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Most time signatures consist of two numerals, one stacked above the other: The lower numeral indicates the note value that the signature is counting. This number is always a power of 2 (unless the time signature is irrational), usually 2, 4 or 8, but less often 16 is also used, usually in Baroque music. 2 corresponds to the half note (minim), 4 to the quarter note (crotchet), 8 to the eighth ...
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
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4 time, just before a stretto entry from the tenor. The bass continues for 6 bars of 3 4 time (i.e. 4 + 1 ⁄ 2 normal bars) introducing a short new motif involving a downwards drop of a fifth, linked to the fugue subject and already hinted at in the first section. The soprano plays the new motif in canon with the bass, until the bass resumes ...
The verse of the theme to Valley of the Dolls uses the time signatures 4 4, 3 4, 2 4, 4 4, 4 4, effectively producing 17 4. The rhythmic proportions of Stockhausen's Klavierstück IX are governed by the Fibonacci series, resulting in time signatures of e.g. {{Time signature|21|8}}, {{Time signature|34|8}}, {{Time signature|42|8}}, {{Time ...
A technique in which a rhythmic pattern is superposed on another, heterometrically, and then supersedes it and becomes the basic metre. Usually, such time signatures are mutually prime, e.g., 4 4 and 3 8, and so have no common divisors. Thus the change of the basic metre decisively alters the numerical content of the beat, but the minimal ...
The article says that only for compound time signatures, like 6/8, 9/8, and 12/8. Notice that in these cases the upper number is divisible by 3. Double sharp 06:26, 15 September 2023 (UTC) "The time signature is a notational device representing the meter, which is an auditory feature of the music." (my italics) ...
It is a short step from accepting 4/4 (and not 11/4) as the time signature of that Passacaglia to insisting that any single occurrence of a bar with some odd time signature also belongs in the list. The emphasis here is clearly on the manner of notation, not the sound of the music (see also the Telemann example from the so-called "Gulliver ...
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