Time Signature and Different Types of Meter

Today we're going to talk about time in pieces of music. More specifically, the differences between different types of time signatures, and how they represent different forms of meter within a piece.

A Time Signature gives you two important piece of information when reading music:

1. How many beats are in a single measure
2. What note value constitutes one beat within a measure

By Beat, I mean the primary unit of rhythm in music. This beat can be heard through the use of instrumentation (such as the bass drum in a rock ballad, or an artificial bass affect in a electric song), and typically gives the piece it's structure. Let's look at an example:

The two numbers in red make up the time signature for a piece of music. The top number tells us that there will be 4 beats per measure, and the bottom note tells us that a quarter note equals 1 beat.


(Also note that the time signature is placed after the clef symbol, in this case, the treble clef)






So your standard measure of 4/4 time is going to look like this:



Now this is a simple example of how notes fit within the measure according to the beat. Remember that melody lines are not limited to only using the note values given by the time signature! There could be eighth-notes, half-notes, even triplets in this measure and it would still be considered 4/4 time as long as the sum of the note values used is equivalent to 4 quarter notes.

Here's an example of a song that uses 4/4 Time. (just so you can get a feel for it)

(Try to tap out the rhythm played by the piano. You'll notice that the measure are divided by taps of four)

So that's 4/4 time, but what if we change the top number? Lets now look at 3/4 time.

Because the top number in the time signature is 3, only three beats are allowed per measure. The bottom number is still 4, so the quarter-note still represents 1 beat.

Example of 3/4 time. (It's a waltz)

Lets now see what happens when we change the bottom note. (This is where things can get a bit confusing if you are unfamiliar with music notation)

Top Number: 6- there are going to be six beats per measure.


Bottom Number: 8- the eighth-note gets the beat.

So one simple complete measure would have 6 eighth-notes, each representing one beat of the measure.

Makes sense?
------------------------------------------------------------------------------------------------------------
Assuming that you have a firm grasp on time signatures, let's now talk about how time signatures divide pieces of music into either Simple or Compound meter.

If a piece of music is in simple meter, than the beat cannot be subdivided any further than indicated, and the "pulse" of the song falls on the beat. For example, the American Folk song Yankee Doodle is in simple meter because the melody falls on the beat within the 2/4 time it's played in.

If a piece of music is in compound meter, than the beat indicated by the time signature can be further simplified and defined by the "pulse" of the music. For example, the American Folk song When Johnny Comes Marching Home is considered to be in compound meter because the beat can be expressed as both 6/8 and having 2 beats with two subdivisions of 3.

Here are some examples of Simple and Compound meter:

Simple
2/4
3/4
4/4

Compound
6/8
9/8
12/8

Notice this pattern between the two forms of meter;

6 / 3 = 2 ---> Duple
9 / 3 = 3 ---> Triple
12 / 3 = 4 ---> Quadruple

These three numbers represent the basic beats that songs are composed of. If there are two pulses in a song, then it would be described as having a "Duple" feel. Likewise if there were three pulses as in a waltz it could have a "triple" feel. 

Lets look at a couple example of combining these terms with ones we learned earlier. 

3/4 = Simple triple: Simple division of the beat and there are three beats in the measure. 

6/8 = Compound duple: Subdivisions of the beat are present in the meter, and there are two subdivisions. 

12/8 = Compound quadruple: Subdivisions of the beat are present, and there are four subdivisions. 

2/4 = Simple duple: Simple division of the beat, and there are two beats in each measure. 

---------------------------------------------------------------------------------------------------------

If you guys have any questions about time signature, compound and simple, or distinguishing between duple, triple, and quadruple meter, then please leave comments below so I can answer them! 

I will be posting some examples of different forms of meter in a couple days, so stick around it this is still a little confusing! 

Sincerely, ZS

The Basic Elements of Triads

Today I'm going to start talking about chords, how to identify them, and give some examples of them in musical context.

What is a Chord? A chord is (simply put) any harmonic set of three or more notes. Harmonic. This word means that the notes interact with each other musically through the use of intervals. Now, these intervals can be major, minor, 3rd's, 4th's, etc, almost anything as long as there is more than one interval identified in the chord. Right now, we're going to discuss the simplest form of a chord: A triad.

Triads are the most frequently encountered chords because they are composed of three distinct notes, known as the Root, 3rd, and 5th. The triad gets its name by the root note of the chord. Let's look at an example.


Shown to the left is a C Major Triad. We know it's a triad because there are three notes, and more specifically because these notes are a 3rd apart. In every triad, the interval between consecutive notes will always be a 3rd.





So we know that the interval between (C) and (E) is a M3, and (E) to (G) is a m3. This combination, or a M3 on the bottom of the chord and a m3 on the top of the chord, is what defines a Major Triad.

Since we're going to get to know all four types of triads in this post, I going to list them and describe their qualities (interval wise), and then we'll go over each of them individually. Now don't get overwhelmed with this information, I'll explain each one in more detail when we get to it.

Major Triad: C

(m3)
(M3)

Minor Triad: Cm

(M3)
(m3)

Augmented Triad: C aug

(M3)
(M3)

Diminished Triad: C dim

(m3)
(m3)

Minor Triads

To the left is an example of a Cm triad. Notice that the relationship between the notes is are thirds, and the bottom interval is a Minor 3rd, while the top is a Major 3rd. The chords are going to sound "minor", or sad you'll notice in popular music. 

Augmented Triads

To the right is an example of a C augmented Triad. An augmented triad is characterized by having a Major 3rd on the bottom, and another Major 3rd on the top half of the chord. Notice that the relationship of the 5th with the root of the chord also changes as the 5th is raised up a semitone, creating an augmented 5th (Hence where the interval gets its name)

Diminished Triads

To the left is an example of a C diminished triad. Diminished triads are characterized by two minor 3rd's on top of each other. Again, because the 5th has now been lowered to create the m3rd need, the 5th interval has become diminished. 

So let's work through a couple more examples to really understand how to construct triads;

------------------------------------------------------------------------------------

What is the triad above?

(D augmented)

Why?

(Because the relationship between (D) to (F#) is a Major third, and the relationship between (F#) and (A#) is also a Major third)

------------------------------------------------------------------------------------

What is the triad above?

(Remember the Root of the chord gives its' name)

(B diminished)

Why?

((B) to (D) is a m3rd, and (D) to (F) is a m3rd)

------------------------------------------------------------------------------------

What is the triad above?

(Gm)

Why?

((G) to (Bb) is a m3rd, and (Bb) to (D) is a M3rd)

------------------------------------------------------------------------------------

So, to recap: Triads are three note chords composed off thirds. Depending on the quality of these chords, the triad can be major. minor, augmented, or diminished. And remember, the name of the triad (Note wise) is always given by the root of the chord (The bottom note for now). 

In a couple days I will post an example of some triads in my choral music, and then next week we will talk about triads in inversion, an then move on to more complicated chords. 

Thanks for reading, and if you have any more questions, feel free to comment below. 

Sincerely, ZS

Application: Intervals, Sight-Reading, and Audiation

     Alright, let's apply what we talked about in my last post. As a refresher, last time I covered how to recognize various intervals using classic songs that we all know. What we're going to do now is look at some of the music that I've sung in the past and use this method to understand how to sight read specific intervals without playing them on a piano first.

Shown below is a 4-part choral arrangement for Francis Scott Key's "The Star Spangled Banner"

Let's quickly identify the intervals that are sung by each voice part.


"Oh -" : m3 (Frosty the Snowman)

"say-can" : M3 (Kum Bah Yah)

"can-you" : m3

"you-see," : P4 (Here comes t. Bride)

     By recognizing the intervals I'm going to sing, I can figure out in my head where the line is supposed to go.

Let's look at another example where we can see the intervals existing across voice-parts.

Look at the Bass and Tenor line (bottom two lines). Notice that neither one is that complicated, but remember that in a choir, the notes are being sung at the same time. So while the tenors are singing a "F" in "bursting", the basses are singing "F" an octave lower, forming a P8 interval.

But when the tenor's sing the "Eb" in "gave", the basses stay on their "F" on the same beat in the measure. Think about the notes "F" and "Eb". While in this instance they are in different octaves, the affect they create when played together is the same: M2 (Major Second)

What this does is create Dissonance in the music (we'll discuss this concept in a later post), and give the music a sense of motion as it moves to resolve to the M3 that is created in the beginning of the next measure (consonance). Like I said, don't worry about these terms because we'll cover them in a different post. Right now, just understand that intervals can exist in both individual melodies and across voice parts or chords.

        For some fun choral terms, let's talk about what sight-reading actually is, and how our newfound skill of identifying intervals can help us do this without the need of accompaniment. If you're in a high school choir right now, you might be familiar with what I'm talking about. Sight-reading is the ability to be sing a line of music after only being given the starting pitch/key signature. When I was in high school and learning a new piece,  teacher would usually have us listen to various recordings of the song before we even started figuring out the notes. After that we would go over the rhythm specific parts of the song, and only then, after days of looking at the music and discussing it's tempo/rhythm, would we actually start singing.
 
         For those of you that want to sing in college, let me give you some helpful advice. Most college choral directors will expect you to know how to sight-read. This doesn't mean get the music and practice it for a couple days with a piano to help you. This means they give you the music, tell you what key it's in (if you can't figure that our already), give you the starting pitch, and you start singing.

          So how do you do this? Well, it's a tricky little skill called audiation. This is the ability to hear music or pitches in your head without music being physically played. It's kinda like daydreaming, but with music. In this way talented singers can hear their pitch without disturbing others by trying to find their note out loud. Try practicing this skill at home or in choir next time your teacher wants you to sing a certain pitch. As long as you know the starting note and understand how intervals sound (remember our examples from the previous post), you'll be able to sing the pitch perfectly the first time without having to find it by humming or "sliding".

        Now these directors aren't going to expect perfection the first time you sing a song, but that's the difference between high school and college. Here, they expect you to have a basic understanding of intervals and chord progressions so you can accurately "guess" where your melody/harmony line is going to go. Don't get overwhelmed as a freshmen though, because usually you're going to be in at least one large ensemble at first, and you're going to get a lot of help from the older/more experienced member's of your section (this will help you really hone in your skills for when you get into smaller choirs).

          I hope this way helpful in explaining how to apply your newfound knowledge of intervals in choir or solo singing. Note that this can also be used in other instruments, but it requires more practice to understand which notes/hand positions will produce specific pitches. Nevertheless the concept is the same. With a basic understanding of intervals and how harmony lines interact with each other, you can sing on pitch with brand new music and quickly find how your voice-part works with the rest of the choir.
         
          Thanks for reading, leave any comments or questions below if you have them! Also if you have a piece of music that you want analyzed, take a picture of it and we can include it in a future post.

Sincerely, ZS