This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16. The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti. A perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length but is notated in ordinary time, with each variation lasting bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one. Upper number of 1 Enigma Variations by Edward Elgar, in Variation VII. Entr'actes and Sappho Fragments by Harrison Birtwistle. Leopardi Fragments by Peter Maxwell Davies. Mixtur by Karlheinz Stockhausen. Rhythmicana by Henry Cowell, for the entire first two movements. String Quartet No. 2 by Easley Blackwood Jr. Symphony No. 2 by Alexander Borodin. Movement II is in Prestissimo , except for the trio section, which is in Allegretto . Appalachian Spring, by Aaron Copland. at the third bar of rehearsal 46 and the third bar of rehearsal 48. Apaisement, Op. 13 No. 1, by Ernest Chausson. Canon with Sustained Notes, No. 60 from Mikrokosmos by Béla Bartók, in one measure. Decet for wind instruments, Op. 14, by George Enescu, at bar 240 of the third movement (fifth bar before rehearsal number 42). Fünf Klavierstücke, Op. 23 by Arnold Schoenberg, at bar 9 of the second piece. Káťa Kabanová, by Leoš Janáček, for some measures in Act III between rehearsal numbers 5 and 8. La Langeur, from Le follie francaise ou les dominos from Pieces de Clavecin by Francois Couperin. Mladi by Leoš Janáček, at measure 68 of the second movement. 8 Nocturnes, FP 56 by Francis Poulenc, at bar 27 of No. 1.