2 4 time signature genre. Musical time signature

You are a beginner musician and enjoy learning musical notation, but are you having problems understanding yet another piece of music and counting correctly? Nothing, anyone who has a question will always find an answer.

The unit of calculation when reading any piece of music is the duration. The duration of notes is not a specific constant that depends on time - it cannot be measured in seconds. The duration of notes can only be represented in relation to the durations of other notes, and the same piece can be played faster or slower, but still sound correct in both cases. But how can you learn to count notes correctly and easily?

Note duration table

In order to determine the duration, you just need to look at the denominator of the time signature indicated in that particular piece. A meter is a sequence of repeated beats that divide time into equal intervals (beats). So, if the time signature is 4/4, the duration is four, 6/8 - the duration is eight. However, this rule may be violated if one of these sizes is used: 2/2, 3/2, etc. In this case, very often not a half, but a quarter is taken as a unit of account.

But before we move on to counting, let's still figure out what the notes of different styles mean. The outline of the notes themselves tells the musician how long and at what frequency to play the sound of a given pitch in a specific time signature. Below is a table of note durations and rests.

And one more drawing for greater clarity.

The splitting of notes does not end there, and the sixteenth is followed by the thirty-second, followed by the sixty-four, one hundred and twenty-eighth, and two hundred and fifty-sixth. But the notes presented in the table above are the most common.

Note with a dot

By adding a dot or dots, the duration of a particular note can be increased. One dot increases the duration of a note by one and a half times, two dots - by 1.75 times, three dots - by 1.875 times.

In addition to the dot, the duration of a note can be increased by a league. Such a note is two identical notes of the same pitch, connected by a league. In this case, only the first note is played, and the second is linked with it.

How to count notes?

If you don't know how to count notes correctly, you will never be able to play an unfamiliar piece of music correctly. I will not describe the theory for a long time, but with a clear example I will show how convenient it is to count notes in different sizes. For this, I selected excerpts from several musical works recorded in different sizes and signed the correct count, where you can clear examples see how to count notes in time signatures: 4/4, 3/4, 2/4, 3/8 and 6/8. This method of counting is as convenient as possible for me, but if you have another, share it with readers in the comments.

Time signatures 4/4, 3/4 and 2/4 in music

The size of a piece of music can be seen at the very beginning, while the numerator of the fraction indicates the number of beats in a measure, and the denominator indicates the duration by which these same beats are expressed.

How to count 4/4 time signature

4/4 time signature is one of the most common musical time signatures. Size C is equivalent to size 4/4. This measure consists of four beats, with each beat equal in duration to a quarter (fourth note). Below are examples of invoices.

How to count size 3/4

The 3/4 time signature consists of three beats, each beat being equal to a quarter note.

How to count size 2/4

IN in this case the duration is four, but we count to two. (One and two and; one yes and yes, two yes and yes). The 2/4 time signature consists of two beats, each of which is equal in duration to a quarter.

Or below is a slightly more complex version (you can click on the image and it will enlarge). In this case, we count not just by “one and two and”, but by “one yes and yes, two yes and yes.”

Meter 6/8 in music, how to count?

The 6/8 time signature is made up of six beats, and each beat is an eighth note. We count to six: one, two, three, four, five, six.

First of all, a little later I will write a continuation where I will look at other sizes. If the article was useful to you, please like it!

The basis of the modern rhythmic system is the metrhythm. To understand this system great importance have such concepts as meter, beat and size.

Meter is a regular alternation of heavy and light (strong and weak) beats of equal duration.

The easiest way to understand meter is to pronounce a word. For example, if you pronounce the word music - music, you can hear that the accents are repeated at regular intervals. IN this word this interval is equal to three syllables mu-zy-ka_ mu-zy-ka. In music, this would be equivalent to a meter in three feet.

If you pronounce the word hand, the accents will be repeated after one syllable and a two-foot meter will be formed.

The emphasis on the first syllable is called the strong beat in music, and the rest are weak.

The distance from one strong beat to another is called a beat. Just as fractions of a meter, divided into strong and weak ones, form a beat, in turn, beats, thanks to the uniform alternation of heavy and light beats, can be combined into groups.

Meter, clock pulsation as a uniform system of time counting is in constant contradiction with phrasing, articulation, including mode-harmonic, linear sides, rhythmic and, and this contradiction is the norm in the music of the 17th-20th centuries.

Outside of metrical organization, rhythmic clarity cannot arise. The role of the meter in rhythmic movement can be likened to the role of the mode in the high-pitched organization: strong beats correspond to the supporting, stable sounds of the mode, and weak beats and different durations of the rhythmic pattern - unstable.

Just as a rhythmic pattern develops on the basis of a fret, a rhythmic pattern develops on the basis of a meter. Thus, meter and in music are practically inseparable from each other.


The top line is meter, the bottom line is meter.

The concept of meter is very close to the concept size. If the meter determines only bipartite or tripartite (I already wrote about this), then the size is a specification of the meter, that is, it connects the meter with a certain duration of the beats. Thus, the metrical base can be the same, but the duration of the beats can be different: they can be expressed in halves, quarters, eighths and other durations.

Size is indicated by two Arabic numerals, located vertically . The upper number of the size indicator indicates the number of metric shares, and the lower number indicates the multiple of each share.

Dimensions are divided into simple, complex homogeneous And complex mixed.

Simple sizes consist of one rhythmic foot, i.e. can only have two or three lobes. The most common sizes are 2/4.3/4.2/2.3/2, etc. In simple sizes, one strong beat is their main distinguishing property. The meter is 2/4, and ¾ is typical for the Waltz; the Waltz can also be recorded in 3/8 at a slower tempo.

Complex uniform dimensions – are formed by gluing two, three or more identical simple sizes. Thus we get sizes 4/4.6/4.6/8.

Please note that in complex meters there are two or more rhythmic feet, i.e. In addition to the strong main lobe, another one is formed at the junction of the sizes - this lobe is called relatively strong. For example, in 4/4 time, the third beat is the gluing point of 2/4 time and therefore it is relatively strong. In 6/4 time, the 4th quarter will be relatively strong.

An important note applies to sizes 6/4 and 6/8. Sometimes these sizes are confused with simple ones, since outwardly they look the same:


The first measure presents an incorrect grouping of accents, since it can be reduced to a simple meter with a counting beat equal to half. This grouping tells us the meter is 3/2, which is simple. That is, for the correct determination of the size, the counting fraction is also important, which determines the frequency of changing rhythmic feet within a complex size. This can also be illustrated with the sizes 6/8 and 3/4:


Pay attention to the different rhythmic notation (grouping) - it is explained by the presence of a relatively strong beat in the first measure and the absence of one in the second.

Complex mixed sizes, as you probably already guessed, are formed by mixing unequal simple ones. For example, ¾ + 2/4 form the size 5/4. But also the size 2/4 + 3/4 form 5/4.

This duality characteristic complex heterogeneous sizes, which is very often played up by modern ones. How to determine which sizes are mixed? By accents and grouping. For example, famous topic Take Five is written like this:


From the recording it is clear that this is a combination of ¾ + 2/4. If we turn it in a mirror, we get reverse mixing.

Sizes 7/8, 11/8 and others are also formed. Distinctive feature of this size there is an uneven alternation of rhythmic feet.

In addition to those described above, variable meters are also found in music. A variable is a size with a changing number of counting parts.

If the alternation (change) of certain sizes in a work is carried out strictly systematically, then such a variable size is called periodic. In this case, at the beginning of the piece, the designations of both (or several) sizes are immediately set in accordance with the order of their alternation.

If the change of different sizes occurs only occasionally, that is, without a certain system, then this size is called non-periodic variable size. In this case, a designation of the newly arrived size is displayed inside the piece each time.

The system of variable meters is characteristic of the free meter of music of the 20th century, as opposed to the strictly classical meter of the previous three centuries.

It is also worth mentioning the organization of the meter without barlines and without time signature. As a rule, in such music the meter is a freely variable quantity practically inseparable from . And although the ratios of durations are preserved, such concepts as a strong and weak beat do not matter, which is typical of those already considered by me.

The theory of tact in the 20th century. has been replenished with an unconventional variety - the concept of unequal tact.

It came from Bulgaria, where they began to record samples in such bars folk songs and dancing. In an uneven beat, one beat is one and a half times longer than the other and is written as a note with a dot (“limping”). For adequate sound notation of such mixed measures, Bulgarian musicologists even offer numbers with fractions, for example, instead of 5/16, 7/16 - designations: 2 ½ /8 or 3 ½ /8.

New, non-beat forms of organization appeared in the 20th century, along with a free time meter. To the number the latest forms These include, in particular, rhythmic progressions and series based on the principle of temporal irregularity, aperiodicity, as opposed to the principles of tactometry.

Today we will talk about musical time - the numerical expression of the meter, as well as how to count and conduct in various sizes, but first we will briefly repeat what the pulse, meter, strong and weak beats are.

There can be a lot of variants of the rhythmic pattern in a two-quarter measure. Let's see some of them.

Size 3/4 "three quarters" – it has three beats, and each is equal to one quarter note. The counting is “one-and, two-and, three-and.” The sum of three quarters can also be dialed different ways. If, for example, you combine all three quarter notes into one note, you get a half note with a dot - this is the most long note, which can be written in time with a given time signature. Check out some rhythmic fill options for this time signature.

Size 3/8 "three eighths" - it is similar to three-quarters in its three-beat length, only the duration of each beat here is an eighth, and not a quarter. The count is "one-two-three". The eighth is the main duration, but it can be split into sixteenths if necessary or connected into a quarter (if two eighths are connected) or a quarter with a dot (connecting three eighths at once). Common rhythmic filling options:

Complex time signatures

The most common compound time signatures in music are four quarters and six eighths. Each of them consists of two simple ones.

Size 4/4 "four quarters" – contains four beats, and the duration of each beat is one quarter note. This size is the sum of two simple 2/4 sizes, which means it has two accents - on the first beat and on the third. The first beat is called strong, and the third, which corresponds to the beginning of the second simple size, is called relatively strong , which is weaker than strong. Additionally, we would like to inform you that 4/4 time signature is sometimes also indicated by a sign similar to the letter C (open circle).

Size 6/8 "six eighths" - this is a six-beat size, it is composed of two simple three-beats, the pulsation is in eighth notes. The strong beat in it is the first, and the relatively strong beat is the fourth (the beginning of the second is in simple size 3/8).

In addition to these most common complex time signatures, a musician may encounter others similar to them: 4/8, 6/4, 9/8, 12/8. All these complex dimensions are formed according to a similar principle. For example, a 9/8 measure is three 3/8 measures added together, 12/8 is four similar simple measures connected.

Mixed sizes

Mixed complex sizes are formed when not the same, but different simple ones are combined together, for example, a two-lobe with a three-lobe. From the variety of mixed sizes, four stand out that catch the eye more often than others. These are 5/4 and 5/8, as well as 7/4 and 7/8. From time to time, a musician may encounter 11/4 time signature, but this is very rare (for example, in the final chorus “Light and Power” from the opera “The Snow Maiden” by N.A. Rimsky-Korsakov).

Measurements 5/4 and 5/8 (“five quarters” and “five eighths”) - five-beat, they are based on the same principle, only in one case the pulsation occurs in quarter durations, and in the other - in eighths. Since these sizes are complex, they consist of two simple ones - bilobed and trilobed. Moreover, variations of these sizes are possible depending on the order of the simple ones.

For example, if in 5/4 there is 2/4 first and then 3/4, then the relatively strong beat is on the third beat. But if in the same size a three-beat is placed first, and after two-beats, then in this case a relatively strong beat will already fall on the fourth beat, thus one accent will be shifted, and this will change the entire internal rhythmic organization in the measure.

In order for the performer to know which version of the mixed size he will be dealing with, the notes often indicate in parentheses next to the set size which simple meters it is composed of. Based on the presented sum of sizes, it is usually clear what comes first - 2/4 or 3/4. For example: 5/4 (2/4 + 3/4) or 5/4 (3/4 + 2/4). The same goes for size 5/8.

Sizes 7/4 and 7/8 - composed of three simple ones, one of which is trilobed, and the remaining two are bipartite. This size can most often be seen in arrangements of Russian folk songs, sometimes also in instrumental music mainly Russian composers.

Variants of addition of the seven-beat meter differ in the location of the three-beat meter (more often it is located either at the beginning or at the end of the measure, much less often - in the middle).

We have discussed the main musical sizes. As in any business, it was important to understand the principle, then when you encounter some unusual size, you will no longer get lost. However, if there are still things that you do not understand, then write your questions in the comments. Perhaps they will help to significantly improve this material.

In this part of the book...

In this part, you will become familiar with what forms the basis of any music - rhythm. Here you will learn how to read various notes and pauses, understand how to count rhythm and determine musical meters, and become familiar with concepts such as tempo and dynamics. If music theory is new to you, then this is where you should start reading the book.

Chapter 4

Musical time signatures.
In this chapter...
> Staff
> Musical time signatures and how to determine them
>What is the difference between simple and complex dimensions
> What is tact

If you're afraid that you won't be able to figure out where you are in a long piece of music, then you have nothing to fear. The brilliant creators of musical notation also came up with a way to organize the avalanche of notes and pauses. Once you become familiar with the dimensions and structure of the staff, including the beats, all you have to do is learn how to keep time.

Meet the musical staff.

Notes and rests in music are written on rulers, which we call staves (or staves; you'll learn much more about staves and staves in Chapter 7). The staff consists of five parallel horizontal lines separated by four spaces (Fig. 4.1).

Treble and bass clefs

Notes and rests are written on the rulers and in the spaces of the staff. Which notes are located on specific lines and between them depends on which key is at the beginning of the staff. Take another look at Fig. 4.1. An elegant icon that vaguely resembles the Latin G is called a treble clef. On the right in Fig. 4.1 at the beginning of the camp there is an icon resembling the number 9, which is called the bass clef. The treble clef is for recording higher ones, and the bass clef is for recording lower ones. In music for some instruments, such as the piano, where both staves are used, the treble clef is drawn above the bass clef, resulting in a multi-line notation system, or piano stave. (In Chapter 7, you'll learn all about piano notation.)

Size designation

In musical notation, immediately after the key at the beginning of the staff, you will see two numbers located one above the other (three possible options are shown in Fig. 4.2).

Such a pair of numbers is called size, which, by the way, is the main character of this chapter. The size is set in order to tell the performer about two important things. S Number of counts in each measure. The top number in the time signature tells you the number of beats to be counted in each measure. If the top number is three, then there are three counts for each measure. S What share corresponds to one account. The bottom number in the time signature tells you how much time is on one count - most often it is an eighth or a fourth beat. If the bottom number is four, then one count is a quarter. If an eight is written below, then one count is equal to an eighth beat.

So you

A beat is the part of musical notation between two vertical lines, which cross the staff from the top to the bottom line. In musical notation, the measures come one after another, and the number of beats in each measure is determined by the top number in the notation of the musical signature. The first beat of each measure, on the count of "one", is strong. The top number in the time signature tells you how many beats there should be in a measure, as shown in Fig. 4.3.

As we found out in Chapters 2 and 3, when playing, keeping a constant count in your head is extremely important: the score determines the music that will be produced as a result. Correct counting is a key component in music. You must be so deeply imbued with the idea of ​​counting that you stop noticing how you count out fractions. Practice counting by beats - great way make sure you play the piece according to the rhythm the composer intended (see Chapter 2 for more on rhythms and counting).

The account according to the size resembles driving school. The instructor teaches you to constantly look at the road in front of you because your body (and the car) are moving where your gaze is directed. As you become an experienced driver, you don't even notice that your eyes are constantly focused on the stretch of road in front of you. When fiddling with the radio or talking to the person sitting next to you, you automatically concentrate on driving straight and not meandering all over the road - even if you are asked difficult questions or the disc refuses to be inserted into the player. The main thing is to train your consciousness, teach it to automatically follow the rhythm, and once you achieve this, you will no longer have to force yourself to count in your head - you will count automatically. There are two types of time signatures.
> Simple.
> Complex.

Simple sizes

Simple musical meters are easier to count, since the one-two count in a piece of music seems most natural to the listener and performer. A simple size does not satisfy four requirements.
1. Each score is divided into two equal components.
This rule is self-evident when applied to eighths and even smaller ones. In simple time, two eighths are always connected to each other by a crossbar called a rib, and the same goes for four sixteenths and eight thirty-seconds. (If you have two sixteenth notes and an eighth note that go on the same note, then those three notes are also connected by an edge.)
In other words, if there is more than one note on one count, then they are all always grouped together in such a way as to make up one count. In Fig. Figure 4.4 shows a diagram of the grouping of notes in a simple meter.
2. A note that goes on one count must be a note without dots.
When counting the rhythm of a song to yourself, you should count only the notes without dots, which can be divided into two equal durations. Usually this means quarters, but sometimes they can be half, whole or eighths. For example, in 4/4 time, silently counting the bar, you count: “One two three four” over and over, and in 3/4 time you count: “One two three, one two three.” If the size is 2/4, you need to count “one two”.
3. The top number is not divisible by 3 unless it is 3.
For example, 3/4 and 3/8 are considered simple time signatures, while 6/4,6/8 and 9/16 are considered complex time signatures. 4. The number of beats in each measure is the same.
All measures of the piece in simple time contain same number shares Once you get a feel for the time signature, you don't have to worry anymore: just make sure you play the notes rhythmically.

Measures and counting in simple time signature

Measures are designed specifically to help performers keep track of where they are in the piece and play in the correct time signature. In simple meter, it is in the bars that you can feel the true rhythm of the piece, even if you are just looking at the notation without playing the notes. In simple meter, the strong beat is always the first beat of each measure. This means that when you see a line like the one shown in Fig. 4.5, the rhythm is counted as follows: ONE two three four ONE two three four ONE two three four.

Recall that the bottom number 4 says that there are quarter beats per beat, and the top number 4 says that there are four counts in each measure - or four (and only four!) quarter beats.
Here are three examples of common simple sizes.
>>> 4/4 (four quarters). Widely used in popular classical music, rock music, jazz, country, as well as in styles such as blue grass, hip hop and house.
>>> 3/4 (three quarters). Used primarily in waltzes, but also in Western European and country ballads.
>>> 2/4 (two quarters). Used in polkas and marches
Instead of writing 4/4, some composers use the letter C to denote this meter. So if you see a C in place of the meter, then the piece is written in 4/4 time.
If the piece is 3/4 in size, as shown in Fig. 4.6, then you need to calculate it like this:

Now attention! If the time signature is 3/8, then one count corresponds to an eighth beat, as shown in Fig. 4.7.

Count the rhythm of the musical fragment shown in Fig. 4.8, you need this: ONE two three ONE two three ONE two three.
3/8 and 3/4 have almost the same rhythmic structure (in terms of rhythm counting), but since 3/8 features eighths rather than fourths, a piece in 3/8 must be played twice as fast as the pieces by 3/4, since an eighth beat is equal to half the duration of a quarter.
If the size is 2/2, then a half share goes to one count. And since the top number shows that the number of counts in a measure is two, there will be two half beats in each measure, as shown in Fig. 4.8.

Calculate the musical fragment shown in Fig. 4.8, you need this: ONE and TWO.
Meters with a "numerator" of 2 were widely used in medieval and even earlier music. The music of those times used a rhythmic structure called "minim", based on the rhythm of the human heart.

Learning to count in simple time

In this section, you can practice counting the rhythm (rather than reading the notes) shown in Fig. 4.9-4.13. When counting out loud, do not forget to stress the first beat.

Complex dimensions

Complex musical time signatures, as you might guess, are a little trickier than simple ones. Here short list rules that help you instantly determine whether a size is difficult.
1. The top number, if it is greater than three, is divisible by three.
Any size whose top number is 6,9,12,15, etc. is difficult. 3/4 and 3/8 are not compound time signatures because the top number is 3. The most common compound time signatures are 6/8, 9/8, and 12/8. See fig. 4.14, which shows an example of a complex size.

>>> 2. A quarter with a dot or three eighths will be included in one count.
>>>3. Each account is divided into three components.
Again, everything becomes obvious when we're talking about about eighths and smaller beats. In simple size there are two eighths and even quantities Sixteenth beats (2 or 4) are always connected by edges. In a complex measure, three eighths or six sixteenths are connected by ribs.
In Fig. Figure 4.15 shows a grouping of notes with a "base" of three, which is used in a compound time signature.

Measures and counting in complex time signature

The only significant difference between works written in simple and complex meters is that they sound differently, and this is felt by both the listener and the performer.
In a complex measure, not only the first beat of each measure is strong, as in a simple measure - a slightly weaker emphasis is also placed on each subsequent beat of the metronome. Thus, in each bar of a piece in 6/8 there are two clearly accented beats, in 9/8 there are three accented beats, in 12/8 there are four.
Two examples of complex musical meters.
>>> Time signature 6/8 is used in fast waltzes and Latin music of Mexican "mariachos".
>>>12/8 is used in 12-bar blues and doo-wop.
To determine the number of accented notes in each measure of a complex time signature, divide the top number by three. This will help you determine the tempo rhythm music performed and thus learn how to place accents. For example, in a piece in 6/8, you need to emphasize the first beat of each! long bar, but at the same time it is also slightly accentuated by the second group of eighths in the bar, as shown in Fig. 4.16.

So, the placement of accents in Fig. 4.16 will look like this: ONE two three FOUR five six ONE two three FOUR five six. If the size looks scary, such as 9/4, as shown in fig. 4.17, then you need to count the time signature (not notes!) like this:

In simple meters, the rhythm of a piece of music can be broken down into two-part segments. In complex meters, the rhythm is divided into tripartite segments.

Learning to count in complex time

Using the examples in this section, you can practice counting the dimensions shown in Fig. 4.18-4.20. When counting out loud, remember to place a slight emphasis on the first beat and additional emphasis on the “pulse point,” which usually follows every third beat. (The added "-s" and capital letters are meant to emphasize the rhythmic pattern of some notes in the meter. We understand that this technique is not entirely scientific, but it will give you general idea about how to count beats in different sizes.)

Asymmetrical sizes

Asymmetrical meters (sometimes called compound or irregular) typically contain five or seven beats—as opposed to the traditional two-, three-, and four-part groupings of notes within measures that we have looked at so far.
Asymmetrical sizes are often found in traditional music different countries. They are widespread in both European and Eastern (in particular, Indian) popular and ethnic music.
When playing music in an asymmetrical meter, the score (and rhythm) sounds and feels slightly different than in music written in a simple or complex meter.
For example, in Fig. 4.21, the count is determined by the arrangement of the half beats in each measure, so that the emphasis is on the third beat in the first measure and on the fourth in the second.
In Fig. 4.22, the grouping of eighths shows where the accents should be placed - on the first eighth on each edge.
Music in 5/4, 5/8 and 5/16 time signatures is usually divided into two counts, either as two + three or three + two. The placement of accents does not have to be the same in all measures - only the number of beats in each measure is constant.

In Fig. 4-23 and 4.24 are shown musical phrases, written in sizes 7/4, 7/8 and 7/16. Remember that the emphasis changes from bar to bar.

It should be noted again that asymmetrical dimensions are considered irregular and difficult only from the point of view Western civilization. Irregular meters have been considered absolutely correct throughout the history of music throughout the world, including Ancient Greece and Persia; they can still be heard, for example in Bulgarian folk music. Many modern Western composers and groups - Steve Albini, Week, Dave Brubeck, June of 44, Andrew Lloyd Weber, Frank Zappa, Pink Floyd, Yo-Yo Ma, Bobby McFerrin and Stereolab - use asymmetrical time signatures in their music. An entire genre of rock music, the so-called "math rock", is built on the use of such composite time signatures as 7/8, 11/8, 13/8, etc., and its representatives strive to avoid the standard rock time signature 4/ 4.

Hello friends! Today I am opening a series of articles related not only to “percussion” and drums, but to music in general. We will consider important musical terms and definitions that every musician should know. This article will focus on musical meter.

What is musical meter?

Meter in music (definition, term)- this is a measure that specifies an imaginary coordinate time grid, which consists of a continuous alternation of strong and weak beats of equal duration. Such fractions are called metric.

Unit and expression of musical meter.

Musical meter expressed - in size (numerical expression), reflected in measures and unit of measurement - are beats. We'll talk about shares now.

P.S. Very often you can find the use of the expression musical meter in crosswords and scanwords.

What is a beat and what are the different beats in music?

Musical beat- unit of measurement of musical meter. There are shares:

• Strong.
• Relatively strong.
• Weak.

The strong beat in music is considered accentuated, and the weak beat is not accentuated.

However, remember: the downbeat and the accent are not the same thing. The accent can be applied to any beat. The choice of the beat to be emphasized falls on the shoulders of the composer. His imagination tells him what it should look like. future composition. Based on this, the author places emphasis.

Metric accent- is the selection of certain notes and beats. Metrical accents can be either real (emphasized by a louder sound) or imaginary (emphasized by a pause).

To clearly understand what a meter is, let’s take a ruler with millimeter notches, where the distance between the small lines will indicate notes.

The middle lines will be the beginning of the weak beat, and the large lines will be the beginning of the strong beat.

Along the lines of our figurative ruler, you can set rhythmic patterns from notes of different durations. The designs can be completely different, but they must fit into the lines of our line.

Friends, in general the concept of musical meter is quite abstract. IN musical works it may not be expressed at all, and be present only in the “head” of the musician.

What is musical time signature?

Meter and size in music are closely intertwined; in most cases, if we are talking about meter, it can be replaced by size. But it's worth remembering important difference- the size specifies the relative duration of each beat, which the meter does not do. In addition, time signature in music is related to beat, so the following definition can be given:

Musical time signature- a “numerical” display of the meter, showing how many beats are used in a measure and their relative duration, and is indicated as a fraction.

Take, for example, the “2/4” time signature, it tells us that there will be 2 beats in a bar, and the duration of each beat is one. This example is often used for children to explain the concept of time signature in music.

On the staff, the time signature is placed immediately after the key at the beginning of the composition or the measure from which it changes.

There is no fractional line between the numbers indicating the time signature on the staff. The picture below shows the size - 4/4 (four quarters).

What are the musical meters and sizes? Types of sizes and examples.

Musical time signatures are divided into:

1. Simple.
2. Complex.

Simple meters (meters) in music.

Simple meters are bipartite and tripartite.

• Bipartite meter- a musical meter in which a strong beat is repeated evenly after one weak beat. The following sizes belong to two-part meters: “2/2”, “2/4”, “2/8”, etc.
• Triple meter - musical meter, in which a strong beat is repeated evenly every two weak beats (consists of one strong beat and two weak ones). The following sizes are considered trilobed: “3/2”, “3/4”, “3/8”, etc.

Complex meters (meters) in music.

Complex (combined, compound, mixed) meter- a musical meter obtained by merging two or more simple meters. Therefore, complex meters can include several strong beats. Total which is equal to the number of strong fractions of simple meters that make up a complex meter.

There is one “raisin” in a complex meter: the first strong beat of a complex meter is called strong, but subsequent strong beats are called relatively strong. The emphasis of the strong beats is higher, and the relatively strong ones are lower.

What are the complex sizes?

Anything larger than a three-part meter is considered a complex size, for example:

• quadruple - “4/2”, “4/4”, etc.
• five-beat - “5/4”, “5/8”, etc.
• six-beat - “6/4”, “6/8”, etc.
• heptads - “7/4”, “7/8”, etc.
• octals - “8/4”, “8/8”, etc.
• nine-beats - “9/4”, “9/8”, etc.
• and others.

There are no strict limits on complex sizes. Everything depends on the musician’s imagination and, accordingly, its implementation. However, it is worth remembering that the more complex the meter, the more difficult it is for a composer to write and play such music, and the more difficult it is for an ordinary listener to perceive and feel it.

What are asymmetrical sizes (mixed) sizes?

The peculiarity of asymmetrical sizes is the combination of bipartite and tripartite meters. For example, let’s take the most common mixed musical time signature “5/4”, which can be obtained from two options for combining two-beat and three-beat sizes:

1. Option: “3/4” + “2/4” - in this case the emphasis will be on the first and fourth beats of the measure.
2. Option: “2/4” + “3/4” - in this case, the emphasis will be on the first and third beats of the measure.

The five-beat "5/4" time signature in music is found mainly in jazz and folk music.

Other examples of asymmetrical (mixed) sizes are: “7/4”, “9/4” or even “11/4”, as well as their variations “7/8”, “9/8” “11/8” and so on Further. As homework Try to figure out for yourself, by combining what sizes you can get such mixed sizes? Write in the comments what you did =)

What is variable size?

Another type of size is variable size. It is formed when during one composition the size changes from one to another (this can happen repeatedly). Occurs this type size mainly in folk music and is associated for the most part with the freedom to perform songs not constrained by any musical framework.

What is an unequal meter (size)?

The concept of unequal meter appeared in the 20th century and means a musical meter in which the duration of the beats included in the meter is different. Most often, the unequal meter can be found in folklore song creativity. As an example - Bulgarian folk songs. The unequal meter is very rare in modern music, so you shouldn’t focus on it, just remember that there is also this kind of musical meter =)

How to determine musical time signature?

It is very difficult for a simple listener or a beginner to determine the size; to do this, you need to have a good feel for the alternation of strong, weak and relatively strong beats. This is called "pulsation". Once you learn to feel the “pulse” of music, you will be able to determine the time signature by ear. Determining simple dimensions is not so difficult, but with complex ones it can be extremely difficult even for professionals.

On a note! Dancers are very good at feeling the music (and the size accordingly).

Sizes of the main dances (if anyone remembers which dances, write in the comments):

• Samba - "2/4".
• Polka - “2/4”.
• Cha-cha-cha - "4/4".
• Rumba - "4/4".
• Paso Doble - “2/4”.
• Jive - "4/4".
• Foxtrot - "4/4".
• Quickstep - "4/4".
• Tango - "2/4".
• Gallop - “2/4”.
• Waltz - “3/4” (three quarters).

What size symbols can you find on a musical staff?

• With- abbreviation and equivalent of 4/4 time signature.
• ¢ - alla breve (alla breve) - abbreviated designation and equivalent to size 2/2.