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A measure has two purposes in Western traditions of music, the first is to block out a series of beats, and the second is to form the building block of larger sections of music, such as a phrase. Time signatures imply strongly accented beats, and others that are less accented, changing time signature changes the pattern of emphasizing notes, either by playing certain notes louder, or by sustaining them as in swing or rubato. A measure is similar to a metrical foot in poetry.
There are four different types of metre in common use:
If each beat in a measure is divided into two parts, it is simple metre, and if divided into three it is compound. If each measure is divided into two beats, it is duple metre, and if three it is triple. Some people also label quadruple, while some consider it as two duples. The latter is more consistent with the above labelling system, as any other division above triple, such as quintuple, is considered as duple+triple (12123) or triple+duple (12312), depending on the accents in the musical example. However, in some music a quintuple may be treated and perceived as one unit of five, especially at faster tempos.
| Duple: | Triple: | |
| Simple: | beats divided in two; two beats per measure | beats divided in three; two beats per measure |
| Compound: | beats divided in two; three beats per measure | beats divided in three; three beats per measure |
| Beats divided in two: | Beats divided in three: | |
| Two beats per measure: | simple duple | simple triple |
| Three beats per measure: | compound duple | compound triple |
Most popular music is in 4/4 time, though often may be in 2/2 or cut time such as in bossa nova. Doo-wop and some other rock styles are frequently in 12/8, or may be interpreted as 4/4 with heavy swing. Similarly, most classical music before the 20th century tended to stick to relatively straightforward metres such as 4/4, 3/4 and 6/8, though variations on these such as 3/2 and 6/4 are also found. By the 20th century, composers were using less regular metres, such as 5/4 and 7/8. An example a use of this metre is Dave Brubeck's 'Take Five' written in 5/4 time.
Also in the 20th century, it became relatively more common to switch metre frequently—the end of Igor Stravinsky's The Rite of Spring is a particularly extreme example—and the use of asymmetrical rhythms where each beat is a different length became more common: such metres include already discussed quintuple rhythms as well as more complex constructs along the lines of 2+5+3/4 time, where each bar has a 2 beat unit, a five beat unit and a 3 beat unit, with a stress at the beginning of each unit—there are similar metres used in various folk musics. Other music has no metre at all (free time) such as droneIn music, a drone is a note or chord continuously sounded throughout much or all of a piece, sustained or repeated, and most often establishing a tonality upon which the rest of the piece is built. Similarly, a drone is the name of a part of a musical ins based music exemplified by La Monte YoungLa Monte Young (born October 14 1935) is an American composer whose eccentric and often hard-to-find works have been included among the most important post World War 2 avant garde or experimental music. Both his Fluxus influenced and " minimal" compositio, feature rhythms so complex that any metre is obscured such as in serialismSerialism is a rigorous system of composing music in which various elements of the piece are ordered according to a pre-determined ordered set or sets, and variations on them. The elements thus controlled may be the pitch of the notes, their length, their, or is based on additive rhythmAdditive rhythm s are larger periods of time constructed from sequences of smaller rhythmic units added to the end of the previous unit. This is contrasted with divisive rhythms, in which a larger period of time is divided into smaller rhythmic units.s, such as some music by Philip GlassAnnie Leibovitz. Philip Glass (born January 31, 1937) is an American composer. His music is frequently described as minimalist. Biography Glass was born in Baltimore, Maryland and studied the flute as a child at the Peabody Conservatory of Music. He then.
Metre is often combined with a rhythmic pattern to produce a particular style. This is true of dance music, such as the waltzThe waltz is a dance in 3/4 time, done primarily in closed position, the commonest basic figure of which is a full turn in two measures using three steps per measure. It first became fashionable in Vienna in about the 1780s, then spread to many other coun or tangoArgentine Tango music is traditionally played by an orquesta tipica, which often includes violin, piano, guitar, flute, and especially bandoneon. The beginnings Early tango was the music of the thugs and gangsters who visited the brothels of a city with 1, which have particular patterns of emphasizing beats which are instantly recognizable. This is often done to make the music coincide with slow or fast steps in the dance, and can be thought of as the musical equivalent of prosody. Sometimes, a particular musician or composition becomes identifed with a particular metric pattern; such is the case with the so-called Bo Diddley pattern. Some examples:
Polymetre is the use of two metres simultaneously, or in regular alternation. Examples include Bela Bartok's "Second String Quartet". A stunning example from the rock canon is "Kashmir" by the seminal British hard-rock quartet Led Zeppelin, in which the percussion articulates 4/4 while the melodic instruments present a mesmerizing riff in 3/4. In "Toads Of The Short Forest" (from the album "Weasels Ripped My Flesh"), composer Frank Zappa explains: "At this very moment on stage we have drummer A playing in 7/8, drummer B playing in 3/4, the bass playing in 3/4, the organ playing in 5/8, the tambourine playing in 3/4, and the alto sax blowing his nose." (Contemporary musicologists disagree whether a musician "blowing his nose" constitues a legitimate musical metre.)
Metric structure includes metre, tempo, and all rhythmic aspects which produce temporal regularity or structure, against which the foreground details or durational patterns are projected (DeLone et. al. (Eds.), 1975, chap. 3).
Rhythmic units be metric, intrametric, contrametric, or extrametric.Metric levels may be distinguished. The beat level is the metric level at which pulses are heard as the basic time unit of the piece. Faster levels are division levels, and slower levels are multiple levels. (DeLone et. al. (Eds.), 1975, chap. 3).
A metric modulation is a modulation from one metric unit or metre to another.
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