This makes meter a very useful way to organize the music. Other types of music, such as traditional Western African drumming, may have very complex meters that can be difficult for the beginner to identify.īut most Western music has simple, repetitive patterns of beats. Ancient music, such as Gregorian chants new music, such as some experimental twentieth-century art music and Non-Western music, such as some native American flute music, may not have a strong, repetitive pattern of beats. It is on these pulses, the beat of the music, that you tap your foot, clap your hands, dance, etc. This does not necessarily mean that the rhythms themselves are repetitive, but they do strongly suggest a repeated pattern of pulses. The meter of a piece of music is the arrangment of its rhythms in a repetitive pattern of strong and weak beats. In the same way, three eight may only have one beat per measure nine eight, three beats per measure and twelve eight, four beats per measure. Since beats normally get divided into halves and quarters, this is the easiest way for composers to write beats that are divided into thirds. But it is more likely that the conductor will give only two beats per measure, with a dotted quarter (or three eighth notes) getting one beat. A piece in six eight might have six beats in every measure, with an eighth note getting a beat. Does the music feel like it has four beats in every measure, or does it go by so quickly that you only have time to tap your foot twice in a measure?Ī common exception to this is six eight time, and the other time signatures (for example nine eight and twelve eight) commonly used to write compound meters. So why is one time signature chosen rather than another? The composer will normally choose a time signature that makes the music easy to read and also easy to count and conduct. The music in each of these staves should sound exactly alike. This rule is especially important when the two parts cross otherwise there is no way for the performers to know that the "low" part should be reading the high note at that spot.
If they do not, the stems for one part (the "high" part or "first" part) will point up and the stems for the other part will point down. Two parts for different performers written on the same staff - If the parts have the same rhythm, they may be written as block chords. Notes sharing a beam - Again, generally you will want to use the stem direction of the note farthest from the center of the staff, to keep the beam near the staff.ĭifferent rhythms being played at the same time by the same player - Clarity requires that you write one rhythm with stems up and the other stems down. Notes sharing a stem (block chords) - Generally, the stem direction will be the direction for the note that is furthest away from the middle line of the staff Notes on or above the middle line should be stem down. Single Notes - Notes below the middle line of the staff should be stem up.
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