This page lists those modern editions of works by Kaikhosru Shapurji Sorabji that use bar numbering. Several of his works, especially those for piano, contain very long bars that often reach two or three dozen beats in groups of semiquavers or even more rapid note values spread over two or three systems. Many editors have therefore refrained from using the bar numbering function offered by notation software. The table below gives the titles in chronological order, followed by the year of publication, and the name of the editor.

Bar numbers are usually given at the beginning of systems, with the numbers in parentheses when the bar is the continuation of the previous system. Exceptions are:

• Quintet II for Piano and String Quartet (1932-33; 432 pp.) and “Il gallo d’oro” da Rimsky-Korsakov: Variazioni frivole con una fuga anarchica, eretica e perversa (1978-79; 93 pp.): every tenth bar.
• Symphonic Variations for Piano and Orchestra (1935-37, 1953-56; 540 pp.) and Messa grande sinfonica (1955-61; 1,001 pp.): each bar, at the top of the score.

The large numbers inside boxes in the score of the Symphonic Nocturne for Piano Alone (1977-78; 113 pp.), edited by Lukas Huisman (publ. 2016), are not bar numbers, but the page numbers of the manuscript.

The manuscript of the Concerto [no. 1] pour piano et grand orchestre (1915-16; 177 pp.) is unique in that Sorabji himself numbered every tenth bar. The published score of the Concerto for Piano and Orchestra [no. 5] (1920; 144 pp.) is numbered every tenth bar; however, as some publishers did at the time, the first bar happens to be 0 rather than 1, and the numbering is off by one.

The published score of the Quintet no. 1 for Piano and Quartet of Stringed Instruments (1919-20; 72 pp.), the manuscript of which is unknown, includes an “index of beats” consisting of a series of numbers aligned below the piano part, cued to each quaver.