2/4 3/4 4/4 Time Signature

Specification of beats in a musical bar or measure

"Fourth dimension (music)" redirects hither. For other uses, see Half-fourth dimension (music).

An example of a ^three
₄ time signature. The fourth dimension signature indicates that there are three quarter notes (crotchets) per measure (bar).

The time signature (too known as meter signature,^[1] metre signature,^[ii] or measure signature)^[iii] is a notational convention used in Western musical note to specify how many beats (pulses) are independent in each measure (bar), and which notation value is equivalent to a beat.

In a music score, the fourth dimension signature appears at the beginning as a time symbol or stacked numerals, such as or ⁴
₄ (read mutual fourth dimension or four-four time, respectively), immediately following the key signature (or immediately following the clef symbol if the key signature is empty). A mid-score time signature, usually immediately following a barline, indicates a change of meter.

There are diverse types of time signatures, depending on whether the music follows regular (or symmetrical) trounce patterns, including elementary (e.one thousand., ³
₄ and ⁴
₄ ), and compound (e.g., ^ix
₈ and ¹²
₈ ); or involves shifting beat out patterns, including complex (due east.g., ⁵
_four or ^seven
_viii ), mixed (eastward.thousand., ^five
_eight & ³
_viii or ^six
_viii & ³
_four ), condiment (e.one thousand., ^iii+2+iii
_eight ), fractional (eastward.g., ^{2+ 1⁄2}
₄ ), and irrational meters (e.chiliad., ³
_ten or ⁵
₂₄ ).

Frequently used time signatures [edit]

Bones time signatures: ⁴
_four , also known equally common time ( ); ^two
₂ , alla breve, likewise known as cut time or cutting-common fourth dimension ( ); ²
₄ ; ⁱⁱⁱ
_four ; and ⁶
₈

Simple vs. chemical compound [edit]

Simple [edit]

Simple fourth dimension signatures consist of 2 numerals, ane stacked above the other:

• The lower numeral indicates the annotation value that represents one beat (the shell unit). This number is typically a power of ii.
• The upper numeral indicates how many such beats constitute a bar.

For instance, ⁱⁱ
₄ means 2 quarter-note (crotchet) beats per bar, while ³
₈ means three eighth-notes (quavers) per bar, which are beats at slower tempos (only at faster tempos, ^three
_viii becomes compound fourth dimension, with 1 beat per bar). The most common unproblematic time signatures are ⁱⁱ
₄ , ³
_iv , and ⁴
₄ .

By convention, two special symbols are sometimes used for ⁴
₄ and ⁱⁱ
₂ :

Compound [edit]

In compound meter, subdivisions (which are what the upper number represents in these meters) of the shell are in three equal parts, and so that a dotted note (half again longer than a regular note) becomes the trounce. The upper numeral of compound fourth dimension signatures is commonly half dozen, ix, or 12 (multiples of 3 in each beat). The lower number is well-nigh commonly an eight (an 8th-notation or quaver): every bit in ⁹
₈ or ¹²
₈ .

Examples [edit]

In the examples below, bold denotes a more-stressed beat, and italics denotes a less-stressed shell.

Uncomplicated: ³
_four is a simple triple meter time signature that represents iii quarter notes (crotchets). It is felt as

^three
_four : i and two and three and ...

Compound: In principle, ⁶
₈ comprises not three groups of two eighth notes (quavers) but two groups of three eighth-notation (quaver) subdivisions. It is felt every bit

⁶
₈ : 1 two three four five six ...

Duple, triple, etc. [edit]

Time signatures indicating two beats per bar (whether in unproblematic or chemical compound meter) are chosen duple meter, while those with iii beats to the bar are triple meter. Terms such equally quadruple (4), quintuple (v), and then on, are also occasionally used.

Beating time signatures [edit]

To the ear, a bar may seem like one singular beat. For instance, a fast waltz, notated in ³
_iv time, may be described as existence one in a bar. Correspondingly, at slow tempos, the beat indicated by the time signature could in actual performance exist divided into smaller units.

On a formal mathematical level, the time signatures of, e.g., ³
₄ and ^three
_eight are interchangeable. In a sense, all unproblematic triple time signatures, such every bit ³
₈ , ³
_four , ³
₂ , etc.—and all compound duple times, such as ^{half dozen}
₈ , ^six
₁₆ and and so on, are equivalent. A piece in ⁱⁱⁱ
_iv tin be easily rewritten in ³
₈ , simply past halving the length of the notes.

Other time signature rewritings are possible: most unremarkably a simple time signature with triplets translates into a chemical compound meter.

Though formally interchangeable, for a composer or performing musician, by convention, different time signatures often have different connotations. First, a smaller note value in the beat unit implies a more circuitous note, which can affect ease of performance. Second, beaming affects the choice of bodily beat divisions. It is, for example, more natural to use the quarter note/crotchet as a beat out unit in ⁶
_four or ²
₂ than the 8th annotation/quaver in ⁶
₈ or ^two
_iv .^{[ commendation needed ]} Third, time signatures are traditionally associated with different music styles—it would seem strange to notate a conventional rock song in ⁴
₈ or ⁴
_ii .

Characteristics [edit]

The table below shows the characteristics of the most often used time signatures.

Uncomplicated time signatures
Time signature	Common uses	Simple drum pattern	Video representation
4 4 or (quadruple)	Mutual time: Widely used in virtually forms of popular music. Nearly common time signature in rock, blues, state, funk, and pop[vi]
2 ii or (duple)	Alla breve, cutting time: Used for marches and fast orchestral music.
2 4 (duple)	Used for polkas, galops, and marches
3 4 (triple)	Used for waltzes, minuets, scherzi, polonaises, mazurkas, state & western ballads, R&B, and some pop
3 8 (triple)	Besides used for the above only usually suggests higher tempo or shorter hypermeter. Sometimes preferred for certain folk dances such every bit cachucha
Compound time signatures
Time signature	Mutual uses	Simple pulsate pattern	Video representation
six eight (duple)	Double jigs, polkas, sega, salegy, tarantella, marches, barcarolles, loures, and some rock music
9 8 (triple)	Chemical compound triple fourth dimension: Used in slip jigs, zeibekiko, and lullabies, otherwise occurring rarely ("The Ride of the Valkyries", Tchaikovsky'south Fourth Symphony, and the final move of J.S. Bach's Violin Concerto in A minor (BWV 1041)[seven] are familiar examples. Debussy'south "Clair de lune" and the opening bars of Prélude à l'après-midi d'un faune are also in 9 8 )
12 8 (quadruple)	Also common in slower blues (where information technology is called a shuffle) and doo-wop; also used more recently in rock music. Tin also be heard in some jigs like "The Irish Washerwoman". This is also the time signature of the second movement of Beethoven's Pastoral Symphony.

Complex time signatures [edit]

"13/viii" redirects here. For the engagement, run across Baronial thirteen.

Signatures that do not fit the usual duple or triple categories are called complex, asymmetric, irregular, unusual, or odd—though these are broad terms, and usually a more specific clarification is appropriate.^[8] The term odd meter, however, sometimes describes time signatures in which the upper number is just odd rather than even, including ³
₄ and ⁹
_viii .^[nine]

The irregular meters (not plumbing equipment duple or triple categories) are common in some non-Western music, but rarely appeared in formal written Western music until the 19th century. Early anomalous examples appeared in Espana between 1516 and 1520,^[9] but the Delphic Hymns to Apollo (one past Athenaeus is entirely in quintuple meter, the other by Limenius predominantly so), carved on the outside walls of the Athenian Treasury at Delphi in 128 BC, are in the relatively common cretic meter, with five beats to a foot.^[10]

The third movement of Frédéric Chopin's Piano Sonata No. 1 (1828) is an early, but by no ways the earliest, example of ⁵
₄ time in solo piano music. Anton Reicha's Fugue No. twenty from his 30-half dozen Fugues, published in 1803, is as well for piano and is in ^v
_eight . The waltz-similar 2nd move of Tchaikovsky's Pathétique Symphony (shown below), often described equally a "limping flit",^[11] is a notable example of ⁵
_four fourth dimension in orchestral music.

Examples from 20th-century classical music include:

• Gustav Holst'due south "Mars, the Bringer of War" and "Neptune, the Mystic" from The Planets (both in ^v
  ₄ )
• Paul Hindemith's "Fuga secunda" in G from Ludus Tonalis ( ^five
  ₈ )
• the catastrophe of Stravinsky's The Firebird ( ⁷
  ₄ )
• the fugue from Heitor Villa-Lobos's Bachianas Brasileiras No. ix ( ^eleven
  ₈ )
• the themes for the Mission: Incommunicable television serial by Lalo Schifrin (in ⁵
  _four ) and for Room 222 by Jerry Goldsmith (in ^seven
  ₄ )

In the Western popular music tradition, unusual fourth dimension signatures occur likewise, with progressive rock in particular making frequent use of them. The utilise of shifting meters in The Beatles' "Strawberry Fields Forever" and the use of quintuple meter in their "Inside You, Without You lot" are well-known examples,^[12] as is Radiohead's "Paranoid Android" (includes ⁷
₈ ).^[13]

Paul Desmond's jazz composition "Take Five", in ^v
_four time, was one of a number of irregular-meter compositions that The Dave Brubeck Quartet played. They played other compositions in ¹¹
_iv ("Eleven Four"), ⁷
₄ ("Unsquare Trip the light fantastic toe"), and ^nine
₈ ("Bluish Rondo à la Turk"), expressed as ^two+2+2+iii
₈ . This last is an example of a piece of work in a signature that, despite appearing only chemical compound triple, is actually more complex. Brubeck'southward title refers to the feature aksak meter of the Turkish karşılama dance.^[14]

However, such time signatures are only unusual in most Western music. Traditional music of the Balkans uses such meters extensively. Bulgarian dances, for example, include forms with 5, 7, ix, 11, 13, 15, 22, 25 and other numbers of beats per measure. These rhythms are notated as condiment rhythms based on simple units, usually 2, 3 and 4 beats, though the notation fails to describe the metric "fourth dimension bending" taking identify, or chemical compound meters. See Condiment meters beneath.

Some video samples are shown below.

Mixed meters [edit]

While time signatures commonly express a regular blueprint of beat stresses continuing through a piece (or at least a section), sometimes composers place a different time signature at the beginning of each bar, resulting in music with an extremely irregular rhythmic experience. In this example, the time signatures are an help to the performers and non necessarily an indication of meter. The Promenade from Minor Mussorgsky's Pictures at an Exhibition (1874) is a good instance. The opening measures are shown below:

Igor Stravinsky'southward The Rite of Jump (1913) is famous for its "savage" rhythms. Five measures from "Sacrificial Dance" are shown below:

In such cases, a convention that some composers follow (e.g., Olivier Messiaen, in his La Nativité du Seigneur and Quatuor cascade la fin du temps) is to just omit the time signature. Charles Ives's Concord Sonata has measure bars for select passages, but the majority of the work is unbarred.

Some pieces accept no time signature, every bit there is no discernible meter. This is sometimes known as free time. Sometimes one is provided (unremarkably ⁴
₄ ) then that the performer finds the slice easier to read, and simply has "costless time" written as a management. Sometimes the word Costless is written downwardly on the staff to indicate the piece is in free fourth dimension. Erik Satie wrote many compositions that are ostensibly in costless time but really follow an unstated and unchanging simple time signature. Afterward composers used this device more effectively, writing music almost devoid of a discernibly regular pulse.

If 2 time signatures alternate repeatedly, sometimes the two signatures are placed together at the first of the piece or section, as shown below:

Additive meters [edit]

To indicate more complex patterns of stresses, such as additive rhythms, more complex fourth dimension signatures can exist used. Condiment meters have a design of beats that subdivide into smaller, irregular groups. Such meters are sometimes called imperfect, in contrast to perfect meters, in which the bar is get-go divided into equal units.^[fifteen]

For example, the time signature ^{three+2+three}
_eight means that at that place are 8 quaver beats in the bar, divided as the first of a group of 3 eighth notes (quavers) that are stressed, so the outset of a group of ii, then kickoff of a group of three again. The stress blueprint is normally counted as

^iii+ii+three
₈ : ane two three one two i two three ...

This kind of time signature is usually used to notate folk and non-Western types of music. In classical music, Béla Bartók and Olivier Messiaen have used such time signatures in their works. The starting time move of Maurice Ravel's Piano Trio in A Minor is written in ⁸
₈ , in which the beats are besides subdivided into 3+2+3 to reflect Basque trip the light fantastic toe rhythms.

Romanian musicologist Constantin Brăiloiu had a special interest in chemical compound time signatures, developed while studying the traditional music of certain regions in his country. While investigating the origins of such unusual meters, he learned that they were fifty-fifty more feature of the traditional music of neighboring peoples (e.k., the Bulgarians). He suggested that such timings tin can be regarded as compounds of uncomplicated two-beat out and three-beat meters, where an accent falls on every first vanquish, even though, for case in Bulgarian music, beat lengths of 1, 2, 3, four are used in the metric description. In improver, when focused but on stressed beats, simple fourth dimension signatures can count as beats in a slower, compound fourth dimension. However, there are ii different-length beats in this resulting compound fourth dimension, a one half-once more longer than the short trounce (or conversely, the short beat is 2⁄3 the value of the long). This type of meter is called aksak (the Turkish word for "limping"), impeded, jolting, or shaking, and is described equally an irregular bichronic rhythm. A sure amount of defoliation for Western musicians is inevitable, since a measure they would likely regard as ⁷
_xvi , for example, is a three-beat out measure in aksak, with one long and 2 curt beats (with subdivisions of 2+2+three , ii+three+2 , or three+2+2 ).^[16]

Folk music may make employ of metric time bends, then that the proportions of the performed metric shell fourth dimension lengths differ from the exact proportions indicated by the metric. Depending on playing mode of the same meter, the time bend can vary from non-existent to considerable; in the latter example, some musicologists may want to assign a dissimilar meter. For example, the Bulgarian tune "Eleno Mome" is written in ane of iii forms: (i) 7 = 2+ii+i+2 , (two) 13 = four+4+2+3 , or (iii) 12 = 3+4+two+iii , simply an actual operation (e.g., "Eleno Mome"^{[17] [ original research? ]}) may be closer to 4+4+ii+3 .^{[ clarification needed ]} The Macedonian 3+2+ii+3+ii meter is even more than complicated, with heavier fourth dimension bends, and use of quadruples on the threes. The metric shell fourth dimension proportions may vary with the speed that the tune is played. The Swedish Boda Polska (Polska from the parish Boda) has a typical elongated second beat.

In Western classical music, metric time curve is used in the performance of the Viennese flit. Near Western music uses metric ratios of ii:1, 3:one, or four:1 (two-, three- or four-beat time signatures)—in other words, integer ratios that make all beats equal in fourth dimension length. So, relative to that, three:two and 4:3 ratios correspond to very distinctive metric rhythm profiles. Complex accentuation occurs in Western music, but equally syncopation rather than every bit part of the metric accentuation.^{[ citation needed ]}

Brăiloiu borrowed a term from Turkish medieval music theory: aksak. Such chemical compound time signatures fall under the "aksak rhythm" category that he introduced along with a couple more than that should draw the rhythm figures in traditional music.^[eighteen] The term Brăiloiu revived had moderate success worldwide, just in Eastern Europe information technology is nonetheless oft used. Notwithstanding, aksak rhythm figures occur non only in a few European countries, only on all continents, featuring various combinations of the two and three sequences. The longest are in Bulgaria. The shortest aksak rhythm figures follow the v-beat timing, comprising a two and a iii (or three and two).

Some video samples are shown below.

The rhythm of Dave Brubeck'southward "Blueish Rondo à la Turk": It consists of 3 measures of 2+2+two+3 followed by one measure out of 3+3+3 and the cycle then repeats. Taking the smallest time unit as eighth notes, the arrows on the tempo dial show the tempi for ♪, ♩, ♩. and the measure vanquish. Starts deadening, speeds up to usual tempo

A method to create meters of lengths of any length has been published in the Periodical of Anaphoria Music Theory^[xix] and Xenharmonikon 16^[20] using both those based on the Horograms of Erv Wilson and Viggo Brun's algorithm written by Kraig Grady.

Irrational meters [edit]

Example of an irrational ⁴
₃ time signature: here there are four (iv) third notes (3) per measure out. A "third annotation" would be ane third of a whole note, and thus is a one-half-note triplet. The second measure of ⁴
₂ presents the same notes, so the ⁴
_iii time signature serves to indicate the precise speed human relationship betwixt the notes in the ii measures.

Irrational fourth dimension signatures (rarely, "not-dyadic time signatures") are used for so-called irrational bar lengths,^[21] that have a denominator that is non a power of two (i, 2, iv, eight, 16, 32, etc.). These are based on beats expressed in terms of fractions of full beats in the prevailing tempo—for example ⁱⁱⁱ
₁₀ or ⁵
₂₄ .^[21] For example, where ⁴
₄ implies a bar construction of iv quarter-parts of a whole note (i.east., iv quarter notes), ⁴
₃ implies a bar construction of iv third-parts of information technology. These signatures are of utility but when juxtaposed with other signatures with varying denominators; a piece written entirely in ⁴
₃ , say, could be more legibly written out in ^iv
_iv .

The same instance written using metric modulation instead of irrational time signatures. 3 one-half notes in the showtime measure (making up a dotted whole note) are equal in duration to two one-half notes in the 2nd (making up a whole note).

The same example written using a change in time signature.

According to Brian Ferneyhough, metric modulation is "a somewhat distant analogy" to his own utilise of "irrational time signatures" as a sort of rhythmic noise.^[21] It is disputed whether the use of these signatures makes metric relationships clearer or more obscure to the musician; it is always possible to write a passage using not-irrational signatures by specifying a relationship between some note length in the previous bar and another in the succeeding one. Sometimes, successive metric relationships between bars are so convoluted that the pure use of irrational signatures would quickly render the annotation extremely hard to penetrate. Skillful examples, written entirely in conventional signatures with the aid of betwixt-bar specified metric relationships, occur a number of times in John Adams' opera Nixon in People's republic of china (1987), where the sole use of irrational signatures would chop-chop produce massive numerators and denominators.^{[ citation needed ]}

Historically, this device has been prefigured wherever composers wrote tuplets. For example, a ^two
₄ bar of iii triplet quarter notes could exist written as a bar of ^three
_six . Henry Cowell's piano piece Fabric (1920) employs separate divisions of the bar (ane to nine) for the 3 contrapuntal parts, using a scheme of shaped noteheads to visually clarify the differences, but the pioneering of these signatures is largely due to Brian Ferneyhough, who says that he finds that "such 'irrational' measures serve as a useful buffer betwixt local changes of event density and bodily changes of base tempo".^[21] Thomas Adès has also used them extensively—for example in Traced Overhead (1996), the second move of which contains, amid more than conventional meters, bars in such signatures every bit ⁱⁱ
_half-dozen , ⁹
_xiv and ^five
₂₄ .

A gradual process of diffusion into less rarefied musical circles seems underway.^{[ citation needed ]} For example, John Pickard's Eden, commissioned for the 2005 finals of the National Brass Band Championships of Peachy United kingdom of great britain and northern ireland, contains bars of ⁱⁱⁱ
_ten and ⁷
₁₂ .^[22]

Notationally, rather than using Cowell'south elaborate series of notehead shapes, the same convention has been invoked equally when normal tuplets are written; for example, i beat in ⁴
₅ is written every bit a normal quarter note, four quarter notes consummate the bar, simply the whole bar lasts simply iv⁄5 of a reference whole note, and a beat 1⁄5 of one (or 4⁄5 of a normal quarter note). This is notated in exactly the same way that one would write if one were writing the first 4 quarter notes of five quintuplet quarter notes.

Some video samples are shown beneath.

These video samples show two fourth dimension signatures combined to brand a polymeter, since ⁴
₃ , say, in isolation, is identical to ^four
₄ .

Polymeter 4 four and 4 iii played together has three beats of 4 3 to iv beats of 4 iv

Polymeter 2 6 and 3 iv played together has six beats of 2 6 to iv beats of 3 iv

Polymeter ii 5 and 2 3 played together has five beats of two 5 to 3 beats of 2 3 . The displayed numbers count the underlying polyrhythm, which is v:iii

Variants [edit]

Some composers take used fractional beats: for instance, the time signature ^{2+ one⁄2}
₄ appears in Carlos Chávez'southward Piano Sonata No. iii (1928) IV, m. 1. Both ^{2+ 1⁄2}
_iv and ^{i+ 1⁄2}
₄ announced in the 5th move of Percy Grainger'southward Lincolnshire Posy.

Instance of Orff's fourth dimension signatures

Music educator Carl Orff proposed replacing the lower number of the fourth dimension signature with an actual note image, as shown at correct. This system eliminates the demand for chemical compound fourth dimension signatures, which are confusing to beginners. While this annotation has not been adopted by music publishers more often than not (except in Orff's own compositions), information technology is used extensively in music education textbooks. Similarly, American composers George Crumb and Joseph Schwantner, amidst others, accept used this system in many of their works. Émile Jaques-Dalcroze proposed this in his 1920 collection, Le Rythme, la musique et l'éducation.^[23]

Another possibility is to extend the barline where a fourth dimension change is to take place above the peak instrument'southward line in a score and to write the time signature at that place, and there only, saving the ink and attempt that would accept been spent writing it in each instrument's staff. Henryk Górecki's Beatus Vir is an instance of this. Alternatively, music in a large score sometimes has time signatures written as very long, thin numbers roofing the whole top of the score rather than replicating information technology on each staff; this is an aid to the usher, who tin can encounter signature changes more easily.

Early music usage [edit]

Mensural time signatures [edit]

In the mensural annotation of the 14th, 15th and 16th centuries there are no bar lines, and the four basic mensuration signs bespeak the normal ratio of duration between dissimilar note values. Unlike modern notation, the subdivisions could be either 2:one or 3:1. The relation between the breve and the semibreve was called tempus, and could be perfect (triple 3:ane indicated by circle) or imperfect (duple two:i, with cleaved circle), while the relation between the semibreve and the minim was called prolatio and could exist major (3:i or chemical compound, indicated by dot) or minor (2:1 or simple meter).

Modern transcriptions frequently reduce note values 4:1, such that

N.B.: In mensural annotation actual note values depend not only on the prevailing mensuration, but on rules for imperfection and alteration, with cryptic cases using a dot of separation, similar in appearance but not ever in result to the modern dot of augmentation.

Proportions [edit]

Proportion signs^[24]

Proportion	Notated values	equivalent to	Notated values
2 or
2 or
3
3

Besides showing the organization of beats with musical meter, the mensuration signs discussed above accept a second function, which is showing tempo relationships between one section to another, which modern note can only specify with tuplets or metric modulations. This is a fraught discipline, because the usage has varied with both time and place: Charles Hamm^[25] was even able to establish a rough chronology of works based on three singled-out usages of mensural signs over the career of Guillaume Dufay (1397(?) – 1474). By the end of the sixteenth century Thomas Morley was able to satirize the confusion in an imagined dialogue:

it was a world to hear them wrangle, every 1 defending his own for the all-time. "What? You go on not time in your proportions." "Y'all sing them simulated. What proportion is this?" "Sesquipaltry." "Nay, you lot sing yous know not what; it would seem you came lately from a hairdresser's shop where you had 'Gregory Walker' or a Curranta played in the new Proportions by them lately establish out, called 'Sesquiblinda' and 'Sesquihearkenafter'."

Plaine and Easie Introduction to Practicall Musicke (1597)^[26]

In general though, a slash or the numeral 2 shows a doubling of tempo, and paired numbers (either side by side or one atop another) prove ratios instead of beats per measure over annotation value: in early on music contexts ⁴
₃ for example is unrelated to 'tertiary-notes'.^[27]

A few common signs are shown:^[28]

In particular, when the sign was encountered, the tactus (beat) inverse from the usual whole note (semibreve) to the double whole note (breve), a circumstance called alla breve. This term has been sustained to the present day, and though at present it means the crush is a half note (minim), in contradiction to the literal meaning of the phrase, it still indicates that the tactus has inverse from a curt to a doubled value.

Certain composers delighted in creating mensuration canons, "puzzle" compositions that were intentionally difficult to decipher.^[29]

Irregular Bar [edit]

Irregular confined are a alter in time signature normally for only one bar. Such a bar is most often a bar of 3/4, 5/4 or 2/4 in a iv/4 limerick, or a bar of 4/4 in a iii/4 limerick, or a bar of 5/8 in a 6/8 composition.

If a vocal is entirely in 4/4 a change to iii/4 will make the song feel like it has skipped a beat, the reverse is truthful for v/4 where it feels like the song adds a beat. If a song changes to two/4 is volition make it feel like that bar is half equally long as all the others^{[thirty] [31]}

Some popular examples include Gilt Brown by The Stranglers (iv/4 in a 3/iv composition), I Love Rock 'northward' Roll originally by the Arrows (three/iv in a 4/4 composition), Hey Ya! by Outkast (ii/four in a 4/4 composition), and Wuthering Heights by Kate Bush (different kinds of irregular bars in a iv/4 composition).

See also [edit]

• Schaffel, a kind of swing in rock and techno music
• Tala, meter in Indian music
• Colotomy, a coinage past Jap Kunst to describe the metric structure of gamelan music.

References [edit]

1. ^ Alexander R. Brinkman, Pascal Programming for Music Enquiry (Chicago: University of Chicago Printing, 1990): 443, 450–463, 757, 759, 767. ISBN 0226075079; Mary Elizabeth Clark and David Carr Glover, Piano Theory: Primer Level (Miami: Belwin Mills, 1967): 12; Steven G. Demorest, Edifice Choral Excellence: Didactics Sight-Singing in the Choral Rehearsal (Oxford and New York: Oxford University Press, 2003): 66. ISBN 0195165500; William Duckworth, A Creative Approach to Music Fundamentals, eleventh edition (Boston, MA: Schirmer Cengage Learning, 2013): 54, 59, 379. ISBN 0840029993; Edwin Gordon, Tonal and Rhythm Patterns: An Objective Analysis: A Taxonomy of Tonal Patterns and Rhythm Patterns and Seminal Experimental Evidence of Their Difficulty and Growth Rate (Albany: SUNY Press, 1976): 36–37, 54–55, 57. ISBN 0873953541; Demar Irvine, Reinhard G. Pauly, Mark A. Radice, Irvine's Writing about Music, third edition (Portland, Oregon: Amadeus Press, 1999): 209–210. ISBN 1574670492.
2. ^ Henry Cowell and David Nicholls, New Musical Resource, third edition (Cambridge and New York: Cambridge University Press, 1996): 63. ISBN 0521496519 (fabric); ISBN 0521499747 (pbk); Cynthia M. Gessele, "Thiéme, Frédéric [Thieme, Friedrich]", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001); James 50. Zychowicz, Mahler'south 4th Symphony (Oxford and New York: Oxford University Press, 2005): 82–83, 107. ISBN 0195181654.
3. ^ Edwin Gordon, Rhythm: Contrasting the Implications of Audiation and Notation (Chicago: GIA Publications, 2000): 111. ISBN 1579990983.
4. ^ G. Augustus Holmes (1949). The Academic Transmission of the Rudiments of Music. London: A. Weekes; Stainer & Bell. p. 17. ISBN9780852492765.
5. ^ Apel 1953, pp. 147–148.
6. ^ Scott Schroedl, Play Drums Today! A Complete Guide to the Nuts: Level I (Milwaukee: Hal Leonard Corporation, 2001), p. 42. ISBN 0-634-02185-0.
7. ^ See File:Bach BVW 1041 Allegro Assai.png for an excerpt from the violin function of the concluding motion.
8. ^ "Odd Fourth dimension Signatures: A Consummate Guide | Howdy Music Theory". hellomusictheory.com/. 6 March 2020. Retrieved 2022-02-20 .
9. ^ ^{a b} Tim Emmons, Odd Meter Bass: Playing Odd Time Signatures Made Piece of cake (Van Nuys: Alfred Publishing, 2008): 4. ISBN 978-0-7390-4081-2. "What is an 'odd meter'?...A complete definition would begin with the thought of music organized in repeating rhythmic groups of 3, five, seven, 9, eleven, thirteen, xv, etc."
10. ^ Egert Pöhlmann and Martin L. West, Documents of Ancient Greek Music: The Extant Melodies and Fragments, edited and transcribed with commentary by Egert Pöhlmann and Martin L. West (Oxford: Clarendon Printing, 2001): 70–71, 85. ISBN 0-19-815223-10.
11. ^ "Tchaikovsky's Symphony # vi (Pathetique), Classical Classics, Peter Gutmann". Classical Notes. Retrieved 2012-04-20 .
12. ^ Edward Macan, Rocking the Classics: English Progressive Rock and the Counterculture (New York: Oxford University Printing, 1997): 48. ISBN 978-0-xix-509888-4.
13. ^ Radiohead (musical group). OK Estimator, vocal score with guitar accessory and tablature (Essex, England: IMP International Music Publications; Miami, Florida: Warner Bros. Publications; Van Nuys, California: Alfred Music, 1997):^{[ page needed ]}. ISBN 0-7579-9166-1.
14. ^ Manuel, Peter (1988). Popular Musics of the Non-Western Earth: An Introductory Survey (rev. ed.). Oxford Academy Press. p. 131. ISBN9780195063349.
15. ^ Gardner Read, Music Notation: A Manual of Mod Practice (Boston: Allyn and Salary, Inc., 1964):^{[ page needed ]}
16. ^ Constantin Brăiloiu, Le rythme Aksak, Revue de Musicologie 33, nos. 99 and 100 (December 1951): 71–108. Citation on pp. 75–76.
17. ^ Audio: "Eleno Mome" from The Dances of the Earth's Peoples, Vol. 1: Dances of the Balkans and Almost Due east, Smithsonian Folk Means
18. ^ Gheorghe Oprea, Folclorul muzical românesc (Bucharest: Ed. Muzicala, 2002),^{[ page needed ]} ISBN 973-42-0304-v
19. ^ "The Journal of Anaphorian Music Theory".
20. ^ "Frog Peak Artist: John Chalmers".
21. ^ ^{a b c d} "Brian Ferneyhough", The Ensemble Sospeso
22. ^ John Pickard: Eden, full score, Kirklees Music, 2005.
23. ^ Jaques-Dalcroze, Émile (1967). Rhythm, Music and Education. Translated by Harold F. Rubenstein. London: Dalcroze Order. p. 84, and Appendix, example 2. – Page 210 in the French original
24. ^ Apel 1953, p. 150.
25. ^ C. Hamm: A Chronology of the Works of Guillaume Dufay based on a Study of Mensural Practice (Princeton, New Jersey, 1964)
26. ^ Thomas Morley: Plaine and Easie Introduction to Practicall Musicke (1597), quoted in the unsigned "Proportions" in New Grove Xv p. 307 (1980)
27. ^ Apel 1953, p. 189.
28. ^ Apel 1953, p. 148.
29. ^ Ernst Friedrich Richter, A Treatise on Catechism and Fugue: Including the Report of Faux, translated from third German edition past Arthur W. Foote (Boston: Oliver Ditson, 1888): 38. [ISBN unspecified].
30. ^ Songs That Skip a Beat , retrieved 2022-09-22
31. ^ Songs That Add together a Vanquish , retrieved 2022-09-22

Sources

• Apel, Willi (1953). The Notation of Polyphonic Music 900–1600. The Medieval Academy of America Publication No. 38 (fifth, revised and with commentary ed.). Cambridge, Massachusetts: Medieval Academy of America. ISBN9780910956154.

2/4 3/4 4/4 Time Signature,

Source: https://en.wikipedia.org/wiki/Time_signature

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