{"id":105,"date":"2023-04-24T18:29:36","date_gmt":"2023-04-24T18:29:36","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/compound-meters\/"},"modified":"2025-08-12T21:55:30","modified_gmt":"2025-08-12T21:55:30","slug":"compound-meters","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/compound-meters\/","title":{"raw":"Compound meters","rendered":"Compound meters"},"content":{"raw":"<div class=\"compound-meters\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 7<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>How compound meters are structured<\/li>\r\n \t<li>How to read and notate rhythms in compound meter<\/li>\r\n \t<li>How to aurally identify meter types<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Unlike [pb_glossary id=\"335\"]simple meters[\/pb_glossary], which divide beats into two equal divisions, [pb_glossary id=\"1140\"]compound meters[\/pb_glossary] 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. <span>Dividing this top number by three tells you the number of beats per bar.<\/span> Thus, if the top number is 6, there are two beats per bar (6 \u00f7 3 = 2). If the top number is 9, there are three beats per bar (9 \u00f7 3 = 3), and if the top number is 12, there are four beats per bar (12 \u00f7 3 = 4).<\/p>\r\n<p class=\"import-Normal\">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\u20111 demonstrates how to interpret several compound meters.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 7\u20111. Interpreting compound meters<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image75.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image75.png\" alt=\"image showing beats per bar, value of the beat and division levels for four different time signatures\" class=\"alignnone\" width=\"1430\" height=\"417\" \/><\/a><\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">When identifying most meters, we use two classifications: we determine if the meter is (1) <strong>simple<\/strong> or <strong>compound<\/strong>, and if it is (2) <strong>duple<\/strong>, <strong>triple<\/strong>, or <strong>quadruple<\/strong> (meaning whether there are two, three, or four beats per measure). Using this system of classification, the statements in Figure 7-2 are true:<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 7\u20112. Examples of simple and compound meters<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image76.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image76.png\" alt=\"image listing examples of meter types: 6\/8, 6\/4, 6\/16, and 6\/2 are examples of compound duple meter, whereas 2\/4, 2\/2, 2\/16, and 2\/8 are examples of simple duple meter. 9\/8, 9\/4, and 9\/16 are examples of compound triple meter, whereas 3\/4, 3\/2, and 3\/8 are examples of simple triple meter. 12\/8, 12\/4, and 12\/16 are examples of compound quadruple meter, whereas 4\/4, 4\/2, 4\/16, and 4\/8 are examples of simple quadruple meter.\" class=\"alignnone\" width=\"1118\" height=\"290\" \/><\/a><\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: R04 Intro to compound meters (5:03)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/ulg0tbscx2E[\/embed]\r\n<p class=\"import-Normal\">This video demonstrates how to interpret compound meter time signatures, which are those that have 6, 9, or 12 as the top number.<\/p>\r\n\r\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1R6dd8GvGwtOtttlU-pQOrspWWbb2OV2Nu4g1NGaWDFE\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Compound meter slides<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Compound meters in context\"><\/a>Compound meters in context<\/h1>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: R05 Compound meters in context (6:09)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/KiejRh3s-qM[\/embed]\r\n<p class=\"import-Normal\">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).<\/p>\r\n\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video here: <a href=\"https:\/\/open.spotify.com\/playlist\/4Su7dv3axJl2iur5HaRTUG?si=a0efdd8498414247\" target=\"_blank\" rel=\"noopener\">Spotify playlist for compound meters<\/a><\/div>\r\n<div class=\"textbox shaded\">\r\n\r\nWant to learn more about the artists featured in this video?\r\n<ul>\r\n \t<li>Learn about German composer <strong>Ludwig van <\/strong><strong>Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId197\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others<\/li>\r\n \t<li>Learn about Brooklyn-based electronic rock duo <strong>Ratatat<\/strong>\u00a0by reading <a class=\"rId198\" href=\"https:\/\/www.last.fm\/music\/Ratatat\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">their bio<\/span><\/a> on last.fm<\/li>\r\n \t<li>Learn about Baltimore-based pop duo <strong>Beach House<\/strong>\u00a0by reading <a class=\"rId199\" href=\"https:\/\/www.last.fm\/music\/Beach+House\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">their bio<\/span><\/a> on last.fm<\/li>\r\n \t<li>Learn about indie rock band <strong>Pop <\/strong><strong>Etc<\/strong>, formerly known as <strong>The Morning Benders<\/strong>, by reading <a class=\"rId200\" href=\"https:\/\/www.last.fm\/music\/The+Morning+Benders\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">their bio<\/span><\/a> on last.fm<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Aural meter identification\"><\/a>Aural meter identification<\/h1>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: R06 Aural meter ID (9:21)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/Mn-QYsF9ihk[\/embed]\r\n<p class=\"import-Normal\">This interactive video presents four audio examples set up for you to determine the generic meter type (simple or compound; duple, triple, or quadruple).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 7-1. Aural meter ID\"><\/a>EXERCISE 7-1. Aural meter ID<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 7-1. Aural meter ID<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nFirst, access the playlist here: <a href=\"https:\/\/open.spotify.com\/playlist\/1OfT7VciNTZgl48ytwYuVX?si=ef3105eae7b44229\" target=\"_blank\" rel=\"noopener\">Spotify playlist for aural meter ID<\/a>\r\n\r\nChoose a track, and play up to 60 seconds of it. While listening, find the beat on your body by tapping.\r\n\r\nThen, 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).\r\n\r\nOnce you have determined the meter type, check your answer with the key here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Answers-to-EXERCISE-7.1-Aural-meter-ID.pdf\" target=\"_blank\" rel=\"noopener\">Answers to EXERCISE 7.1 Aural meter ID<\/a>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Ex7.1-Aural-meter-ID.pdf\" target=\"_blank\" rel=\"noopener\">Ex7.1 Aural meter ID<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Rhythm reading in compound meters\"><\/a>Rhythm reading in compound meters<\/h1>\r\n<div class=\"compound-meters\">\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: R07 Rhythm reading in compound meters (7:03)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/rM5raYd5eIo[\/embed]\r\n<p class=\"import-Normal\">This video leads you through how to read the most common rhythmic gestures in compound meter\u2014the beat level, the division level, and the \"long-short.\" We will practice these by performing nos. 71, 72, 73, and 77 from <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/__unknown__\/\" target=\"_blank\" rel=\"noopener\">Appendix A: Rhythm Supplement<\/a>.<\/p>\r\n\r\n<div class=\"textbox shaded\">For additional rhythm reading practice of compound meters, please refer to nos. 71\u2013100 in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/__unknown__\/\" target=\"_blank\" rel=\"noopener\">Appendix A: Rhythm Supplement<\/a>, which contains many short, sight-readable rhythms.<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Rhythmic dictation in compound meters\"><\/a>Rhythmic dictation in compound meters<\/h1>\r\nMany students find it useful to practice notating rhythms in compound meters. To this end, <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/5958\/\" target=\"_blank\" rel=\"noopener\">Appendix C<\/a> contains dictations for practice. Nos. 6\u20139 in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/5958\/\" target=\"_blank\" rel=\"noopener\">Appendix C<\/a> use compound meters.\r\n<h1><a id=\"EXERCISE 7-2 Metric organization\"><\/a>EXERCISE 7-2 Metric organization<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 7-2 Metric organization<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">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.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image77.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image77.png\" alt=\"image of chart with time signatures in top row and rows of blanks to determine simple\/compound, number of beats per bar, value of the beat, and division level\" class=\"alignnone\" width=\"1430\" height=\"1229\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Ex7.2-Metric-organization.pdf\" target=\"_blank\" rel=\"noopener\">Ex7.2 Metric organization<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 7-3 Beaming\"><\/a>EXERCISE 7-3 Beaming<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 7-3 Beaming<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">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.<\/p>\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image78.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image78.png\" alt=\"image of unbeamed rhythms with blank staves for renotating with beams\" width=\"1215\" height=\"1637\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Ex7.3-Beaming.pdf\" target=\"_blank\" rel=\"noopener\">Ex7.3 Beaming<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 7-4 Barring measures\"><\/a>EXERCISE 7-4 Barring measures<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 7-4 Barring measures<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">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.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image79.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image79.png\" alt=\"image of unbarred rhythms and blanks to show number of beats per bar and value of the beat\" class=\"alignnone\" width=\"1332\" height=\"1629\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Ex7.4-Barring-measures.pdf\" target=\"_blank\" rel=\"noopener\">Ex7.4 Barring measures<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n<h1><a id=\"EXERCISE 7-5 Time signatures\"><\/a>EXERCISE 7-5 Time signatures<\/h1>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 7-5 Time signatures<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">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.<\/p>\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image80.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image80.png\" alt=\"image of rhythms and blanks to fill in missing time signatures\" width=\"1229\" height=\"1619\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Ex7.5-Time-signatures.pdf\" target=\"_blank\" rel=\"noopener\">Ex7.5 Time signatures<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 7<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a class=\"rId203\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/4-compound-meters\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount's chapter on compound meters<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId204\" href=\"https:\/\/musictheorymaterials.utk.edu\/wp-content\/uploads\/2018\/12\/Rhythm.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Barbara Murphy's primer on notes, rhythm, and meter<\/span><\/a><\/p>\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/compound-meters-and-time-signatures\/\" target=\"_blank\" rel=\"noopener\">Chelsey Hamm and Mark Gotham's chapter on compound meter and time signatures<\/a> (Open Music Theory)\r\n\r\n<a href=\"https:\/\/uen.pressbooks.pub\/auralskills\/chapter\/compound-meter\/\" target=\"_blank\" rel=\"noopener\">Timothy Chenette's chapter on compound meter<\/a> (Foundations of Aural Skills)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"compound-meters\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 7<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How compound meters are structured<\/li>\n<li>How to read and notate rhythms in compound meter<\/li>\n<li>How to aurally identify meter types<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Unlike <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_105_335\">simple meters<\/a>, which divide beats into two equal divisions, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_105_1140\">compound meters<\/a> 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. <span>Dividing this top number by three tells you the number of beats per bar.<\/span> Thus, if the top number is 6, there are two beats per bar (6 \u00f7 3 = 2). If the top number is 9, there are three beats per bar (9 \u00f7 3 = 3), and if the top number is 12, there are four beats per bar (12 \u00f7 3 = 4).<\/p>\n<p class=\"import-Normal\">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\u20111 demonstrates how to interpret several compound meters.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 7\u20111. Interpreting compound meters<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image75.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image75.png\" alt=\"image showing beats per bar, value of the beat and division levels for four different time signatures\" class=\"alignnone\" width=\"1430\" height=\"417\" \/><\/a><\/div>\n<\/div>\n<p class=\"import-Normal\">When identifying most meters, we use two classifications: we determine if the meter is (1) <strong>simple<\/strong> or <strong>compound<\/strong>, and if it is (2) <strong>duple<\/strong>, <strong>triple<\/strong>, or <strong>quadruple<\/strong> (meaning whether there are two, three, or four beats per measure). Using this system of classification, the statements in Figure 7-2 are true:<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 7\u20112. Examples of simple and compound meters<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image76.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image76.png\" alt=\"image listing examples of meter types: 6\/8, 6\/4, 6\/16, and 6\/2 are examples of compound duple meter, whereas 2\/4, 2\/2, 2\/16, and 2\/8 are examples of simple duple meter. 9\/8, 9\/4, and 9\/16 are examples of compound triple meter, whereas 3\/4, 3\/2, and 3\/8 are examples of simple triple meter. 12\/8, 12\/4, and 12\/16 are examples of compound quadruple meter, whereas 4\/4, 4\/2, 4\/16, and 4\/8 are examples of simple quadruple meter.\" class=\"alignnone\" width=\"1118\" height=\"290\" \/><\/a><\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: R04 Intro to compound meters (5:03)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"R04 Intro to Compound Meters Video\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/ulg0tbscx2E?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video demonstrates how to interpret compound meter time signatures, which are those that have 6, 9, or 12 as the top number.<\/p>\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1R6dd8GvGwtOtttlU-pQOrspWWbb2OV2Nu4g1NGaWDFE\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Compound meter slides<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Compound meters in context<\/h1>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: R05 Compound meters in context (6:09)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"R05 Compound Meters in Context\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/KiejRh3s-qM?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">In this video we explore four musical contexts that use compound meters: the fourth movement of Beethoven&#8217;s Piano Sonata op. 110 (compound duple), Ratatat&#8217;s &#8220;Magnifique&#8221; (compound triple), Beach House&#8217;s &#8220;PPP&#8221; (compound quadruple), and Morning Benders&#8217; &#8220;Promises&#8221; (which shifts from simple quadruple to compound quadruple and back to simple).<\/p>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video here: <a href=\"https:\/\/open.spotify.com\/playlist\/4Su7dv3axJl2iur5HaRTUG?si=a0efdd8498414247\" target=\"_blank\" rel=\"noopener\">Spotify playlist for compound meters<\/a><\/div>\n<div class=\"textbox shaded\">\n<p>Want to learn more about the artists featured in this video?<\/p>\n<ul>\n<li>Learn about German composer <strong>Ludwig van <\/strong><strong>Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId197\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others<\/li>\n<li>Learn about Brooklyn-based electronic rock duo <strong>Ratatat<\/strong>\u00a0by reading <a class=\"rId198\" href=\"https:\/\/www.last.fm\/music\/Ratatat\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">their bio<\/span><\/a> on last.fm<\/li>\n<li>Learn about Baltimore-based pop duo <strong>Beach House<\/strong>\u00a0by reading <a class=\"rId199\" href=\"https:\/\/www.last.fm\/music\/Beach+House\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">their bio<\/span><\/a> on last.fm<\/li>\n<li>Learn about indie rock band <strong>Pop <\/strong><strong>Etc<\/strong>, formerly known as <strong>The Morning Benders<\/strong>, by reading <a class=\"rId200\" href=\"https:\/\/www.last.fm\/music\/The+Morning+Benders\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">their bio<\/span><\/a> on last.fm<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Aural meter identification<\/h1>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: R06 Aural meter ID (9:21)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-3\" title=\"R06 Aural Meter ID\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Mn-QYsF9ihk?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This interactive video presents four audio examples set up for you to determine the generic meter type (simple or compound; duple, triple, or quadruple).<\/p>\n<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 7-1. Aural meter ID<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 7-1. Aural meter ID<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>First, access the playlist here: <a href=\"https:\/\/open.spotify.com\/playlist\/1OfT7VciNTZgl48ytwYuVX?si=ef3105eae7b44229\" target=\"_blank\" rel=\"noopener\">Spotify playlist for aural meter ID<\/a><\/p>\n<p>Choose a track, and play up to 60 seconds of it. While listening, find the beat on your body by tapping.<\/p>\n<p>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).<\/p>\n<p>Once you have determined the meter type, check your answer with the key here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Answers-to-EXERCISE-7.1-Aural-meter-ID.pdf\" target=\"_blank\" rel=\"noopener\">Answers to EXERCISE 7.1 Aural meter ID<\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Ex7.1-Aural-meter-ID.pdf\" target=\"_blank\" rel=\"noopener\">Ex7.1 Aural meter ID<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Rhythm reading in compound meters<\/h1>\n<div class=\"compound-meters\">\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: R07 Rhythm reading in compound meters (7:03)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-4\" title=\"R07 Rhythm Reading in Compound Meters\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/rM5raYd5eIo?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video leads you through how to read the most common rhythmic gestures in compound meter\u2014the beat level, the division level, and the &#8220;long-short.&#8221; We will practice these by performing nos. 71, 72, 73, and 77 from <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/__unknown__\/\" target=\"_blank\" rel=\"noopener\">Appendix A: Rhythm Supplement<\/a>.<\/p>\n<div class=\"textbox shaded\">For additional rhythm reading practice of compound meters, please refer to nos. 71\u2013100 in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/__unknown__\/\" target=\"_blank\" rel=\"noopener\">Appendix A: Rhythm Supplement<\/a>, which contains many short, sight-readable rhythms.<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Rhythmic dictation in compound meters<\/h1>\n<p>Many students find it useful to practice notating rhythms in compound meters. To this end, <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/5958\/\" target=\"_blank\" rel=\"noopener\">Appendix C<\/a> contains dictations for practice. Nos. 6\u20139 in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/5958\/\" target=\"_blank\" rel=\"noopener\">Appendix C<\/a> use compound meters.<\/p>\n<h1><a><\/a>EXERCISE 7-2 Metric organization<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 7-2 Metric organization<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">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.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image77.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image77.png\" alt=\"image of chart with time signatures in top row and rows of blanks to determine simple\/compound, number of beats per bar, value of the beat, and division level\" class=\"alignnone\" width=\"1430\" height=\"1229\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Ex7.2-Metric-organization.pdf\" target=\"_blank\" rel=\"noopener\">Ex7.2 Metric organization<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 7-3 Beaming<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 7-3 Beaming<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">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.<\/p>\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image78.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image78.png\" alt=\"image of unbeamed rhythms with blank staves for renotating with beams\" width=\"1215\" height=\"1637\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Ex7.3-Beaming.pdf\" target=\"_blank\" rel=\"noopener\">Ex7.3 Beaming<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 7-4 Barring measures<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 7-4 Barring measures<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">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.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image79.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image79.png\" alt=\"image of unbarred rhythms and blanks to show number of beats per bar and value of the beat\" class=\"alignnone\" width=\"1332\" height=\"1629\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Ex7.4-Barring-measures.pdf\" target=\"_blank\" rel=\"noopener\">Ex7.4 Barring measures<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 7-5 Time signatures<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 7-5 Time signatures<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">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.<\/p>\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image80.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image80.png\" alt=\"image of rhythms and blanks to fill in missing time signatures\" width=\"1229\" height=\"1619\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Ex7.5-Time-signatures.pdf\" target=\"_blank\" rel=\"noopener\">Ex7.5 Time signatures<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 7<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a class=\"rId203\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/4-compound-meters\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount&#8217;s chapter on compound meters<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId204\" href=\"https:\/\/musictheorymaterials.utk.edu\/wp-content\/uploads\/2018\/12\/Rhythm.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Barbara Murphy&#8217;s primer on notes, rhythm, and meter<\/span><\/a><\/p>\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/compound-meters-and-time-signatures\/\" target=\"_blank\" rel=\"noopener\">Chelsey Hamm and Mark Gotham&#8217;s chapter on compound meter and time signatures<\/a> (Open Music Theory)<\/p>\n<p><a href=\"https:\/\/uen.pressbooks.pub\/auralskills\/chapter\/compound-meter\/\" target=\"_blank\" rel=\"noopener\">Timothy Chenette&#8217;s chapter on compound meter<\/a> (Foundations of Aural Skills)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_105_335\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_105_335\"><div tabindex=\"-1\"><p>meters that divide each beat into equal groups of two<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_105_1140\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_105_1140\"><div tabindex=\"-1\"><p>meters that divide each beat into three equal divisions<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":7,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-105","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/105","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":51,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/105\/revisions"}],"predecessor-version":[{"id":6994,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/105\/revisions\/6994"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/105\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=105"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=105"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=105"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=105"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}