Chapter 4

Compound Meters

• Compare "Greensleeves" with "Down in the Valley." Specifically listen for the differences in primary beats and the differences in the secondary beats.

Meter Signatures

• Compound meter signatures differ from simple meter signatures in important ways.

• The beat unit divides in threes; therefore, the beat unit is always dotted.

• The bottom number of a meter signature indicates the division of the beat rather than the beat itself. For example, if the bottom number of a meter signature is an 8, the beat unit is a dotted quarter note. (eighth note + eighth note + eighth note = dotted quarter note)

In Compound Meters:

• The top number of the meter signature is 6 or greater and divisible by 3. Most ofter, the top number will be 6, 9, or 12 (duple, triple, quadruple).

• The lower number represents the division of the beat, not the beat itself. It is usually 8, but it can be anything.

• In all other ways, compound meters are treated the same as simple meters. They are conducted the same. They can have an anacrusis.

• Compare the three examples on the following page.

Rhythmic Notation in Compound Meters

The Dotted-Quarter Beat Unit

Beaming in Compound Meter

• Beaming in compound meter is no different than in simple meter - rhythms should be beamed to reflect the beat unit.

• When dealing with two rests, dots are generally avoided as it is more clear to not include them. Dots on rests can be included as long as the intention is abundantly clear.

Subdividing the Beat

• Just as in simple meters, compound beats can be subdivided. The beat unit will be dotted, there will be three divisions of the beat, and there will be six subdivisions of the beat.

• Perform the music on the following slide.

Beat Units Other Than the Dotted Quarter

• Compare the melody to "Greensleeves" written in different meter signatures.

• When the bottom number of the meter signature is a 4,it becomes trickier to beam according to the beat as you cannot beam quarter and half notes.

Syncopation

• Syncopations are created in compound meters by placing: ties from a weak part of a beat across a stronger part, an accent mark on a weak beat or the weak part of a beat, a rest on the strong part of a beat that causes a weaker part to sound accented.

Mixing Beat Divisions

Triplets

• Note below how the last beat of measure places 3 eighth notes in a place where 2 eighth should exist.

• In simple meters, the beat may occasionally be divided into three parts instead of the normal two. These beats, marked with a 3, are called triplets.

• When notating triplets, use a note value that is one duration unit smaller than the beat it replaces.

Duplets, Quadruplets, and Polyrhythm

• Duplets and Quadruplets appear in compound meter and are frequently referred to as "tuplets."

• Notice below the triplet and the end of beat 2 and the quadruplet at the beginning of measure 18.

• The downbeat of measure 18 contains a polyrhythm: the juxtaposition of two beat divisions (three agains four, two against three, etc).

• Note the triplets and the polyrhythms below

"Super Duplet"

• Duplets and Quadruplets can be found in simple triple meters at the measure level rather than the beat level.

• In this example on the next slide, there are two quarter-note bets per measure rather than three.

• This creates a temporary disruption in the meter from triple to duple.

Hemiola in Compound Meter

• Hemiolas in compound meter are less typical than hemioas in simple meter.

• The normal three part division of the beat is temporarily grouped in twos in the upper voice.

• In the example on the next slide, it is possible to hear both meters at the same time. 3/2 in the upper voice created by a hemiola and 6/4 in the lower voice as indicated by the key signatures.

Metrical Accent and Implications for Performance

• Meter is hierarchical, and implies accent patterns that are identical whether the meter is simple or compound.

• Duple: strong-weak

• Triple: strong-weak-weak

• Quadruple: strong-weak-medium-weak

• Rhythmic notation only approximates a truly musical performance. The performer's interpretation will usually include tempo fluctuations that speed up or slow down slightly as the work approaches an important musical goal. This type of transitory tempo fluctuation is called rubato.

Questions for Review

• How are compound meters distinguished from simple meters?

• When reading a compound meter signature, how do you determine the number of beats per measure and the beat unit.

• Provide the number of beats per measure and the beat unit for each of the following meter signatures: 12/4, 9/16, 6/4

• What guidelines should you follow in beaming rhythms together? What makes this difficult when the dotted-half is the beat unit.

• How do the guidelines for metrical accent compare in simple and compound meters?

Terms You Should Know

• anacrusis

• compound duple

• compound triple

• compound quadruple

• duplet

• hemiola

• metrical accent

• quadruplet

• rubato

• triplet

• tuplet