We have come to a very important topic - the size of a piece of music. Before we talk about size, let's clarify one more concept that we have not met before.
Tact
If you look at any notes, you can see that with a certain frequency they meet a vertical line. Look here:
It's called a bar line. What is located between two such features is called a beat. That, in fact, is all we need to know about tact.
Size
The meter indicates the rhythm performed music. It is indicated by numbers next to the key:
(It is read: “four quarters”, “three quarters”, “six eighths”, etc.). The top number indicates the number of beats in each measure. The bottom number is the note duration of each count. This is if it's smart.
Let's explain it simply with an example. Let's say the duration is ¾. The top number, that is, in this case, a three, means that there will be three beats in each measure. That is, you need to count like this: one-two-three | one-two-three | one-two-three | one-two-three ... ”and so on until the work ends. The bottom number - in our case, the number 4 - means that there is one quarter note for each count. To put it quite simply, the ¾ time signature means that three pieces of quarter notes “fit” into one measure. Or three quarter notes, whichever you prefer.
Sizes can be simple and complex, two-part and three-part.
For convenience, we will consider in detail different kinds sizes (by active links, you can go to the articles of our site with detailed description all sizes).
Again on the topic of musical illiteracy ....
Please advise to listen to some songs where the drum part is played in time signatures 5/8 and 7/8 (like two songs) - I just can't imagine how it sounds... even Gitra PRO didn't help... unless hard to name popular compositions- so that you can easily get it on the net ... thanks in advance!
30.07.06 16:54:51
Buddy, prog will help you! I highly recommend Arena! Pretty much any song.
I also once had problems with odd sizes. I had to count aloud, which I never liked :) But after a couple of months of such trainings in 5/4, 7/8, 9/8 and other people I feel quite good 8)
30.07.06 19:07:34
But the question arises ... for example, we take the size 5/4: you need to count exactly one - two - three - four and then count five much faster than the previous speed or just try to "exactly place the count of five in the normal period for four"
30.07.06 20:14:33
Usually such complex sizes are "divided" into simpler ones: 5/4 is 3/4 + 2/4 or vice versa. Weikl suggests counting 5/4 as dotted quarter+dotted quarter+2 quarters. By the way, Take Five sounds exactly like this (on a rhythmic basis).
30.07.06 22:26:29
I have a bassist friend, they wanted to play together. He had one thing on 7/8 (did not reach it) and one 5/8. Even according to the musical phrase itself, it was more like 10/8. two measures were played at 5/8, but the "reference" note of the second 5/8s (out of 10) was not on the first beat (eighth), but on the second. rolled. I got out of the situation (not without the help of a bassist - he is a very good musician. Arranger and composer) and so a verbal rhythmic riff was invented. It looks ridiculous to the point of disgrace, but it helps a lot. I highlighted the supporting notes (percussive) in the riff in capital letters. And by the number of syllables, it can be seen that there are 10 of them. Yes, and we don’t run away from the shock beats. So I suffered with this thing. He also comes up with such tricky bass riffs - a strong beat and the first one - he has different things. th reasons .. Such a pun .... Eh, but I liked his music.
31.07.06 17:20:17
Because you will count in 8th notes! After all, the duration of the notes does not provide for fifth notes, there are current whole, second, fourth, eighth, sixteenth and so on! With right side the duration of the notes that you will count is written, and on the left - the number of notes of this duration!
If I'm wrong - correct me!
31.07.06 18:04:31
Enik69, as it were, yes. Only the "counting" is more musical than the numbers. And yet it is 10/8 in texture and not 6 + 4. Well, you need to hear this song. (Good :-) And why I chose the "counting" - because that it reflects exactly the rhythm of the picture and not the cold numbers 10/8. Under these numbers, a lot of rhythms can be stored, but under my counting rhyme, only one. Moreover, the syllables "ra, ha, shcha, etc." they were chosen not from a bulldozer. They seem to show where and which drums to use. That is, the phrase "too tum" meant two eighth notes in a barrel. That is, it is almost a pattern from a drum machine someone will understand :-)))
Well, plus, this is just a conva. And not a hard drawing. You can change it right along the way. You just need to come up with (I call these rhymes "figures") such a figure and, in addition to the dimension, it will not let you fall out of the shares (i.e. does not allow to pass ..... a strong beat, which often happens in odd sizes)
Frekazoid, the denominator is four, which means the grid of recorded notes is quarter. Actually, what Chili P.
31.07.06 18:30:39
what immediately came to mind, in the size of 7/4: Joe Satriani- Flavor Crystal 7, and in size 5/4 - Tool - The Grudge.
Chili_Pepper explained everything very well and clearly :)
And whenever you need to determine the size of the composition, I count the beats on my fingers)) It almost always helps. For example, if you hear that basically the rhythm goes 8, then I bend my finger for each share)) I count the number of "thrown" fingers and the size is determined :))
01.08.06 09:31:10
Why can you count with your fingers only from one to five?
for example, if you count with one hand (I always do this), then get it like this:
Starting with thumb, 2 times we count all 5 fingers, it turns out ten, well, and the last share is again on the big one? here's 11/8
:) it sounds more complicated than it looks... so counting is easy.
By the way, 8th rhythms are better for me than 4th ... 5/8 is my favorite size, rather because for me it is the easiest.
01.08.06 13:22:10
It is more difficult not with those works where the size is odd, but where it changes several times. There you really need to count all the shares .. How do you, for example, like this :)
Introduction (4 v. 4/4)
Theme I (8 vol. 4/4) + (7/16 + 2/4) + (7/16 + 4/16 + 5/15) + (2 vol. 7/16) + (17/16)
Repetition of theme I
Theme II (7 v. 6/8) + (7/16) + (17/16)
Repetition of theme I
Repetition of theme II
Repetition of theme II (another texture 32mi)
I took the bars in brackets, because the accent in different instruments different, for example bars 4/4 is an overlay of rhythms with 16 notes 3 + 3 + 3 + 3 + 4 (cello, mandolin) and 4 + 4 + 4 + 4 (guitar). the grouping of measures is given from the point of view of the drummer :)
Bars 17/16 = 4+3+3+3+4
bars 7/16 = 4+3
bars 5/16 = 3+2
The work itself (Byzantium) is performed at a slow pace, you can listen here:
03.08.06 01:38:19
there is no shit there
but in general, if the change in size is due only to the desire to "smart" - then this is in vain. IMHO the size should be due to the melody. If it is such that it lies in an odd size, then this is musical.
We played a song where the verse was 4/4 and the chorus was 7/8.
And the link is not working.
03.08.06 02:42:58
I envy people who find complex sizes easy, so a few years ago a guitarist in my band came up with an interesting thing. Tried to play - it doesn't work. The size was probably calculated for about twenty minutes, it turned out to be 13/16 (the same as 4/4, only without three sixteenths). They suffered and suffered, and in the end they simply added the missing 3 sixteenths.
Size. Kinds of size
What is the size of a piece of music? How to diversify the "pulse" of music?
This section contains information about types of time signature.
Recall: the musical size (see dictionary) is the number of beats of a certain duration that form a beat.
Simple sizes.
Consist of a simple, indivisible number of shares. There are two-part and three-part.
Consider each type of simple size separately.
Double simple size.
The size at which the strong beats are evenly repeated through one weak beat is called a two-part. Those. strong beat, then weak beat, again strong, weak, etc. Examples of two-part sizes: 2/2, 2/4, 2/8.
Size 2/2 has its own name: alla breve (read: alla breve), as well as its own designation: .
Please note that one bar at this time signature contains two beats: the first beat is strong, the second is weak.
Tripartite simple size.
A measure in which strong beats are evenly repeated through two weak beats is called a tripartite. Examples of tripartite sizes: 3/2, 3/4, 3/8, 3/16.
Please note that one bar contains three beats: the first beat is strong, the second and third are weak.
Grouping durations.
In simple time signatures, the durations of the main beats should be separated from each other:
Figure 1. Duration grouping
There are exceptions, for example: if the measure contains notes of the same duration, then they can be grouped; size 3/8 allows the merging of the main beats.
Complicated sizes.
Complex dimensions are obtained by merging two or more simple homogeneous dimensions. For example, the size 4/4 can be thought of as a fusion of two simple sizes 2/4 and 2/4.
- Quadruple complex sizes: 4/2, 4/4, 4/8.
- Six-part complex sizes: 6/4, 6/8, 6/16.
- Nine-part complex sizes: 9/4, 9/8, 9/16.
- Twelve-beat compound sizes: 12/8, 12/16.
The number of strong beats in a complex meter corresponds to the number of simple meter in its composition.
Relatively strong stakes.
The emphasis on the first beat of a complex meter is always stronger than the accents of the other beats, which is why the first beat is called the strong beat, and the rest of the strong beats - relatively strong stakes.
Figure 1. Strong and relatively strong beats
In the figure, we see a complex 4/4 size made up of two simple 2/4 sizes. Accent signs ">" denote notes that correspond to strong beats. The strong beat is underlined in red - it is the first in the measure, and in blue - the relatively strong beat.
Note: since the beat in our case is one quarter, both the red and blue lines underline the durations of one quarter to indicate the beat.
Please note: strong beats in a complex time signature are evenly spaced.
Grouping.
When grouping notes in a complex time signature, the notes that are part of a simple time signature are combined. If the measure contains a single note whose duration is equal to the duration of the measure, then you can:
- specify one note with a duration of one measure;
- specify individual notes for each simple time signature, joining them with a slur.
Mixed sizes.
Mixed sizes are obtained by merging two or more simple dissimilar sizes. For example, the size 5/4 can be thought of as a fusion of two simple sizes 2/4 and 3/4; and vice versa: as 3/4 and 2/4.
Most common mixed sizes:
- Five-part sizes: 5/4, 5/8.
- Semilobular sizes: 7/4, 7/8.
The number of strong parts in a mixed size corresponds to the number of simple sizes included in its composition. Let's go back to the 5/4 example: since it is formed by the fusion of two simple sizes, it has two strong beats.
In the first case, when the 5/4 time signature is formed by merging the 2/4 and 3/4 time signatures, the strong beats will be the first (the downbeat of the 2/4 time signature) and the third (the downbeat of the 3/4 time signature). Look at Figure 1, everything will become clear:
Figure 1. Mixed sizes
Strong beats in the figure are indicated by the symbol ">" (accent). The figure also shows the sizes 2/4 and 3/4, from which we got 5/4.
If we change the order of simple dimensions, i.e. first 3/4, and then 2/4, then we will shift the second strong beat from the third to the fourth (see Figure 2):
Figure 2. Mixed sizes
From the examples it can be seen how important the order of the simple sizes in the complex one is: it is he who determines the location of the strong parts. It is also clear that the downbeats are not evenly spaced.
Mixed size properties.
Due to the heterogeneity of simple sizes that make up a complex size, the following is observed:
- the order of the simple sizes that make up the mixed size is important. It is this order that sets the alternation of strong and relatively strong parts (note that there are cases of a change in the order of simple sizes in a complex one throughout the same work);
- the alternation of strong and relatively strong shares in the mixed size is uneven.
Mixed size designation.
Sometimes, for ease of reading, next to the indication of the main size of the work, the order of simple sizes is written in brackets:
Figure 3. Mixed size designation example
Grouping.
Mixed time signatures are grouped in the same way as complex time signatures. Due to the heterogeneity of simple sizes, rhythm groups uneven.
Variable sizes
In music, it happens that the size changes within one piece. In this case, the product is said to have a variable size. Let's look at an example from which everything will become clear:
Figure 1. Variable dimensions
Initially, the size of the piece is set to 3/4. Starting from the 3rd measure, the time signature changes to 5/4. And in the 6th measure, the time signature returns to the original (3/4). This piece has a variable size.
As a repetition, please note: the work has reprises, triplets, sharps. In the penultimate bar above the closing sign of the reprise, “3x” is written - this obliges you to play this passage 3 times, and not 2, as usual.
Results.
You took note that the size can be simple, complex, mixed. In the course of the work, the size may change. This is called variable sizing. You also learned more about grouping notes and accents.
In this part of the book...
In this part, you will get acquainted with what is the basis of any music - with rhythm. Here you will learn how to read different notes and rests, understand how to count the rhythm and determine time signatures, get acquainted with such concepts as tempo and dynamics. If music theory is new to you, then you should start reading the book from here.
Chapter 4
musical dimensions.
In this chapter...
> Music staff
> Time signatures and how to determine them
> What is the difference between simple and complex sizes
> What is tact
If you are afraid that you will not be able to understand where you are in a long piece of music, then you have nothing to fear. genius creators music notation at the same time they came up with a way to streamline the avalanche of notes and pauses. Once you are familiar with the scale and structure of the staff, including bars, all you have to do is learn how to count the rhythm.
Meet the musical staff.
Notes and rests in music are written on rulers, which we call a sheet of music (or a stave: you can learn much more about staves and staves in Chapter 7). The stave consists of five parallel horizontal lines separated by four spaces (Fig. 4.1).
Treble and bass clef
Notes and pauses are written on the rulers and in the gaps of the stave. Which notes are located on specific rulers and between them depends on which key is at the beginning of the staff. Take another look at fig. 4.1. An elegant badge, vaguely reminiscent of the Latin G, is called a treble clef. On the right in fig. 4.1 at the beginning of the camp there is an icon resembling the number 9, which is called the bass clef. The treble clef is for recording the higher ones, and the bass clef is for recording the lower ones. In music for some instruments, such as the piano, where both staffs are used, treble clef is drawn above the bass, and the result is a multi-line musical system, or a piano staff. (In chapter 7 you will learn all about the piano musical staff.)
Size designation
In musical notation, immediately after the key at the beginning of the staff, you will see two numbers, one above the other (three possible options shown in fig. 4.2).
Such a pair of numbers is called the size, which, by the way, is the main character of this chapter. The size is put in order to tell the performer about two important things. S The number of counts in each measure. The top number in the time signature tells you the number of beats to count in each measure. If top number is equal to three, then there are three counts for each measure. S What share corresponds to one account. The bottom number in the time signature tells you how much duration goes into one count - most often it is an eighth or fourth beat. If the bottom number is four, then one count corresponds to a quarter. If the eight is written below, then one count is equal to the eighth share.
So you
A measure is a piece of music notation between two vertical lines, which cross the stave from the top to the bottom ruler. In the musical notation of a piece of music, the bars go one after the other, and the number of beats in each bar is determined by the top number in the time signature. The first beat of each bar, counting "ones", is a strong one. The top number in the time signature indicates how many beats should be in a measure, as shown in Fig. 4.3.
As we found out in chapters 2 and 3, it is extremely important to keep counting mentally when playing: counting determines the music that will be the result. Correct account - key component in music. You must be so deeply imbued with the idea of counting that you stop noticing how you count the shares. Practicing bar counting is a great way to make sure you're playing the piece to the rhythm the composer intended (see Chapter 2 for more on rhythm and counting).
The score according to the size is reminiscent of a driving school. The instructor teaches you to constantly look at the road directly in front of you, because your body (and car) is moving where your eyes are directed. As an experienced driver, you don't even notice that your eyes are constantly focused on the stretch of road in front of you. When fiddling with the receiver or talking to the person sitting next to you, you automatically concentrate on driving straight ahead and not winding all the way - even if you are asked difficult questions or the disc refuses to be inserted into the player. The main thing is to train your mind, teach it to automatically follow the rhythm, and as soon as you achieve this, you no longer have to force yourself to keep count in your mind - you will count automatically. There are two types of musical scales.
> Simple.
> Complex.
simple dimensions
Simple time signatures are easier to count, since counting one or two in a piece of music seems the most natural to the listener and performer. A simple size does not meet four requirements.
1. Each account is divided into two equal parts.
This rule is self-evident when applied to eighths and still less. In simple time, two eighths are always connected to each other by a crossbar called a rib, the same goes for four sixteenths and eight thirty-seconds. (If you have two sixteenths and an eighth that go together, then those three notes are also joined by an edge.)
In other words, if more than one note goes to one account, then all of them are always grouped together in such a way as to constitute one account. On fig. 4.4 shows a grouping of notes in simple time.
2. A note going to one count must be a note without dots.
When counting the rhythm of a song to yourself, you should count only notes without dots, which can be divided into two equal durations. It usually refers to quarters, but sometimes it can be half, whole, or eighth. For example, in 4/4 time, while silently counting the bar, you count: "One two three four" over and over, and in 3/4 time you count: "One two three, one two three." If the size is 2/4, you need to count "one two".
3. The top number is not divisible by 3 unless it is 3.
For example, 3/4 and 3/8 are considered simple sizes, while 6/4,6/8 and 9/16 are considered complex. 4. The number of beats in each bar is the same.
All measures of a song in simple time have the same number of beats. Once you get the feel of the time signature, you don't have to worry anymore: just make sure you play the notes rhythmically.
Bars and counting in simple time
Measures are designed specifically to help players keep track of where they are in the piece and play in the correct time signature. In simple time signature, it is in the bars that you can feel the true rhythm of the piece, even if you are just looking at the notation without playing the notes. In simple time signature, the strong beat is always the first beat of each bar. This means that when you see a line like the one shown in fig. 4.5, the rhythm is counted as follows: ONE two three four ONE two three four ONE two three four.
Recall that the bottom number 4 says that there is a quarter per beat, and the top number 4 says that there are four beats in each bar - or four (and only four!) fourth beats.
Here are three examples of common simple sizes.
>>> 4/4 (four quarters). Widely used in popular classical music, rock, jazz, country, bluegrass, hip hop and house.
>>> 3/4 (three quarters). Used primarily in waltzes, but also in Western European and country ballads.
>>> 2/4 (two quarters). Used in polkas and marches
Instead of writing 4/4, some composers put the letter C to indicate this time signature. So if you see the letter C in place of the time signature, then the piece is written in 4/4 time.
If the piece size is 3/4, as shown in fig. 4.6, then you need to calculate like this:
And now attention! If the size is 3/8, then one eighth corresponds to one account, as shown in fig. 4.7.
Read the rhythm of the musical fragment shown in fig. 4.8, you need this: ONE two three ONE two three ONE two three.
The 3/8 and 3/4 time signatures have almost the same rhythmic structure (in terms of timing), but since the 3/8 time signature uses eighths rather than fourths, the 3/8 piece must be played twice as fast as the pieces. by 3/4, since the eighth is equal to half the duration of the quarter.
If the size is 2/2, then a half share goes to one account. And since the top number indicates that the number of beats in a measure is two, there will be two half beats in each measure, as shown in Fig. 4.8.
Calculate the musical fragment shown in Fig. 4.8, you need this: ONE-and TWO-and.
Measures with a "numerator" of 2 were widely used in medieval and even earlier music. The music of those times used a rhythmic structure called minim, based on the rhythm of the human heart.
Learning to count in simple size
In this section, you can practice counting the rhythm (rather than reading notes) shown in fig. 4.9-4.13. When counting out loud, remember to strike the first beat.
Complex dimensions
Complex musical time signatures, as you might guess, are a little trickier than simple ones. Here is a short list of rules that help you instantly determine if the size is difficult.
1. The top number, if it is more than three, is completely divisible by three.
Any size whose top number is 6,9,12,15, etc. is complex. The 3/4 and 3/8 sizes are not difficult since the top number is 3. The most common complex sizes are 6/8, 9/8 and 12/8. See fig. 4.14 for an example of a complex size.
>>> 2. A dotted quarter or three-eighths is entered into one account.
>>>3. Each account is divided into three components.
Again, everything becomes clear when we are talking about eighths and less. In simple size, two eighths and even numbers sixteenths (2 or 4) are always connected by edges. In a complex meter, three eighths or six sixteenths are connected by ribs.
On fig. Figure 4.15 shows a grouping of notes with "base" three, which is used in complex time signatures.
Measures and counting in complex meter
The only significant difference between works written in simple and complex meters is that they sound different, and this is felt by both the listener and the performer.
In a complex time signature, not only the first beat of each bar is strong, as in a simple time signature - a somewhat weaker emphasis is also placed on each subsequent beat of the metronome. Thus, in each measure of the work in 6/8 there are two clearly accented beats, in the time signature of 9/8 - three accented beats, in the time signature of 12/8 - four.
Two examples of complex musical time signatures.
>>> The 6/8 time signature is used in fast waltzes and Latin music, Mexican mariachos.
>>> The 12/8 time signature is used in 12-bar blues and doo-wop.
Divide the top number by three to determine the number of accented notes in each measure of a compound time signature. This will help you determine the tempo-rhythm of the music being played and thus learn how to place accents. For example, in a piece on 6/8, you need to emphasize the first beat of each! long measure, but also lightly accentuate the second group of eights in the measure, as shown in Fig. 4.16.
So, the placement of accents in Fig. 4.16 would look like this: ONE two three FOUR five five six ONE two three FOUR five five six. If the size looks intimidating, for example 9/4, as shown in fig. 4.17, then you need to count the size (not notes!) like this:
In simple meters, the rhythm of a piece of music can be broken down into two-part segments. In complex time signatures, the rhythm is broken into three-part segments.
Learning to count in complex size
With the help of the examples in this section, you can practice counting the dimensions shown in fig. 4.18-4.20. When counting out loud, remember to place a slight emphasis on the first beat and an additional emphasis on the "pulse point" that usually follows every third beat. (Added "-and" and capital letters designed to emphasize the rhythmic pattern of some notes in time. We understand that this technique is not entirely scientific, but it will give you general idea how to count shares in various sizes.)
Asymmetric sizes
Asymmetric time signatures (sometimes called compound or irregular time signatures) usually contain five or seven beats - as opposed to the traditional two-, three-, and four-part groupings of notes within bars that we have looked at so far.
Asymmetrical time signatures are often found in traditional music different countries. They are widespread in both European and Eastern (particularly Indian) popular and ethnic music.
When music is played in an asymmetrical time signature, the score (and rhythm) sounds and is perceived somewhat differently than in music written in a simple or complex time signature.
For example, in fig. 4.21 the score is determined by the arrangement of half beats in each measure, so that the emphasis is on the third beat in the first measure and the fourth in the second.
On fig. 4.22 grouping of eighths shows where accents should be placed - on the first eight on each edge.
Music in 5/4, 5/8, and 5/16 time signatures is usually divided into two counts, either as two + three or three + two. The placement of accents does not have to be the same in all measures - only the number of beats in each measure is constant.
On fig. Figures 4-23 and 4.24 show musical phrases written in 7/4, 7/8 and 7/16 time signatures. Remember that the placement of accents changes from bar to bar.
It should be noted again that asymmetrical sizes are considered incorrect and difficult only in terms of Western civilization. Wrong time signatures have been considered absolutely correct throughout the history of music around the world, including in Ancient Greece and Persia; they can still be heard, for example in Bulgarian folk music. Many modern Western composers and bands - Steve Albini, Week, Dave Brubeck, June of 44, Andrew Lloyd Weber, Frank Zappa, Pink Floyd, Yo-Yo Ma, Bobby McFerrin and Stereolab - use asymmetric time signatures in their music. A whole genre of rock music, the so-called "math rock", is built on the use of such compound time signatures as 7/8, 11/8, 13/8, etc., and its representatives do their best to avoid the standard rock time signature 4/ 4.
Hello friends! Today I open a series of articles related not only to "percussion" and drums, but to music in general. We will consider important musical terms and definitions that every musician should know. This article will focus on musical meter.
What is a musical meter?
Meter in music (definition, term)- this is a measure that sets an imaginary coordinate time grid, which consists of a continuous alternation, equal in duration, strong and weak beats. Such shares are called metric.
Unit and expression of musical meter.
musical meter expressed - in size (digital expression), reflected in measures and unit of measurement - are beats. We will talk about shares now.
P.S. Very often you can find the use of the expression of a musical meter in crosswords and crossword puzzles.
What is a share and what are the shares in music?
Musical share- unit of measurement of musical meter. Shares are:
- Strong.
- Relatively strong.
- Weak.
A strong beat in music is considered to be accentuated, and a weak beat is not accentuated.
However, remember: downbeat and accent are not the same thing. The accent can be applied to any beat. The choice of the beat to be emphasized falls on the shoulders of the composer. Imagination tells him how the future composition should look like. Based on this, the author places emphasis.
Metric accent- this is the allocation of certain notes and shares. Metric accents can be either real (higher volume due to the sound) or imaginary (highlight with a pause). 
To clearly understand what a meter is, let's take a ruler with millimeter notches, where the distance between the small dashes will mean notes.
The middle dashes will be the beginning of the weak beat, and the large ones will be the beginning of the strong beat.
Along the lines of our figurative ruler, you can set rhythmic patterns from notes of various durations. Drawings can be completely different, but they must fit into the lines of our line.
Friends, in general, the concept of musical meter is rather abstract. AT musical works it may not be expressed at all, and be present only in the “head” of the musician.
What is musical scale?
Meter and size in music are closely intertwined, in most cases, if we are talking about meter, then it can be replaced by size. But it's worth remembering important difference- the time signature specifies the relative duration of each beat, which the meter does not do. In addition, time signature in music is related to the measure, so the following definition can be given:
time signature- "numerical" display of the meter, showing how many beats are used in a measure and their relative duration, and is indicated as a fraction.
Take, for example, the time signature "2/4", it tells us that there will be 2 beats in a measure, and the duration of each beat is one. Such an example is often used for children, explaining the concept of time signature in music. 
On the stave, the time signature is placed immediately after the key at the beginning of the composition or measure from which it changes.
The fractional line between the figures showing the size on the musical staff is not put. The picture below shows the size - 4/4 (four quarters).
What are musical meters and sizes? Types of sizes and examples.
Musical time signatures are divided into:
- Simple.
- Complex.
Simple measurements (meters) in music.
Simple meters are two-part and three-part.
- Double meter- musical meter, in which the strong beat is repeated evenly through one weak beat. Double meters include the following sizes: "2/2", "2/4", "2/8", etc.
- Tripartite meter- a musical meter in which the strong beat is repeated evenly every two weak beats (consists of one strong beat and two weak beats). The following sizes belong to triples: "3/2", "3/4", "3/8", etc.
Complex meters (meters) in music.
Complex (combined, composite, mixed) meter- a musical meter obtained by merging two or more simple meters. Therefore, complex meters can include several downbeats. Total which is equal to the number of strong fractions of simple meters that make up the compound meter.
There is one “raisin” in a complex meter: the first strong beat of a complex meter is called strong, but the subsequent strong beats are called relatively strong. The emphasis of strong beats is higher, and relatively strong beats are lower.
What are complex dimensions?
Anything larger than a three-part meter is considered a complex size, for example:
- quadruple - "4/2", "4/4", etc.
- five-part - "5/4", "5/8", etc.
- hex - "6/4", "6/8", etc.
- seven-lobed - "7/4", "7/8", etc.
- eight-part - "8/4", "8/8", etc.
- nine-part - "9/4", "9/8", etc.
- other.
There are no strict limits on complex sizes. Everything rests on the musician's imagination and, accordingly, its implementation. However, it is worth remembering that the more complex the meter is, the more difficult it is for a composer to write and play such music, and the more difficult it is to perceive and feel it for a simple listener.
What are asymmetrical sizes (mixed) sizes?
A feature of asymmetric sizes is the combination of two-part and three-part meters. For example, let's take the most common mixed musical time signature "5/4", which can be obtained from two options for combining double and triple time signatures: 
- Option: "3/4" + "2/4" - in this case, the emphasis will be on the first and fourth beats of the measure.
- Option: "2/4" + "3/4" - in this case, the emphasis will be on the first and third beats of the measure.
The five-beat time signature "5/4" in music is found mainly in jazz and folk music.
Other examples of asymmetrical (mixed) sizes are: "7/4", "9/4" or even "11/4", as well as their varieties "7/8", "9/8", "11/8" and so Further. As homework try to figure out for yourself, by combining what sizes you can get such mixed sizes? Write in the comments what you got =)
What is a variable size?
Another type of size is variable size. It is formed when, during one composition, the size changes from one to another (this can happen repeatedly). Meets this species size is mainly in folk music and is associated for the most part with the freedom to perform songs not constrained by any musical framework.
What is an unequal meter (size)?
The concept of an unequal meter appeared in the 20th century and means a musical meter in which the duration of the shares included in the meter is different. Most often, an unequal meter can be found in folk songwriting. As an example, Bulgarian folk songs. An unequal meter is very rare in contemporary music, so do not focus on it, just remember that there is such a kind of musical meter =)
How to determine the musical size?
It is very difficult for a simple listener or a beginner to determine the size, for this you need to feel the alternation of strong, weak and relatively strong beats well. This is called "pulsation". By learning to feel the "pulse" of music, you can determine the size by ear. Determining simple sizes is not so difficult, but with complex ones it can be extremely difficult even for professionals.
On a note! Very well able to feel the music (and size, respectively) dancers.
The sizes of the main dances (who still remembers which dances, write in the comments):
- Samba - "2/4".
- Polka - "2/4".
- Cha-cha-cha - "4/4".
- Rumba - "4/4".
- Paso Doble - "2/4".
- Jive - "4/4".
- Foxtrot - "4/4".
- Quickstep - "4/4".
- Tango - "2/4".
- Gallop - "2/4".
- Waltz - "3/4" (three quarters).
What kind of meter notation can be found on the stave?
- with- an abbreviation and equivalent of the musical size 4/4.
- ¢ - alla breve (alla breve) - an abbreviated designation and the equivalent of 2/2 size.
