑ 121.0 121.1 John McLaughlin, John McLaughlin and the Mahavishnu Orchestra: John McLaughlin's Scores to 28 Classic Recordings (Van Nuys: Alfred Publishing, 2006):[page needed]. ISBN 0-7390-4255-6.
  122. ↑ Prokofiev 1955, 1:9–14.
  123. ↑ Bach 1968, 98–99.
  124. ↑ Read 1964, 159.
  125. ↑ Perkins 2000, 2:1–17 (score).
  126. ↑ Fenlon 2002, 112–13.
  127. ↑ Portnoy, Wallis, and Siegel 1999.[page needed]
  128. ↑ 128.0 128.1 Le Jeune 1951–59, 1:32–33.
  129. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  130. ↑ Read 1964, 160; Stravinsky 1958, 29.
  131. ↑ Leonard 2011.
  132. ↑ Flans 1982.
  133. ↑ Stockhausen 1967, 1, 6, and 7.
  134. ↑ Read 1964, 156.
  135. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  136. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  137. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  138. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  139. ↑ Telemann 1728, 37; Telemann 1970, 14–15; Zohn 2004, 247: "the ‘Brobdingnagische Gigue’—no doubt inspired by the English jig Gulliver plays with great effort on a sixty-foot spinet—is danced in giant steps, trudging along in twenty-four semibreves to the bar."
  140. ↑ Fenlon 2002, 90 & 102–106.
  141. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  142. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  143. ↑ Fenlon 2002, 40.
  144. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  145. ↑ Fenlon 2002, 41; Fienberg 2004, 228–29 & 231–32.
  146. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  147. ↑ Stockhausen 1967, 7.
  148. ↑ 148.0 148.1 148.2 Stockhausen 1967, 1.
  149. ↑ Gilmore 1994, 4.
  150. ↑ Dean 2014.
  151. ↑ Ben Folds-"Songs for Silverman, piano/vocal transcriptions Hal Leonard Corporation[citation needed].
  152. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  153. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  154. ↑ Banks n.d.
  155. ↑ Primus (musical group), Primus Anthology: A thru N: For Guitar and Bass, transcribed by Jeff Jacobsen (New York: Cherry Lane Music, 2000), 21. ISBN 1575601540.
  156. ↑ "The meters of these three measures are 11
    8    , 4
    4    , and 7
    8    , respectively. The special effect of running even eighth notes accented as if triplets against the grain of the underlying backbeat is carried to a point more reminiscent of Stravinsky than of the Beatles" (Alan Pollack's 'Notes On' series, no. 183).
  157. ↑ Sheet music, published by New Hidden Valley Music and Casa David, copyright 1966
  158. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  159. ↑ Haigh n.d.
  160. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  161. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  162. ↑ Lua error in package.lua at line 80: module 'strict' not found.[unreliable source]
  163. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  164. ↑ Lloyd Webber and Rice 1970.

Bibliography

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