METER There Are Two Basic Types of METER, Or Time Signatures, Used in Classical Music Before the 20Th Century

Total Page：16

File Type：pdf, Size：1020Kb

METER There are two basic types of METER, or Time Signatures, used in Classical music before the 20th century. SIMPLE METER - a time signature in which the beat, or basic pulse, is divided into TWO parts. SIMPLE METERS will have 2, 3 or 4 as the top number of the Time Signature. The top number indicates how many beats are in each measure. The bottom number indicates what note value is used as the beat, or basic pulse. Here are the commonly used SIMPLE METERS: 2 3 4 & 4 œ œ 4 œ œ œ 4 œ œ œ œ BEAT = Quarter note 2 œ œ 3 œ œ œ 4 œ œ œ œ & 8 J J 8 J J J 8 J J J J BEAT = Eighth note 2 3 4 & 2 ˙ ˙ 2 ˙ ˙ ˙ 2 ˙ ˙ ˙ ˙ BEAT = Half note In each of these SIMPLE METERS the beat can be divided into TWO parts. BEAT Division 2 œ œ 3 œ œ œ 4 œ œ œ œ of beat & 4 œ œ œ œ 4 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ BEAT j j j j j j j j j Division 2 œ œ 3 œ œ œ 4 œ œ œ œ of beat & 8 œ œ œ œ 8 œ œ œ œ œ œ 8 œ œ œ œ œ œ œ œ BEAT Division 2 ˙ ˙ 3 ˙ ˙ ˙ 4 ˙ ˙ ˙ ˙ of beat & 2 œ œ œ œ 2 œ œ œ œ œ œ 2 œ œ œ œ œ œ œ œ Notice that the TWO note DIVISIONS of the BEAT are GROUPED together 2 COMPOUND METERS are Time Signatures in which the BEAT can be divided into THREE parts. COMPOUND METERS will have 6, 9 or 12 as the top number of the Time Signature. The bottom number of the Time signature DOES NOT indicate which note gets the beat, but indicates what note value will make up the THREE parts of each BEAT. The top number indicates the total number of these divisions in each measure. 2 dotted quarter note 3 dotted quarter note 4 dotted quarter note BEATS per measure BEATS per measure BEATS per measure BEAT = Division 6 œ. œ. 9 œ. œ. œ. 12 œ. œ. œ. œ. of beat into & 8 œ œ œ œ œ œ 8 œ œ œ œ œ œ œ œ œ 8 œ œ œ œ œ œ œ œ œ œ œ œ THREE parts total of 6 divisions total of 9 divisions total of 12 divisions The note that gets the beat in a COMPOUND METER is a dotted note. Here are the other commonly used COMPOUND METERS: 2 dotted eighth note 3 dotted eighth note 4 dotted eighth note BEATS per measure BEATS per measure BEATS per measure BEAT = j j j j j j j j j 6 œ . œ . 9 œ . œ . œ . 12 œ . œ . œ . œ . Division & 16 œ œ œ œ œ œ 16 œ œ œ œ œ œ œ œ œ 16 œ œ œ œ œ œ œ œ œ œ œ œ of beat into THREE parts total of 6 divisions total of 9 divisions total of 12 divisions 2 dotted half note 3 dotted half note 4 dotted half note BEATS per measure BEATS per measure BEATS per measure BEAT = Division 6 ˙. ˙. 9 ˙. ˙. ˙. 12 ˙. ˙. ˙. ˙. of beat into & 4 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ THREE parts total of 6 divisions total of 9 divisions total of 12 divisions Notice that theTHREE note DIVISIONS of the BEAT are GROUPED together..

Copy Link

Recommended publications

Dynamic Generation of Musical Notation from Musicxml Input on an Android Tablet
Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Science in the Graduate School of The Ohio State University By Laura Lynn Housley Graduate Program in Computer Science and Engineering The Ohio State University 2012 Master's Examination Committee: Rajiv Ramnath, Advisor Jayashree Ramanathan Copyright by Laura Lynn Housley 2012 Abstract For the purpose of increasing accessibility and customizability of sheet music, an application on an Android tablet was designed that generates and displays sheet music from a MusicXML input file. Generating sheet music on a tablet device from a MusicXML file poses many interesting challenges. When a user is allowed to set the size and colors of an image, the image must be redrawn with every change. Instead of zooming in and out on an already existing image, the positions of the various musical symbols must be recalculated to fit the new dimensions. These changes must preserve the relationships between the various musical symbols. Other topics include the laying out and measuring of notes, accidentals, beams, slurs, and staffs. In addition to drawing a large bitmap, an application that effectively presents sheet music must provide a way to scroll this music across a small tablet screen at a specified tempo. A method for using animation on Android is discussed that accomplishes this scrolling requirement. Also a generalized method for writing text-based documents to describe notations similar to musical notation is discussed. This method is based off of the knowledge gained from using MusicXML.
[Show full text]
TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED
TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED TIME SIGNATURES Time Signatures are represented by a fraction. The top number tells the performer how many beats in each measure. This number can be any number from 1 to infinity. However, time signatures, for us, will rarely have a top number larger than 7. The bottom number can only be the numbers 1, 2, 4, 8, 16, 32, 64, 128, 256, 512, et c. These numbers represent the note values of a whole note, half note, quarter note, eighth note, sixteenth note, thirty- second note, sixty-fourth note, one hundred twenty-eighth note, two hundred fifty-sixth note, five hundred twelfth note, et c. However, time signatures, for us, will only have a bottom numbers 2, 4, 8, 16, and possibly 32. Examples of Time Signatures: TEMPO Tempo is the speed at which the beats happen. The tempo can remain steady from the first beat to the last beat of a piece of music or it can speed up or slow down within a section, a phrase, or a measure of music. Performers need to watch the conductor for any changes in the tempo. Tempo is the Italian word for “time.” Below are terms that refer to the tempo and metronome settings for each term. BPM is short for Beats Per Minute. This number is what one would set the metronome. Please note that these numbers are generalities and should never be considered as strict ranges. Time Signatures, music genres, instrumentations, and a host of other considerations may make a tempo of Grave a little faster or slower than as listed below.
[Show full text]
Theory of Music
MUSIC THEORY 1. Staffs, Clefs & Pitch notation Naming the Notes Musical notation describes the pitch (how high or low), temporal position (when to start) and duration (how long) of discrete elements, or sounds, we call notes . The notes are represented by graphical symbols, also called notes or note signs . In English-speaking countries, the pitch names given to a row of notes steadily rising in pitch are drawn from the the first seven letters of the Roman alphabet: A B C D E F G In the Netherlands, the letters A to G are also used, but otherwise the 'Dutch' system follows the 'German' system, so-called because it originated in Germany, which also uses H. Staff or Stave The note signs are placed on a grid formed of horizontal lines and spaces. This grid is called the staff or stave . The plural of either word is staves . Although, in the past, staves could have many different numbers of lines, today the most common staff format has five lines separated by four spaces and is know as the pentagram . When numbering the lines, it is a widely used convention to number them from the bottom ( 1) to the top ( 5) of each staff. The spaces between the lines are numbered too, again from the bottom ( 1) to the top ( 4). Redaction and Publishing Marzenna Donajski © Dolmetsch Music Theory and History Online by Dr. Brian Blood 1 Music is read from 'left' to 'right', in the same direction as you are reading this text. The higher the pitch of the note , the higher vertically the note will be placed on the staff .
[Show full text]
Basic Dynamic Markings
Basic Dynamic Markings • ppp pianississimo "very, very soft" • pp pianissimo "very soft" • p piano "soft" • mp mezzo-piano "moderately soft" • mf mezzo-forte "moderately loud" • f forte "loud" • ff fortissimo "very loud" • fff fortississimo "very, very loud" • sfz sforzando “fierce accent” • < crescendo “becoming louder” • > diminuendo “becoming softer” Basic Anticipation Markings Staccato This indicates the musician should play the note shorter than notated, usually half the value, the rest of the metric value is then silent. Staccato marks may appear on notes of any value, shortening their performed duration without speeding the music itself. Spiccato Indicates a longer silence after the note (as described above), making the note very short. Usually applied to quarter notes or shorter. (In the past, this marking’s meaning was more ambiguous: it sometimes was used interchangeably with staccato, and sometimes indicated an accent and not staccato. These usages are now almost defunct, but still appear in some scores.) In string instruments this indicates a bowing technique in which the bow bounces lightly upon the string. Accent Play the note louder, or with a harder attack than surrounding unaccented notes. May appear on notes of any duration. Tenuto This symbol indicates play the note at its full value, or slightly longer. It can also indicate a slight dynamic emphasis or be combined with a staccato dot to indicate a slight detachment. Marcato Play the note somewhat louder or more forcefully than a note with a regular accent mark (open horizontal wedge). In organ notation, this means play a pedal note with the toe. Above the note, use the right foot; below the note, use the left foot.
[Show full text]
Chapter 1 "The Elements of Rhythm: Sound, Symbol, and Time"
This is “The Elements of Rhythm: Sound, Symbol, and Time”, chapter 1 from the book Music Theory (index.html) (v. 1.0). This book is licensed under a Creative Commons by-nc-sa 3.0 (http://creativecommons.org/licenses/by-nc-sa/ 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This content was accessible as of December 29, 2012, and it was downloaded then by Andy Schmitz (http://lardbucket.org) in an effort to preserve the availability of this book. Normally, the author and publisher would be credited here. However, the publisher has asked for the customary Creative Commons attribution to the original publisher, authors, title, and book URI to be removed. Additionally, per the publisher's request, their name has been removed in some passages. More information is available on this project's attribution page (http://2012books.lardbucket.org/attribution.html?utm_source=header). For more information on the source of this book, or why it is available for free, please see the project's home page (http://2012books.lardbucket.org/). You can browse or download additional books there. i Chapter 1 The Elements of Rhythm: Sound, Symbol, and Time Introduction The first musical stimulus anyone reacts to is rhythm. Initially, we perceive how music is organized in time, and how musical elements are organized rhythmically in relation to each other. Early Western music, centering upon the chant traditions for liturgical use, was arhythmic to a great extent: the flow of the Latin text was the principal determinant as to how the melody progressed through time.
[Show full text]
SCOPE and SEQUENCE for Instrumental Music Program
Poway Unified School District Instrumental Music Scope and Sequence – Grades 5 through 12 The mission of the Poway Unified School District Instrumental Music Program is to provide a quality music education for students. Through the development of rhythmic, melodic, and expressive senses, utilizing a variety of musical repertoire and technology, students will work together to achieve common goals to: • Improve the individual musical performance and ensemble skills of its members • Strengthen an awareness of the value and tradition of music in our individual and collective lives • Develop strong leaders, who will become productive, resilient and innovative members of society • Reinforce long term ensemble participation as a tool for college readiness • Reinforce learning through explicit teaching for transfer across the curriculum GRADE RHYTHMIC SENSE MELODIC SENSE EXPRESSIVE SENSE Understanding rhythms, beats groupings, Understanding notes, pitch, and sound in Understanding expressive qualities that and time signatures for artistic purpose relation to artistic expression transform music into artistic experiences 5 Notes – quarter, half, dotted half, whole, • Introduction to note reading (knowing • Dynamics – piano, mezzo piano, mezzo paired eighth note names and fingering/position) forte, forte, crescendo, decrescendo Rests – quarter, half, whole, multiple • Major key signatures and scales (one • Tempo – Andante, Adagio, Moderato, measure rest octave, two octave within reason) Allegro, fermata Time Signature – 4/4 (Common Time), 3/4, -
[Show full text]
Development and Trial of Techniques for Teaching Contemporary Music To
DOCUMENT RESUME ED 053 154 24 TE 499 821 AUTHOR Farish, Margaret K. TITLE Development and Trial of Techniques for Teaching Contemporary Music to. Young String Students. Final Report. INSTITUTION Illinois Univ., Urbana., SPONS AGENCY Office of Education (DREW), Washington, D.C. Bureau of Research. BUREAU NO BR-9-E-082 PUB DATE Sep 70 GRANT OEG-5-9-235082-0057 NOTE 98p. EDRS PRICE EDRS Price MF-$0.65 HC-$3.29 DESCRIPTORS *Musical Composition, *Music Education, Teacher Attitudes, *Teaching Techniques, *Youth ABSTRACT This is the second of two related studies designed to encourage the composition and use of contemporary music for young string players. Expanded techniques to intensify rhythmic training and introduce ensemble skills were effective. Second and third year students learned to play the pieces well and profited from the experience. Although 20th century composers and children are highly compatible, teachers often resist their responsibility to act as the essential intermediary link. The most serious obstacle appears to be reluctance to spend sufficient time on preparation to meet new musical demands. For related document see ED 025 850. (Author/CK) U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT POINTS OF VIEW OR OPINIONS STATED DO NOT NECES SARILY REPRESENT OFFICIAL OFFICE OF EDU CATION POSITION OR POLICY FINAL REPORT Project No. 9-E-082 Grant No. OEG 5-9-235082-0057 r-4 fir\ LCN c 1.1.1 DEVELOPMENT AND TRIAL OF TECHNIQUES FOR TEACHING CONTEMPORARY MUSIC TO YOUNG STRING STUDENTS Margaret K.
[Show full text]
Composers' Bridge!
Composers’ Bridge Workbook Contents Notation Orchestration Graphic notation 4 Orchestral families 43 My graphic notation 8 Winds 45 Clefs 9 Brass 50 Percussion 53 Note lengths Strings 54 Musical equations 10 String instrument special techniques 59 Rhythm Voice: text setting 61 My rhythm 12 Voice: timbre 67 Rhythmic dictation 13 Tips for writing for voice 68 Record a rhythm and notate it 15 Ideas for instruments 70 Rhythm salad 16 Discovering instruments Rhythm fun 17 from around the world 71 Pitch Articulation and dynamics Pitch-shape game 19 Articulation 72 Name the pitches – part one 20 Dynamics 73 Name the pitches – part two 21 Score reading Accidentals Muddling through your music 74 Piano key activity 22 Accidental practice 24 Making scores and parts Enharmonics 25 The score 78 Parts 78 Intervals Common notational errors Fantasy intervals 26 and how to catch them 79 Natural half steps 27 Program notes 80 Interval number 28 Score template 82 Interval quality 29 Interval quality identification 30 Form Interval quality practice 32 Form analysis 84 Melody Rehearsal and concert My melody 33 Presenting your music in front Emotion melodies 34 of an audience 85 Listening to melodies 36 Working with performers 87 Variation and development Using the computer Things you can do with a Computer notation: Noteflight 89 musical idea 37 Sound exploration Harmony My favorite sounds 92 Harmony basics 39 Music in words and sentences 93 Ear fantasy 40 Word painting 95 Found sound improvisation 96 Counterpoint Found sound composition 97 This way and that 41 Listening journal 98 Chord game 42 Glossary 99 Welcome Dear Student and family Welcome to the Composers' Bridge! The fact that you are being given this book means that we already value you as a composer and a creative artist-in-training.
[Show full text]
The Development of Musical Notation Carolyn S
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2015 yS mposium Apr 1st, 2:20 PM - 2:40 PM Slashes, Dashes, Points, and Squares: The Development of Musical Notation Carolyn S. Gorog Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Composition Commons, and the Music Theory Commons Gorog, Carolyn S., "Slashes, Dashes, Points, and Squares: The eD velopment of Musical Notation" (2015). The Research and Scholarship Symposium. 5. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2015/podium_presentations/5 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Slashes, Dashes, Points, and Squares: The development of Musical Notation Slashes, Dashes, Points, and Squares: The Development of Musical Notation Music has been around for a long time; in almost every culture around the world we find evidence of music. Music throughout history started as mostly vocal music, it was transmitted orally with no written notation. During the early ninth and tenth century the written tradition started to be seen and developed. This marked the beginnings of music notation. Music notation has gone through many stages of development from neumes, square notes, and four-line staff, to modern notation. Although modern notation works very well, it is not necessarily superior to methods used in the Renaissance and Medieval periods. In Western music neumes are the name given to the first type of notation used.
[Show full text]
From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation.
[Show full text]
Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
[Show full text]
Relative Tempo MUSIC KEY Click-Shifting Exercises To
JAZZ DRUMMER’S WORKSHOP Relative Tempo MUSIC KEY Click-Shifting Exercises to Improve Your Sense of Time MAGAZINES • MULTI-MEDIA • ONLINE • EVENTS by Steve Fidyk ind instrumentalists work on relative pitch by listening Wto intervals (the distance between two notes) over and over again, in an effort to develop the ability to play with good intonation. In my college wind ensemble, when the When you insert this 11/8 measure, the click track position intonation within the group was not very good, the conduc- shifts to the second 8th note within the triplet grouping. tor would say, “Pitch is a place, not an area.” This adage holds true when discussing the tempo for a piece of music. In order for the music to groove, the rhythms need to be consis- tent and flowing, and the more you practice with a metronome, the easier it will be for you to identify the ideal tempo for the ensemble. Take, for example, a big band chart. If the tempo of the drum part is marked at 138 bpm and you count in the band at 80 bpm, it will be very difficult for the lead trumpet player to sustain the notes and perform the phrases correctly. A drummer with a good sense of tempo can count in an When you insert the 11/8 measure a second time, the click ensemble and be within four beats per minute of the sug- shifts to the third part of the triplet. gested speed. In addition to practicing with a metronome to develop tempo, you can also relate tempo markings to the pace of a song you’re very familiar with.
[Show full text]