• The aim of this paper is to formally analyze some passages from Elliott Carter’s repertoire of the end of the twentieth century, with special focus on time domain through a transformational approach. About the first movement of Tempo e Tempi (1999) for soprano, violin, English horn and bass clarinet, is presented a graphical representation of the tempi counterpoint on the beginning of the piece. Second, we built a tempi modulation network of the first of the Two Diversions (1999) for piano solo, which evinces some temporal relationships at general level. Finally, we present an analysis of the final passage of Shard (1997) for guitar solo, a fragment that constantly displaces our perception of the hypothetical time-point of reference.