Musical Meters are defined by: 1.) The way beats are divided 2.) The way beats are grouped into larger recurring units
There are two principle meter types: simple and compund. Musical works in simple meters have beats that divide into twos. Those in compound meters have beats divided into threes.
When beat groups are divided into units of two, the meter type (either simple or compound) is duple. In groups of three it is called triple, and in groups of four it is quadruple.
CONDUCTING PATTERNS
There are different motions for duple, triple, and quadruple but their patterns stay the same whether you are in simple or compound time. The downbeat of each pattern is the motion of the hand down on beat 1. The upbeat of each pattern is the upward lift of the hand for the final beat.
TEMPO (speed)
RHYTHM AND METER
Rhythm refers to the durations of pitch and silence (rests). Meter provides a framework of strong and weak beats against which the rhythms are heard. Music written in a meter has (1) a recurring pattern of beats, (2) perceivable divisions of beats [simple or compound], (3) perceivable groupings of beats [duple, triple, or quadruple]. Rhythm consists of duration of pitch and silence, usually heard in the context of the underlying meter}.
RHYTHMIC NOTATION FOR SIMPLE METERS
These are the part names of music notes:
> A whole note divides into two half notes. > A half note divides into two quater notes. > A quater note divides into two sixteenth notes. > A sixteenth note divides into two eighteenth notes
Meter Signature
A meter signature (or time signature) is at the beginning of a score and it establishes the meter type and beat unit (the note value that gets one beat). The upper number represents how many beats each full measure gets and the lower number indicates the beat unit.
COUNTING RHYTHMS IN SIMPLE METER
Beat Subdivisions - In simple meters, the beat divides into 2's and subdivides into 4's.
Stems, Flags, and Beaming - Flags are written on the right-hand side of the stem, whether the stem goes up or down. - When two or more notes are stemed together, the stem direction corresponds with the note farthest from the middle line - Rhythms should be beamed to reflect the beat unit - Using a counting system can help you remember and identify rhytmic patterns; choosing one and using it constantl
Counting Rests and Dots - Rests represent durations of silence - Each rest last as long as the note they share a name with - A whole rest may be written to indicate silence that lasts a whole measure redgardless of how many beats are in that measure - Some scores include multiple-bar rests, the number above the rest tells how many bars to rest - A dot adds to a note half its own value (example: a dotted-quater note euals a quater note + an eighth note) - Dotted notes are generally paired with another note that completes the full beat or full measure
Slurs and Ties - Slurs: small arcs written above notes which connect two or more different pitches - Slurs affect performanc articulation but not duration: the notes encompassed by a slur should be played smoothly (legato) rather than detached - A tie is when there is a small arc that connects two pitches that are the same - Tie adds the duration of the two note values together - Ties and dots should be notated in a way that clarifies the meter rather than obscuring it
Metric Accents and Syncopation Meters are hierarchical: the beat division is the lowest, the beat unit is the next, and the measure's downbeat is the highest - In duple meters, beats alternate strong-weak - In triple meters, the accents are strong-weaker-weakest - In quadruple meters, strongest, weak, strong, weak - Strong beats are in a meter are heard as metric accents - When an expected metric accent is displaced or moved to another beat or part of a beat the result is syncopation - Syncopations may occur at the level of the beat( 2 or 4), the division (&), or the subdivison ("e" or "a") - The most typical syncopation pattern is short - long - short - They are usually notated with tie