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. .... Oh, and 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 is 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 could be the size 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 downbeat d, 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.
- Seven-lobed 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 note grouping and accents.
Leonid Gurulev, Dmitry Nizyaev
ACCENT. METER. SIZE. TACT.
BREAKING LINE. STAT.
In music, sounds, as you understand, are organized in time. Due to this we are talking about two terms that are quite close in application, but still have a fundamental difference. This rhythm And meter which we already met in the previous lesson. Let's repeat just in case: rhythm is the ratio of durations, or rather, the moments of taking sounds in music. That is, a kind of "drawing" or "pattern" that unfolds in time. Compare this with the concept of "meter". Meter - in music theory means an abstract pulsation, which is always implied in music, although it may not be embodied in real sounds. Rhythm is a pattern, and meter is a grid. One concept is embodied in notes, and the other is abstract.
The individual clicks of an imaginary metronome are called beats. Each measure of the work is made up of beats. The number of beats in a measure can be different, but the main thing you need to pay attention to now is that these beats are not equivalent to each other. Regardless of the genre and other parameters of music, always the first beat (the first metric beat) of each measure has a b O more semantic load, more weight than all the other shares. Therefore, the first beat of a measure is called strong beat is also an established term. Actually, the measure is the gap between two adjacent strong beats. And that involuntary emphasis that you make on a strong beat when playing music is called accent. However, you can make an accent on any note, if it is required by the nature of the melody. Just so you don't get confused: a strong beat is an indestructible thing, and an accent is just a manner of performance.
The beats that do not have accents are called weak beats.
The uniform alternation of strong and weak parts of time is called meter- the same meaning, but in different words.
The fraction of a meter can be expressed in different durations: a meter (or, if you like, a unit of time) in a piece of music can be expressed in whole, half, eighth or sixteenth durations. In principle, any duration, but personally I have never seen works with a meter smaller than sixteenths.
Let's go ahead and get acquainted with the concept size. Speaking in the language of programmers, specifying the size for piece of music similar to loading an initialization file - it's like presetting parameters before starting. Size is usually represented as a simple fraction, that is, two numbers, one above the other. These numerals are written immediately after the clef (and key marks, if any) so that the middle line of the staff serves as a fraction separator for them. The number of beats is written in the numerator, that is, how many beats of the metronome should sound in each measure. In the denominator - the duration, which will serve as a unit of measurement. For example:
IN music notation bars are separated from each other by a vertical line across the stave. This feature is called a bar line. The barline is placed before the downbeat to make it stand out.
If the music begins with a weak beat, then an incomplete measure is formed first, which is called on the beat. In most cases, the lead time does not exceed half a measure. Zatakt can also be formed in the middle of the piece before any part of it.
At the end, and sometimes at the end of a part of the work, a double bar line is placed.
In most cases, works or separate parts of them, which began with an off-beat, end with an incomplete measure that complements the off-beat. This is a tradition. This is done even when there is no actual musical material left to create the final incomplete measure - just an incomplete measure is "added" with the help of pauses.
SIMPLE METERS AND DIMENSIONS. GROUPING
DURATIONS IN TIMES OF SIMPLE TIMES
A meter in which accents (strong beats) are repeated evenly through one beat is called bipartite.
A meter in which accents are repeated evenly over two beats is called tripartite.
Two-part and three-part meters having one accent are called simple. All their dimensions expressing the same are called simple dimensions. Common sizes include:
a) two-part sizes -
the size is also called alla breve and has a different designation: .
b) Tripartite sizes - less common
The formation of rhythmic groups within a bar is called grouping durations.
When grouping durations in simple time signatures, the main beats of the bar (metric beats) must be separated from each other. For example:
In the order of grouping durations in simple meters, the following exceptions are allowed:
1) Combining all durations by a common edge is possible in cases where these durations are the same. For example:
In 3/8 time, the following grouping is allowed due to small beats of the bar:
2) A sound whose duration occupies the entire measure is written with one note without the use of a league.
3) In the case when a note that begins a metric part has a dot, for example:
COMPLEX METERS AND DIMENSIONS. RELATIVELY STRONG SHARE. GROUPING DURATIONS IN MEALS OF COMPLEX TIMES
When merging simple homogeneous meters are formed compound meters.
A compound meter may consist of two or more simple meters. Due to this, a complex meter can have several strong beats. The number of strong beats in a compound meter corresponds to the number of simple meters included in its composition.
The accent of the first beat of a compound meter is stronger than its other accents, so this beat is called strong, and beats with weaker accents are called relatively strong shares.
All sizes expressing complex meters are also called complex sizes. Therefore, what was said above about the composition of complex meters equally applies to complex sizes.
The most common sizes expressing a complex meter are the following complex sizes:
a) quadruple sizes: 4/4, 4/8, less common 4/2
b) six-part sizes: 6/4, 6/8, less common 6/16
c) nine-part sizes: 9/8, very rare 9/4 and 9/16
d) duodenal sizes: 12/8, less common 12/16
You can use other sizes, since there are no fundamental prohibitions on this. You will have to take into account, however, that the "perceptibility" of your music will deteriorate greatly as the size becomes more complex. All sizes, as can be seen from the explanations above, one way or another go back to two- or three-part, or, in other words, to the genres of march or waltz. These, the simplest, dance and habitual movements in two or three steps, are perceived by the listener most naturally, thanks to which such music is easily remembered, causes more emotional response. The sizes that are not related to two- and three-part ones, for example, 5/4, 11/4, 7/8, etc., are perceived by ear as very unusual, exotic, difficult. You will need considerable talent, a talent for suggestion and personal charm to give music in such metrical conditions a real naturalness and memorability ...
Grouping in complex meters lies in the fact that the simple meters that make them up are not combined into common rhythmic groups, but are grouped separately, forming independent groups; like hidden bars, not highlighted by bar lines. A sound whose duration occupies the entire complex measure is written in the form of a total duration (one note), but sometimes also - notes connected by a league, the duration of which is simple measures. This last technique is more consistent with the patterns of grouping in complex sizes.
MIXED METERS AND SIZES. GROUPING
DURATIONS IN MIXED SIZES
As we already know, simple meters can be combined into complex ones. From the fusion of two or more simple heterogeneous meters are formed complex mixed meters. For simplicity, they are called mixed meters, and the dimensions expressing them - mixed sizes.
Mixed time signatures are found in music much less often than simple and complex time signatures. The most common of them are five-part and seven-part ones: 5/4, 5/8, 7/4, 7/8.
Occasionally there are other mixed sizes, such as 11/4. For example, in the finale of the opera The Snow Maiden by N. Rimsky-Korsakov there is a large solemn choral number in 11/4 - it sounds very fresh. Also, most of you have probably heard the melody "Take Five" in 5/4 time, which jazz performers invariably use for their improvisations.
Mixed sizes differ from complex sizes in some ways:
1) the structure of mixed time signatures depends on the sequence of simple sizes that make them up, which affects the alternation of strong and relatively strong beats of the bar;
2) the alternation of strong and relatively strong beats follows unevenly.
For example:
A). Fivefold dimensions:
Pay attention to the "dependence" of the strong beats (under the note, the strong beat is marked with a "bird on the side" - an accent mark) on the size indicated with the key.
In the first case, the accents fall on the first and third beats, in the second case, on the first and fourth beats of the measure.
b) Seven-lobed sizes: 7/4 (3/4+2/4+2/4) and 7/4 (2/4+2/4+3/4). Try to determine your own strong and relatively strong beats, using the example above.
Here, in the first case, the accents fall on the first, fourth and sixth beats of the bar, in the second case - on the first, third and fifth beats of the bar.
The structure of the measure - 7/4 (2/4 + 3/4 + 2/4) is almost never found in music.
There are cases when in the same piece of music the order of alternation of simple meters that make up the mixed time signature changes.
For the convenience of reading notes in a mixed time signature, sometimes, next to the main time signature, an auxiliary designation is written in brackets in the form of an alternation of simple sizes in a measure, as we have just seen.
There are also variable sizes. Let's say one bar has three quarters, and the next bar has four. In this case new size set at the beginning of the bar.
SYNCOPE
A rhythmic figure in which there is a mismatch between rhythmic and metrical accents is called syncopation. In music, syncopations are common, they occur in those cases, for example, when the sound of a weak beat of a meter continues to sound on a subsequent strong beat. The result is a shift in emphasis to this weak metric beat.
The same is observed in those cases when the sound of the weak time of any metric beat is preserved on the strong time of the next metric beat. For example:
The following forms of syncopation are more common, they are considered the main ones:
a) interbar syncopations are two-part and three-part;
b) intra-bar syncopations of two and three beats.
In addition, syncope may occur after a pause in the accented beat. In the spelling of intra-bar syncopations, deviations from the rule of grouping durations are allowed. So, for example, an intra-bar syncopation is usually written by merging the weak and strong beats into one note, but sometimes they are also written with the help of a league, in two notes, adhering to the grouping rule. Inter-measure syncopations are written with two notes, connecting them with a league through a bar line.
GROUPING IN VOCAL MUSIC
In music for voice with text, the grouping of durations is related to the syllabic composition of speech. An individual duration per syllable is not combined into a group with neighboring durations. If one syllable is sung with several sounds, then their durations are combined into groups according to general rule. I won't give too many examples. This topic is not complicated at all, so to consolidate, if you need, look at any Beatles song or in the "Vocal Works" of the library of our site, and everything will become clear to you.
PACE
The speed of movement is called pace. In music, tempo, as one of the means of expression, depends on the content of a piece of music (or, rather, vice versa: content depends on tempo). Tempos are divided into three main groups: slow moderate and fast. To determine the pace, mainly Italian designations are used. Behind Lately in Russian editions, tempo designations in Russian began to be used. In jazz notes, English terms are traditionally used. Below is a list of the main tempo symbols.
Slow pace: Largo- wide, Lento- lengthy Adagio- slowly, Grave- hard.
Moderate pace: Andante- take it easy, don't rush Andantino- more mobile than andante, Moderate- moderately Sostenuto- restrainedly allegretto- lively Allegro moderato- moderately soon.
Fast paced: Allegro- soon, Vivo- alive, Vivace- alive, Presto- fast Prestissimo- very fast.
To clarify the shades of movement when deviating from its basic rates, some additional designations are used: molto- Very, assai- very, con moto- with movement commodo- convenient, non troppo - not too much, non tanto - not so much, semper- all the time, meno mosso- less mobile piu mosso- more mobile tranquillo- calmly.
For greater expressiveness, when performing a piece of music, gradual accelerations or decelerations are often used. general movement. They are indicated in the musical text by the following words:
a) To slow down: ritenuto- holding back ritardando- being late allargando- expanding, rallentando- slowing down
b) For acceleration: accelerando- speeding up animando- inspiring stringendo- speeding up stretto- compressed, squeezing
To return the movement to its original pace, the following notation is used: a tempo- at the pace tempo primo- initial pace tempo I°- initial pace l"istesso tempo- the same pace.
All tempos used in music according to verbal designations are approximate or, as they say, conditional. A metronome is used to set a more accurate tempo. The most common metronome of the inventor Melzel is in the form of a tetrahedral pyramid with a pendulum. Therefore, the metronome is abbreviated - M. M., which means "Metronome Mälzel". The metronome counts the required number of beats per minute by means of a pendulum. The speed is controlled by a movable weight. The pendulum of the metronome is set in motion by a winding mechanism. Each beat is taken as a unit of time - a fraction of a given meter and, accordingly, is considered as a duration equal to half, or a quarter, or an eighth, etc. The composer sets the tempo designation according to the metronome after the verbal designation. For example: Allegro M. M. = 18.
Allowed by the performer minor deviations from the tempos indicated by the author depend on his artistic individuality and his personal understanding of the music being performed.
CONDUCTING TECHNIQUES
Conducting, in the broad sense of the word, means managing the performance of a piece of music by a choir, orchestra or other large ensembles.
When applied to singing or solfeggio, conducting means: firstly, counting, that is, indicating the duration of time and changing beats; second, setting the pace for this work. As strange as it may seem, you can conduct even for yourself when you read unfamiliar notes, sing or write down a melody from memory. In these cases, conducting yourself not only greatly facilitates your orientation in meters - and all your work, but also unexpectedly greatly speeds up the process of learning, getting used to, developing, etc. Conduct yourself - and almost all new concepts from the music theory course will be assimilated by you twice as quickly and more firmly.
The basis of the modern rhythmic system is the metrorhythm. To understand this system great importance have such concepts as meter, measure and time signature.
A meter is a regular alternation of heavy and light (strong and weak) beats equal in duration.
The easiest way to understand the meter is to pronounce a word. For example, if you pronounce the word music - music, you can hear that the accents are repeated at regular intervals. IN given word this gap is equal to three syllables mu-zy-ka_ mu-zy-ka. In music, this would be the equivalent of a three-foot meter.
If you pronounce the word hand, then the accents will be repeated after one syllable and a two-foot meter is formed.
The accent falling on the first syllable is called a strong beat in music, and the rest are weak.
The distance from one downbeat to the next is called a beat. Just as the fractions of a meter, subdivided into strong and weak ones, form a measure, in turn, measures, due to the uniform alternation of heavy and light measures, can be combined into groups.
Meter, clock pulsation as a uniform system of time counting is in constant conflict with phrasing, articulation, including the harmonic, linear sides, rhythmic and, and this contradiction is the norm in the music of the 17th-20th centuries.
Outside the metrical organization, rhythmic clarity cannot arise. The role of the meter in rhythmic movement can be likened to the role of the mode in the pitch organization: strong beats correspond to the supporting, stable sounds of the mode, and weak beats and various durations of the rhythmic pattern are unstable.
Just as a rhythm develops on the basis of a mode, a rhythmic pattern develops on the basis of a meter. Thus, meter and music are practically inseparable from each other. 
The top line is a meter, the bottom line is .
The concept is very close to the concept of meter size. If the meter determines only two-part or three-part (I already wrote about this), then the size is a specification of the meter, that is, it connects the meter with a certain duration of the beats. So, the metrical basis can be the same, but the duration of the shares is different: they can be expressed in half, quarters, eighths and other durations.
The size is indicated by two Arabic numerals arranged vertically. . The top number of the size indicator indicates the number of metric beats, and the bottom number indicates the multiplicity of each beat.
Sizes are divided into simple, complex homogeneous And complex mixed.
simple dimensions consist of one rhythmic foot, i.e. can only be two or three beats. The most common sizes are 2/4.3/4.2/2.3/2 etc. In simple sizes, one strong beat is their main distinguishing feature. 2/4 is typical for , and ¾ for Waltz, also Waltz can be recorded in 3/8 at a slower tempo.
Complex uniform dimensions - are formed by gluing together two, three or more identical simple sizes. Thus, we get the dimensions 4/4.6/4.6/8.
Please note that in complex meters there are two or more rhythmic stops, i.e. in addition to the strong main share, another one is formed at the junction of the sizes - this share is called relatively strong. For example, in a 4/4 time signature, the third beat is where the 2/4 meets and is therefore relatively strong. In 6/4, the 4th quarter will be relatively strong.
An important note concerns sizes 6/4 and 6/8. Sometimes these sizes are confused with simple ones, because outwardly they look the same: 
In the first measure, the grouping of accents is not correct, since it can be reduced to a simple time signature with a count equal to half. This grouping tells us about the size 3/2, which is simple. That is, for correct definition the counting beat is also important, which is determined by the frequency of changing rhythmic stops within a complex time signature. This can also be illustrated in sizes 6/8 and 3/4: 
Pay attention to the different rhythmic notation (grouping) - it is explained by the presence of a relatively strong beat in the first measure and the absence of it in the second.
Complex mixed sizes, as you probably already guessed, are formed from mixing unequal simple ones. For example, ¾ + 2/4 makes 5/4. But also 2/4+3/4 makes 5/4.
This duality characteristic complex heterogeneous sizes, which is very often played up with modern ones. How to tell which sizes are mixed? By accents and grouping. For example, famous theme Take Five is written like this: 
From the record it can be seen that this combination is ¾ + 2/4. If we flip it in a mirror way, we get an inverse blend.
Sizes 7/8, 11/8 and others are also formed. Distinctive feature of such sizes uneven alternation of rhythmic stops.
In addition to those described above, there are also variable time signatures in music. A variable is a size with a changing number of countable parts.
If the alternation (change) of certain sizes in a work is carried out strictly systematically, then such a variable size is called periodic. In this case, at the beginning of the piece, the designations of both (or several) sizes are immediately set in accordance with the order of their alternation.
If the change of different sizes will occur only sporadically, that is, without a specific system, then this size is called non-periodic variable size. In this case, the designation of the newly arrived size is displayed inside the piece every time.
The system of variable time signatures is characteristic of the free meter of music of the 20th century, as opposed to the strictly classical meter of the previous three centuries.
It is also worth mentioning the organization of the meter without barlines and without time signature. As a rule, in such music, the meter is a freely variable value, practically inseparable from . And although the ratios of durations are preserved, such concepts as strong and weak beats do not matter, which is typical of those already considered by me.
Tact theory in the 20th century replenished with an unconventional variety - the concept of unequal tact.
It came from Bulgaria, where they began to record samples in such measures folk songs and dances. In an unequal measure, one beat is one and a half times longer than the other and is written as a note with a dot (“limping”). For an adequate sounding musical notation of such mixed measures, Bulgarian musicologists even offer numbers with fractions, for example, instead of 5/16, 7/16 - designations: 2 ½ / 8 or 3 ½ / 8.
New, non-beat forms of organization appeared in the 20th century, along with the free clock meter. To the number newest forms include, in particular, rhythmic progressions and series based on the principle of temporal irregularity, aperiodicity, as opposed to the principles of tactometricity.
While professional musicians and able to memorize music by ear, most beginners need to learn how to read music. Understanding the principles of reading music is also important for dancers and can captivate the heart of the casual listener. First you need to learn how to count musical rhythm or know how long to hold or play each note. It is also important to know what a time signature is. This article describes the standard principles for reading music using the 4/4 time signature.
Steps
Part 1
Rhythm count- Quarter notes take 1/4 measure.
- Eighth notes take up 1/8 of a bar.
- Sixteenth notes take up 1/16 of a measure.
- Notes can be combined to form one whole note, for example, one half note and two quarter notes last one full bar.
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Try to keep the rhythm. If the rhythm is monotonous, try to beat it with your heel and count to four several times: 1-2-3-4, 1-2-3-4. Speed is not as important here as keeping the same gap between each hit. A metronome can be helpful in maintaining an even rhythm.
- Every full cycle counting 1-2-3-4 equals one measure.
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Try counting the length of the base notes. Say or sing "la" while silently counting the rhythm. A whole note will take up the whole bar, so start singing la on the first beat and hold it until you reach the fourth. You just sang a whole note.
- Two half notes make up a full measure. Sing the note "la" for beats 1-2, and then a new note "la" for beats 3-4.
- Four quarter notes make up a full bar. Sing the note "la" for each beat.
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For smaller notes, add syllables. For eighth notes, divide the measure into eight equal segments, although you will continue to hit only four beats per bar. Add the union "and" between each beaten share: "1 and 2 and 3 and 4 and." Practice until you get it right. Each word is responsible for 1/8 notes.
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Point value. Sometimes in music, a small dot is placed right after the notes. It means that the length of the note should be increased by 50%.
- A half note usually takes two beats, but with a full stop it increases to three beats.
- A quarter note without a dot occupies one beat, with a dot - 1 1/2 beats.
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Practice playing triplets. Triplets are a group of three notes that last one beat. It is quite problematic to perform them, since all the notes studied before had equal parts. Say the syllables - this will help you master the triplets.
- Try hitting triplets by saying "1st, 2nd, 3rd, 4th."
- Remember to keep the numerical beats consistent when using a metronome or foot beats.
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Do it your way. Fermata - musical notation, has the form of a dot with an arc above the note. According to this symbol, you have the right to stretch the note as much as you like, regardless of the musical rules.
- If you are in an ensemble, then the duration of the note is determined by the conductor.
- If you are performing solo, determine in advance the most suitable length.
- Listen to a recording of your playing if you're not sure how long to hold a note. This will give you an idea of other artists' decisions, which will help you choose the best sound.
Part 2
Learn the time signature-
Determine the time signature. In the upper left corner of the music notation, you will see several musical notations. The first character is called the "key", which usually depends on the instrument the piece is played on. Then there can be sharps or flats. But after them you should see two numbers arranged in a column. This is the time signature.
- In the first part of this article, we used the 4/4 size, which is denoted by two fours. standing each on another.
The concept of tact. The music is divided into measures, indicated by vertical bars. Notes in music are named according to how long they take in a bar. Think of a bar as a pie that can be cut into quarters, halves, eights, or a combination of different notes.
Learn basic musical notation. Note names carry information about what part of the measure they occupy. To fully understand, you must know the elementary meaning of "shares". A whole note will take up the whole measure, half notes - half a measure.
