Main Body
7 Compound meters
Learning goals for Chapter 7
In this chapter, we will learn:
- How compound meters are structured
- How to read and notate rhythms in compound meter
- How to aurally identify meter types
Unlike , which divide beats into two equal divisions, divide beats into three equal divisions. Time signatures for compound meters feature 6, 9, or 12 as the top number, which indicates not the number of beats per bar, but rather the number of divisions per bar. Dividing this top number by three tells you the number of beats per bar. Thus, if the top number is 6, there are two beats per bar (6 ÷ 3 = 2). If the top number is 9, there are three beats per bar (9 ÷ 3 = 3), and if the top number is 12, there are four beats per bar (12 ÷ 3 = 4).
In time signatures for compound meters, the bottom number indicates the rhythmic value that is the division level. In order to determine the beat level in compound meters, find the duration that is three times the duration of the division level, which will result in a dotted rhythmic value. Figure 7‑1 demonstrates how to interpret several compound meters.
Figure 7‑1. Interpreting compound meters
When identifying most meters, we use two classifications: we determine if the meter is (1) simple or compound, and if it is (2) duple, triple, or quadruple (meaning whether there are two, three, or four beats per measure). Using this system of classification, the statements in Figure 7-2 are true:
Figure 7‑2. Examples of simple and compound meters
Video: R04 Intro to compound meters (5:03)
This video demonstrates how to interpret compound meter time signatures, which are those that have 6, 9, or 12 as the top number.
Compound meters in context
Video: R05 Compound meters in context (6:09)
In this video we explore four musical contexts that use compound meters: the fourth movement of Beethoven’s Piano Sonata op. 110 (compound duple), Ratatat’s “Magnifique” (compound triple), Beach House’s “PPP” (compound quadruple), and Morning Benders’ “Promises” (which shifts from simple quadruple to compound quadruple and back to simple).
Want to learn more about the artists featured in this video?
- Learn about German composer Ludwig van Beethoven (1770–1827) by reading this Oxford Music Online article, written by Joseph Kerman and others
- Learn about Brooklyn-based electronic rock duo Ratatat by reading their bio on last.fm
- Learn about Baltimore-based pop duo Beach House by reading their bio on last.fm
- Learn about indie rock band Pop Etc, formerly known as The Morning Benders, by reading their bio on last.fm
Aural meter identification
Video: R06 Aural meter ID (9:21)
This interactive video presents four audio examples set up for you to determine the generic meter type (simple or compound; duple, triple, or quadruple).
EXERCISE 7-1. Aural meter ID
First, access the playlist here: Spotify playlist for aural meter ID
Choose a track, and play up to 60 seconds of it. While listening, find the beat on your body by tapping.
Then, in whatever order works best for you, determine how the beat is divided, either in groups of two (simple) or three (compound). Find the downbeat and an appropriate conducting pattern (duple, triple, or quadruple).
Once you have determined the meter type, check your answer with the key here: Answers to EXERCISE 7.1 Aural meter ID
Rhythm reading in compound meters
Video: R07 Rhythm reading in compound meters (7:03)
This video leads you through how to read the most common rhythmic gestures in compound meter—the beat level, the division level, and the “long-short.” We will practice these by performing nos. 71, 72, 73, and 77 from Appendix A: Rhythm Supplement.
Rhythmic dictation in compound meters
Many students find it useful to practice notating rhythms in compound meters. To this end, Appendix C contains dictations for practice. Nos. 6–9 in Appendix C use compound meters.
Additional exercises
EXERCISE 7-2 Metric organization
For each time signature, specify whether the meter is simple or compound, and provide the number of beats per bar, the value of the beat, and the division level. When possible, use beams to show the division level within each beat group. The first is done for you.
EXERCISE 7-3 Beaming
Beneath each example, re-notate the passage so that beaming conforms to the given meter. Whenever possible, durations within a beat group should be beamed together. The first is done for you.
EXERCISE 7-4 Barring measures
For each example, provide the number of beats per bar and the value of the beat. Then add the missing bar lines, including double bar lines at the end of each example, according to the time signature. The first is done for you.
EXERCISE 7-5 Time signatures
For each of the following excerpts, determine the best possible time signature and write it on the blank provided above the excerpt. Pay special attention to how groups of notes are beamed in ambiguous cases. The first is done for you.
Supplemental resources for Chapter 7
Andre Mount’s chapter on compound meters
Barbara Murphy’s primer on notes, rhythm, and meter
Chelsey Hamm and Mark Gotham’s chapter on compound meter and time signatures (Open Music Theory)
Timothy Chenette’s chapter on compound meter (Foundations of Aural Skills)
meters that divide each beat into equal groups of two
meters that divide each beat into three equal divisions
