time in solo piano music. Anton Reicha's Fugue No. 20 from his Thirty-six Fugues, published in 1803, is also for piano and is in . The waltz-like second movement of Tchaikovsky's Pathétique Symphony (shown below), often described as a "limping waltz", is a notable example of time in orchestral music. Examples from 20th-century classical music include: Gustav Holst's "Mars, the Bringer of War" and "Neptune, the Mystic" from The Planets (both in ) Paul Hindemith's "Fuga secunda" in G from Ludus Tonalis () the ending of Stravinsky's The Firebird () the fugue from Heitor Villa-Lobos's Bachianas Brasileiras No. 9 () the themes for the Mission: Impossible television series by Lalo Schifrin (in ) and for Room 222 by Jerry Goldsmith (in ) In the Western popular music tradition, unusual time signatures occur as well, with progressive rock in particular making frequent use of them. The use of shifting meters in The Beatles' "Strawberry Fields Forever" and the use of quintuple meter in their "Within You, Without You" are well-known examples, as is Radiohead's "Paranoid Android" (includes ). Paul Desmond's jazz composition "Take Five", in time, was one of a number of irregular-meter compositions that The Dave Brubeck Quartet played. They played other compositions in ("Eleven Four"), ("Unsquare Dance"), and ("Blue Rondo à la Turk"), expressed as . This last is an example of a work in a signature that, despite appearing merely compound triple, is actually more complex. Brubeck's title refers to the characteristic aksak meter of the Turkish karşılama dance. However, such time signatures are only unusual in most Western music. Traditional music of the Balkans uses such meters extensively. Bulgarian dances, for example, include forms with 5, 7, 9, 11, 13, 15, 22, 25 and other numbers of beats per measure. These rhythms are notated as additive rhythms based on simple units, usually 2, 3 and 4 beats, though the notation fails to describe the metric "time bending" taking place, or compound meters. See Additive meters below. Some video samples are shown below. Mixed meters While time signatures usually express a regular pattern of beat stresses continuing through a piece (or at least a section), sometimes composers place a different time signature at the beginning of each bar, resulting in music with an extremely irregular rhythmic feel. In this case, the time signatures are an aid to the performers and not necessarily an indication of meter. The Promenade