{"id":54,"date":"2023-04-24T18:29:11","date_gmt":"2023-04-24T18:29:11","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/simple-meters\/"},"modified":"2025-08-12T21:37:31","modified_gmt":"2025-08-12T21:37:31","slug":"simple-meters","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/simple-meters\/","title":{"raw":"Simple meters","rendered":"Simple meters"},"content":{"raw":"<div class=\"simple-meters\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 2<\/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>Basic note values and rests<\/li>\r\n \t<li>What simple meters are and how they work<\/li>\r\n \t<li>Conducting patterns<\/li>\r\n \t<li>How to aurally identify meter types<\/li>\r\n \t<li>How to read basic rhythms in simple meters at sight<\/li>\r\n \t<li>How to notate rhythms in simple meters<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"_Toc130306328\"><\/a>Basic note values and rests<\/h1>\r\n<p class=\"import-Normal\">Almost all music features a series of [pb_glossary id=\"2232\"]attacks[\/pb_glossary] and [pb_glossary id=\"2233\"]durations[\/pb_glossary] that are organized in some way. [pb_glossary id=\"265\"]Rhythm[\/pb_glossary] is the term we use to describe the musical organization of these attacks and durations in time. Different symbols are used in musical notation to indicate durations in relationship to one another. Figure 2\u20111 shows the names and symbols for each of the most commonly used durations in Western musical notation.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 2\u20111. Note values<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image22.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image22.png\" alt=\"image showing rhythmic durations\" class=\"alignnone\" width=\"1060\" height=\"987\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">The duration of one whole note is equivalent to the duration of two half notes, or four quarter notes, eight eighth notes, and so forth. <span>These symbols can be put in different orders to create rhythmic patterns.<\/span><\/p>\r\n<p class=\"import-Normal\">The symbols shown in Figure 2\u20111 contain up to three parts:<\/p>\r\n\r\n<ul>\r\n \t<li>a [pb_glossary id=\"309\"]notehead[\/pb_glossary], which can be filled in (as in quarter, eighth, sixteenth, and thirty-second notes) or open (as in half and whole notes)<\/li>\r\n \t<li>a [pb_glossary id=\"310\"]stem[\/pb_glossary], <span>which is a straight vertical line that appears to one side of the notehead: if the stem extends below the notehead, it is placed on the left side (as in Figure 2-1), and if it extends above the notehead, it is placed on the right side (as in Figure 2-3)<\/span><\/li>\r\n \t<li>a [pb_glossary id=\"311\"]flag[\/pb_glossary], which is used for the shorter durations (eighths, sixteenths, and thirty-seconds) and is always attached to the right side of the stem<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Figure 2\u20112 illustrates the terms described above in a visual format.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 2\u20112. Parts of a note<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image23.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image23.png\" alt=\"image of notehead, stem, and flag\" class=\"alignnone\" width=\"416\" height=\"272\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>Rests. <\/strong>When composers wish to have measured moments of silence in a particular voice or instrument, they use symbols called [pb_glossary id=\"268\"]rests[\/pb_glossary]. Each symbol representing a note value has an equivalent symbol denoting rest, shown in Figure 2\u20113. <span>Rests have duration, like note values, but they have no attack.<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 2\u20113. Rests<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image24.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image24.png\" alt=\"image of rests\" class=\"alignnone\" width=\"764\" height=\"1098\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Self-check quiz on note values and rests<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">[h5p id=\"1\"]<\/div>\r\n<\/div>\r\n<h1><a id=\"Simple meters\"><\/a>Simple meters<\/h1>\r\n<p class=\"import-Normal\">In order to make sense of different rhythmic patterns, most Western music uses [pb_glossary id=\"313\"]meter[\/pb_glossary], which is a periodic measure for organizing rhythmic durations. In musical notation, patterns of durations are partitioned by [pb_glossary id=\"333\"]bar lines[\/pb_glossary], which are vertical lines placed periodically through a piece of music to divide it into measures. In Western musical notation, the organization of rhythmic durations in a particular piece of music is indicated by a [pb_glossary id=\"334\"]time signature[\/pb_glossary], which consists of two numbers at the beginning of the piece of music. For now, we will understand meter as consisting of two levels: (1) the level of the measure (concerning the number of beats per bar), and (2) the level of the beat (concerning the number of divisions within each beat).<\/p>\r\n<p class=\"import-Normal\">For now, we will focus on [pb_glossary id=\"335\"]simple meters[\/pb_glossary], which feature \u201c2,\u201d \u201c3,\u201d or \u201c4\u201d as the top number of the time signature. For simple meters, the top number of the time signature indicates the number of [pb_glossary id=\"336\"]beats[\/pb_glossary] per measure. In most cases, the primary level of meter is the [pb_glossary id=\"336\"]beat[\/pb_glossary]\u2014the recurring, measured periodic series of pulses that is fundamental to the experience of meter. In order to determine the durational value of the beat for simple meters, we look at the bottom number of the time signature. A \u201c2\u201d for the bottom number would indicate, for example, that the half note is the value of the beat. A \u201c4\u201d would indicate the quarter note, an \u201c8\u201d the eighth note, and so forth.<\/p>\r\n<p class=\"import-Normal\">The examples in Figure 2-4 will demonstrate the process of interpreting a time signature in simple meter. In Figure 2\u20114a, the top number tells us that there are three beats per measure, and the bottom number tells us that the beat value is the quarter note, so each measure will have durations equivalent to three quarter notes. Figure 2\u20114b shows us that there are two beats per measure and that the value of the beat is the eighth note. Figure 2\u20114c indicates that there are four beats per measure and each beat is a half note. <span>Figure 2-4d has three beats per measure, like Figure 2-4a, but the value of the beat is different: the sixteenth note, not the quarter.<\/span><\/p>\r\n<p class=\"import-Normal\">Beats in [pb_glossary id=\"335\"]simple meters[\/pb_glossary] divide into two equal divisions, hereafter referred to as the [pb_glossary id=\"341\"]division[\/pb_glossary] level. Notes that ordinarily have flags are joined together with [pb_glossary id=\"338\"]beams[\/pb_glossary] within each beat group. The division level in Figure 2\u20114 uses beams instead of flags when possible. It is preferable to beam together notes with values smaller than the beat level so that beat groups are more visually identifiable.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 2\u20114. Interpreting time signatures<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image25.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image25.png\" alt=\"image of time signatures\" class=\"aligncenter\" width=\"1430\" height=\"433\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: R01 Intro to rhythm and meter (9:48)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: left\">https:\/\/vimeo.com\/998227090?share=copy<\/p>\r\n<p class=\"import-Normal\" style=\"text-align: left\">This video outlines our learning objectives for rhythm and meter, defines key terms, briefly introduces the concept of simple and compound meters, and shows you how to interpret simple time signatures.<\/p>\r\n\r\n<div>\r\n<div class=\"textbox shaded\">Access slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1MxHyyBJkIa7OgKwbLxm1q_07cX9FQHSmtGK_Fx0suF8\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Rhythm and meter slides<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 2-1 Metric organization\"><\/a>EXERCISE 2-1 Metric organization<\/h1>\r\n<div>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 2-1 Metric organization<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">For each time signature, 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\" style=\"text-align: center\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image26.png\" alt=\"image\" width=\"616px\" height=\"244px\" \/><\/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\/Ex2.1-Metric-organization.pdf\" target=\"_blank\" rel=\"noopener\">Ex2.1 Metric organization<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Conducting patterns\"><\/a>Conducting patterns<\/h1>\r\n<p class=\"import-Normal\">Most musicians find it useful to embody meter physically, especially when counting out new rhythms or imagining the rhythm of a passage in their minds\u2019 ears. To help you embody metric organization, there are three primary types of conducting patterns\u2014duple, triple, and quadruple\u2014which are shown in visual form in Figure 2\u20115.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 2\u20115 Conducting patterns[footnote]<span class=\"import-outputbox\">Adaptation\/remix of <\/span><a class=\"rId49\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Conducting-24time.svg\"><span class=\"import-Hyperlink\">\"Conducting-24time.svg,\"<\/span><\/a><span class=\"import-outputbox\">\u00a0<\/span><a class=\"rId50\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Conducting-34time.svg\"><span class=\"import-Hyperlink\">\"Conducting-34time.svg,\"<\/span><\/a><span class=\"import-outputbox\">\u00a0<\/span><a class=\"rId51\" target=\"_blank\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Conducting-44time.svg\" rel=\"noopener\"><span class=\"import-Hyperlink\">\"Conducting-44time.svg\"<\/span><\/a><span class=\"import-outputbox\"> by <\/span><a class=\"rId52\" target=\"_blank\" href=\"https:\/\/en.wikipedia.org\/wiki\/User:Hankwang\" rel=\"noopener\"><span class=\"import-Hyperlink\">Hankwang<\/span><\/a><span class=\"import-outputbox\"> is licensed under <\/span><a class=\"rId53\" target=\"_blank\" href=\"http:\/\/creativecommons.org\/licenses\/by-sa\/3.0\" rel=\"noopener\"><span class=\"import-Hyperlink\">CC BY-SA 3.0<\/span><\/a>[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image27.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image27.png\" alt=\"image of conducting patterns\" class=\"alignnone\" width=\"655\" height=\"354\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nEach pattern first articulates the downbeat by moving the arm with a downward, bouncing motion. The duple pattern bounces down on beat 1 and up on beat 2. The triple pattern bounces down on beat 1, out from the body on beat 2, and up on beat 3. The quadruple pattern bounces down on beat 1, in to the body on beat 2, out from the body on beat 3, and up on beat 4.\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: R02 Intro to conducting patterns (4:34)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: left\">https:\/\/vimeo.com\/998222315?share=copy<\/p>\r\n<p class=\"import-Normal\" style=\"text-align: left\">This video shows you how to perform the duple, triple, and quadruple conducting patterns and how you can use them as a tool to embody meter as you listen to and perform music.<\/p>\r\n\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video and other great examples of simple meters here: <a href=\"https:\/\/open.spotify.com\/playlist\/2CgAUHGwKwNj2ditSY6xPn?si=558da2f4c8d84dd3\" target=\"_blank\" rel=\"noopener\">Spotify playlist for simple meters<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Dots, ties, and slurs\"><\/a>Dots, ties, and slurs<\/h1>\r\n<p class=\"import-Normal\">Symbols may be added to rhythmic durations and rests in order to modify their value. A [pb_glossary id=\"292\"]dot[\/pb_glossary] placed to the right of any note or rest will increase the duration by half of the note or rest\u2019s value. Figure 2\u20116 shows some dotted rhythms and their overall value.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 2\u20116. Values of dotted rhythms<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image28.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image28.png\" alt=\"image of dotted notes and rests\" class=\"alignnone\" width=\"1430\" height=\"259\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Another common symbol is the [pb_glossary id=\"315\"]tie[\/pb_glossary], which connects two consecutive notes of the same pitch, extending the value of the first note by the duration of the note to which it is tied. Ties should not be confused with [pb_glossary id=\"316\"]slurs[\/pb_glossary], which connect two or more notes of different pitches. Slurs can mean several different things depending on the instrument or voice that features them. For stringed instruments, a slur indicates how long a bow should be played before changing direction. For wind instruments, <span>a slur indicates that only the first note of the group should be tongued<\/span>. For singers, <span style=\"font-size: 18.6667px\">slurs <\/span><span style=\"font-size: 14pt\">usually indicate [pb_glossary id=\"317\"]melismas[\/pb_glossary], which are groups of notes sung on one syllable. More generally, for all musicians, slurs may also indicate a manner of playing that is legato (smooth and connected). Example 2\u20111 shows the difference between [pb_glossary id=\"315\"]ties[\/pb_glossary] and [pb_glossary id=\"316\"]slurs[\/pb_glossary].<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 2\u20111. Ties and slurs<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image29.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image29.png\" alt=\"examples of tied versus slurred notes\" class=\"aligncenter\" width=\"1374\" height=\"422\" \/><\/a>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 2-2 Beaming and barring measures\"><\/a>EXERCISE 2-2 Beaming and barring measures<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 2-2 Beaming and barring measures<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">PART A. Beaming. Beneath each example or on a separate piece of paper, re-notate the passage so that beaming conforms to the given meter. Any durations within a single beat group should be beamed together. The first is done for you with some annotations.<\/p>\r\n<p class=\"import-Normal\" style=\"text-align: center\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image30.png\" alt=\"image\" class=\"aligncenter\" width=\"569.333333333333px\" height=\"685.333333333333px\" \/><\/p>\r\n<p class=\"import-Normal\">PART B. 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 final bar lines at the end of each example, according to the time signature. The first is done for you with some annotations.<\/p>\r\n<p class=\"import-Normal\" style=\"text-align: center\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image31.png\" alt=\"image\" class=\"aligncenter\" width=\"624px\" height=\"752.466666666667px\" \/><\/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\/Ex2.2-Beaming-and-barring-measures.pdf\" target=\"_blank\" rel=\"noopener\">Ex2.2 Beaming and barring measures<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Rhythm reading\"><\/a>Rhythm reading<\/h1>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: R03 Rhythm reading (8:47)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/ZdfaMois5z0\r\n<p class=\"import-Normal\">In this interactive video, we will read six rhythms together, \"ta\"-ing the rhythm while conducting using either the duple, triple, or quadruple conducting patterns. Replay and practice again performing any rhythms that give you difficulty. The goal is to \"ta\" each rhythm accurately and fluently while also conducting.<\/p>\r\n\r\n<div class=\"textbox shaded\">For additional rhythm reading practice, <span>please refer to nos. 1\u201371 in<\/span> <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 class=\"textbox shaded\">\r\n<div>Want even more practice? Try this drill: <a class=\"rId63\" href=\"https:\/\/musictheorymaterials.utk.edu\/aural-skills-rhythm\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Barbara Murphy\u2019s rhythm patterns practice<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Rhythmic dictation in simple meters\"><\/a>Rhythmic dictation in simple meters<\/h1>\r\n<p class=\"import-Normal\">Once you have learned the basics of how simple time signatures work and the durations used in simple meters, you can begin to train your ear and mind to transcribe rhythms that you hear into notation.<\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: R09 How to do rhythmic dictation (9:27)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/nYN376f3TMI\r\n<p class=\"import-Normal\">This interactive video introduces a four-step process for doing a rhythmic dictation (listen\u2013memorize\u2013notate\u2013error detection) and guides viewers through doing a short rhythmic dictation in a simple duple meter using the beat and division levels.<\/p>\r\n\r\n<div class=\"textbox shaded\">\r\n\r\nWant more practice? Try these drills:\r\n<p style=\"padding-left: 40px\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/5958\/\" target=\"_blank\" rel=\"noopener\">Appendix C<\/a>, which contains more dictations for practice<\/p>\r\n<p style=\"padding-left: 40px\"><a class=\"rId62\" href=\"https:\/\/www.teoria.com\/en\/exercises\/rd4.php\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice rhythmic dictation<\/span><\/a><span class=\"import-Hyperlink\"> (<\/span><span class=\"import-Hyperlink\">teoria<\/span><span class=\"import-Hyperlink\">)<\/span><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 2-3 Practice rhythmic dictation\"><\/a>EXERCISE 2-3 Practice rhythmic dictation<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 2-3 Practice rhythmic dictation<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nApply your skills by doing another rhythmic dictation. Copy the following setup on your own paper:\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Rhythmic-Dict-blank-no-2.jpg\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Rhythmic-Dict-blank-no-2-1024x74.jpg\" alt=\"\" width=\"1024\" height=\"74\" class=\"alignnone wp-image-1855 size-large\" \/><\/a>\r\n\r\nHave a pencil and eraser handy, and use the video below to listen to and complete the rhythmic dictation.\r\n<p class=\"p1\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Ex2.3-Practicing-rhythmic-dictation.pdf\" target=\"_blank\" rel=\"noopener\">Ex2.3 Practicing rhythmic dictation<\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: R10 Rhythmic dictation practice (3:52)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/UwcR80UKCQ0\r\n\r\nThis video walks you through a short rhythmic dictation activity, geared for beginners. The meter is 3\/2. The dictation is four bars long and features only the beat and division levels. Three playings are given.\r\n<div class=\"textbox shaded\">\r\n\r\nWant more practice? Try these drills:\r\n<p style=\"padding-left: 40px\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/5958\/\" target=\"_blank\" rel=\"noopener\">Appendix C<\/a>, which contains more dictations for practice<\/p>\r\n<p style=\"padding-left: 40px\"><a class=\"rId62\" href=\"https:\/\/www.teoria.com\/en\/exercises\/rd4.php\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice rhythmic dictation<\/span><\/a><span class=\"import-Hyperlink\"> (<\/span><span class=\"import-Hyperlink\">teoria<\/span><span class=\"import-Hyperlink\">)<\/span><\/p>\r\n\r\n<\/div>\r\n<\/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 2<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a class=\"rId66\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/1-introduction-to-rhythm-and-meter-2\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount\u2019s intro to rhythm and meter<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId67\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/3-simple-meters\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount\u2019s chapter on simple meter<\/span><\/a><\/p>\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/simple-meter-and-time-signatures\/\" target=\"_blank\" rel=\"noopener\">Chelsey Hamm, Kris Shaffer, and Mark Gotham's chapter on simple meter and time signatures<\/a> (Open Music Theory)\r\n\r\n<a href=\"https:\/\/uen.pressbooks.pub\/auralskills\/chapter\/simple-meter-simple-divisions\/\" target=\"_blank\" rel=\"noopener\">Timothy Chenette's chapter on simple meter<\/a> (Foundations of Aural Skills)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"simple-meters\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 2<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>Basic note values and rests<\/li>\n<li>What simple meters are and how they work<\/li>\n<li>Conducting patterns<\/li>\n<li>How to aurally identify meter types<\/li>\n<li>How to read basic rhythms in simple meters at sight<\/li>\n<li>How to notate rhythms in simple meters<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a id=\"_Toc130306328\"><\/a>Basic note values and rests<\/h1>\n<p class=\"import-Normal\">Almost all music features a series of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_2232\">attacks<\/a> and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_2233\">durations<\/a> that are organized in some way. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_265\">Rhythm<\/a> is the term we use to describe the musical organization of these attacks and durations in time. Different symbols are used in musical notation to indicate durations in relationship to one another. Figure 2\u20111 shows the names and symbols for each of the most commonly used durations in Western musical notation.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 2\u20111. Note values<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image22.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image22.png\" alt=\"image showing rhythmic durations\" class=\"alignnone\" width=\"1060\" height=\"987\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">The duration of one whole note is equivalent to the duration of two half notes, or four quarter notes, eight eighth notes, and so forth. <span>These symbols can be put in different orders to create rhythmic patterns.<\/span><\/p>\n<p class=\"import-Normal\">The symbols shown in Figure 2\u20111 contain up to three parts:<\/p>\n<ul>\n<li>a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_309\">notehead<\/a>, which can be filled in (as in quarter, eighth, sixteenth, and thirty-second notes) or open (as in half and whole notes)<\/li>\n<li>a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_310\">stem<\/a>, <span>which is a straight vertical line that appears to one side of the notehead: if the stem extends below the notehead, it is placed on the left side (as in Figure 2-1), and if it extends above the notehead, it is placed on the right side (as in Figure 2-3)<\/span><\/li>\n<li>a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_311\">flag<\/a>, which is used for the shorter durations (eighths, sixteenths, and thirty-seconds) and is always attached to the right side of the stem<\/li>\n<\/ul>\n<p class=\"import-Normal\">Figure 2\u20112 illustrates the terms described above in a visual format.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 2\u20112. Parts of a note<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image23.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image23.png\" alt=\"image of notehead, stem, and flag\" class=\"alignnone\" width=\"416\" height=\"272\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>Rests. <\/strong>When composers wish to have measured moments of silence in a particular voice or instrument, they use symbols called <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_268\">rests<\/a>. Each symbol representing a note value has an equivalent symbol denoting rest, shown in Figure 2\u20113. <span>Rests have duration, like note values, but they have no attack.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 2\u20113. Rests<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image24.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image24.png\" alt=\"image of rests\" class=\"alignnone\" width=\"764\" height=\"1098\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Self-check quiz on note values and rests<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<div id=\"h5p-1\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-1\" class=\"h5p-iframe\" data-content-id=\"1\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Note values &amp; rests\"><\/iframe><\/div>\n<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Simple meters<\/h1>\n<p class=\"import-Normal\">In order to make sense of different rhythmic patterns, most Western music uses <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_313\">meter<\/a>, which is a periodic measure for organizing rhythmic durations. In musical notation, patterns of durations are partitioned by <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_333\">bar lines<\/a>, which are vertical lines placed periodically through a piece of music to divide it into measures. In Western musical notation, the organization of rhythmic durations in a particular piece of music is indicated by a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_334\">time signature<\/a>, which consists of two numbers at the beginning of the piece of music. For now, we will understand meter as consisting of two levels: (1) the level of the measure (concerning the number of beats per bar), and (2) the level of the beat (concerning the number of divisions within each beat).<\/p>\n<p class=\"import-Normal\">For now, we will focus on <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_335\">simple meters<\/a>, which feature \u201c2,\u201d \u201c3,\u201d or \u201c4\u201d as the top number of the time signature. For simple meters, the top number of the time signature indicates the number of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_336\">beats<\/a> per measure. In most cases, the primary level of meter is the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_336\">beat<\/a>\u2014the recurring, measured periodic series of pulses that is fundamental to the experience of meter. In order to determine the durational value of the beat for simple meters, we look at the bottom number of the time signature. A \u201c2\u201d for the bottom number would indicate, for example, that the half note is the value of the beat. A \u201c4\u201d would indicate the quarter note, an \u201c8\u201d the eighth note, and so forth.<\/p>\n<p class=\"import-Normal\">The examples in Figure 2-4 will demonstrate the process of interpreting a time signature in simple meter. In Figure 2\u20114a, the top number tells us that there are three beats per measure, and the bottom number tells us that the beat value is the quarter note, so each measure will have durations equivalent to three quarter notes. Figure 2\u20114b shows us that there are two beats per measure and that the value of the beat is the eighth note. Figure 2\u20114c indicates that there are four beats per measure and each beat is a half note. <span>Figure 2-4d has three beats per measure, like Figure 2-4a, but the value of the beat is different: the sixteenth note, not the quarter.<\/span><\/p>\n<p class=\"import-Normal\">Beats in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_335\">simple meters<\/a> divide into two equal divisions, hereafter referred to as the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_341\">division<\/a> level. Notes that ordinarily have flags are joined together with <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_338\">beams<\/a> within each beat group. The division level in Figure 2\u20114 uses beams instead of flags when possible. It is preferable to beam together notes with values smaller than the beat level so that beat groups are more visually identifiable.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 2\u20114. Interpreting time signatures<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image25.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image25.png\" alt=\"image of time signatures\" class=\"aligncenter\" width=\"1430\" height=\"433\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: R01 Intro to rhythm and meter (9:48)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: left\"><iframe loading=\"lazy\" id=\"oembed-4\" title=\"R01 Intro to Rhythm &amp; Meter\" src=\"https:\/\/player.vimeo.com\/video\/998227090?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\"><\/iframe><\/p>\n<p class=\"import-Normal\" style=\"text-align: left\">This video outlines our learning objectives for rhythm and meter, defines key terms, briefly introduces the concept of simple and compound meters, and shows you how to interpret simple time signatures.<\/p>\n<div>\n<div class=\"textbox shaded\">Access slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1MxHyyBJkIa7OgKwbLxm1q_07cX9FQHSmtGK_Fx0suF8\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Rhythm and meter slides<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 2-1 Metric organization<\/h1>\n<div>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 2-1 Metric organization<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">For each time signature, 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\" style=\"text-align: center\"><img decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image26.png\" alt=\"image\" width=\"616px\" height=\"244px\" \/><\/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\/Ex2.1-Metric-organization.pdf\" target=\"_blank\" rel=\"noopener\">Ex2.1 Metric organization<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Conducting patterns<\/h1>\n<p class=\"import-Normal\">Most musicians find it useful to embody meter physically, especially when counting out new rhythms or imagining the rhythm of a passage in their minds\u2019 ears. To help you embody metric organization, there are three primary types of conducting patterns\u2014duple, triple, and quadruple\u2014which are shown in visual form in Figure 2\u20115.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 2\u20115 Conducting patterns<a class=\"footnote\" title=\"Adaptation\/remix of &quot;Conducting-24time.svg,&quot;\u00a0&quot;Conducting-34time.svg,&quot;\u00a0&quot;Conducting-44time.svg&quot; by Hankwang is licensed under CC BY-SA 3.0\" id=\"return-footnote-54-1\" href=\"#footnote-54-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image27.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image27.png\" alt=\"image of conducting patterns\" class=\"alignnone\" width=\"655\" height=\"354\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p>Each pattern first articulates the downbeat by moving the arm with a downward, bouncing motion. The duple pattern bounces down on beat 1 and up on beat 2. The triple pattern bounces down on beat 1, out from the body on beat 2, and up on beat 3. The quadruple pattern bounces down on beat 1, in to the body on beat 2, out from the body on beat 3, and up on beat 4.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: R02 Intro to conducting patterns (4:34)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: left\"><iframe loading=\"lazy\" id=\"oembed-5\" title=\"R02 Intro to Conducting Patterns Video\" src=\"https:\/\/player.vimeo.com\/video\/998222315?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\"><\/iframe><\/p>\n<p class=\"import-Normal\" style=\"text-align: left\">This video shows you how to perform the duple, triple, and quadruple conducting patterns and how you can use them as a tool to embody meter as you listen to and perform music.<\/p>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video and other great examples of simple meters here: <a href=\"https:\/\/open.spotify.com\/playlist\/2CgAUHGwKwNj2ditSY6xPn?si=558da2f4c8d84dd3\" target=\"_blank\" rel=\"noopener\">Spotify playlist for simple meters<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Dots, ties, and slurs<\/h1>\n<p class=\"import-Normal\">Symbols may be added to rhythmic durations and rests in order to modify their value. A <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_292\">dot<\/a> placed to the right of any note or rest will increase the duration by half of the note or rest\u2019s value. Figure 2\u20116 shows some dotted rhythms and their overall value.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 2\u20116. Values of dotted rhythms<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image28.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image28.png\" alt=\"image of dotted notes and rests\" class=\"alignnone\" width=\"1430\" height=\"259\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Another common symbol is the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_315\">tie<\/a>, which connects two consecutive notes of the same pitch, extending the value of the first note by the duration of the note to which it is tied. Ties should not be confused with <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_316\">slurs<\/a>, which connect two or more notes of different pitches. Slurs can mean several different things depending on the instrument or voice that features them. For stringed instruments, a slur indicates how long a bow should be played before changing direction. For wind instruments, <span>a slur indicates that only the first note of the group should be tongued<\/span>. For singers, <span style=\"font-size: 18.6667px\">slurs <\/span><span style=\"font-size: 14pt\">usually indicate <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_317\">melismas<\/a>, which are groups of notes sung on one syllable. More generally, for all musicians, slurs may also indicate a manner of playing that is legato (smooth and connected). Example 2\u20111 shows the difference between <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_315\">ties<\/a> and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_54_316\">slurs<\/a>.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 2\u20111. Ties and slurs<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image29.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image29.png\" alt=\"examples of tied versus slurred notes\" class=\"aligncenter\" width=\"1374\" height=\"422\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 2-2 Beaming and barring measures<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 2-2 Beaming and barring measures<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">PART A. Beaming. Beneath each example or on a separate piece of paper, re-notate the passage so that beaming conforms to the given meter. Any durations within a single beat group should be beamed together. The first is done for you with some annotations.<\/p>\n<p class=\"import-Normal\" style=\"text-align: center\"><img decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image30.png\" alt=\"image\" class=\"aligncenter\" width=\"569.333333333333px\" height=\"685.333333333333px\" \/><\/p>\n<p class=\"import-Normal\">PART B. 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 final bar lines at the end of each example, according to the time signature. The first is done for you with some annotations.<\/p>\n<p class=\"import-Normal\" style=\"text-align: center\"><img decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/image31.png\" alt=\"image\" class=\"aligncenter\" width=\"624px\" height=\"752.466666666667px\" \/><\/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\/Ex2.2-Beaming-and-barring-measures.pdf\" target=\"_blank\" rel=\"noopener\">Ex2.2 Beaming and barring measures<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Rhythm reading<\/h1>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: R03 Rhythm reading (8:47)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"R03 Rhythm Reading\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/ZdfaMois5z0?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">In this interactive video, we will read six rhythms together, &#8220;ta&#8221;-ing the rhythm while conducting using either the duple, triple, or quadruple conducting patterns. Replay and practice again performing any rhythms that give you difficulty. The goal is to &#8220;ta&#8221; each rhythm accurately and fluently while also conducting.<\/p>\n<div class=\"textbox shaded\">For additional rhythm reading practice, <span>please refer to nos. 1\u201371 in<\/span> <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 class=\"textbox shaded\">\n<div>Want even more practice? Try this drill: <a class=\"rId63\" href=\"https:\/\/musictheorymaterials.utk.edu\/aural-skills-rhythm\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Barbara Murphy\u2019s rhythm patterns practice<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Rhythmic dictation in simple meters<\/h1>\n<p class=\"import-Normal\">Once you have learned the basics of how simple time signatures work and the durations used in simple meters, you can begin to train your ear and mind to transcribe rhythms that you hear into notation.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: R09 How to do rhythmic dictation (9:27)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"R09 How to Do Rhythmic Dictation\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/nYN376f3TMI?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This interactive video introduces a four-step process for doing a rhythmic dictation (listen\u2013memorize\u2013notate\u2013error detection) and guides viewers through doing a short rhythmic dictation in a simple duple meter using the beat and division levels.<\/p>\n<div class=\"textbox shaded\">\n<p>Want more practice? Try these drills:<\/p>\n<p style=\"padding-left: 40px\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/5958\/\" target=\"_blank\" rel=\"noopener\">Appendix C<\/a>, which contains more dictations for practice<\/p>\n<p style=\"padding-left: 40px\"><a class=\"rId62\" href=\"https:\/\/www.teoria.com\/en\/exercises\/rd4.php\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice rhythmic dictation<\/span><\/a><span class=\"import-Hyperlink\"> (<\/span><span class=\"import-Hyperlink\">teoria<\/span><span class=\"import-Hyperlink\">)<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 2-3 Practice rhythmic dictation<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 2-3 Practice rhythmic dictation<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Apply your skills by doing another rhythmic dictation. Copy the following setup on your own paper:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Rhythmic-Dict-blank-no-2.jpg\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Rhythmic-Dict-blank-no-2-1024x74.jpg\" alt=\"\" width=\"1024\" height=\"74\" class=\"alignnone wp-image-1855 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Rhythmic-Dict-blank-no-2-1024x74.jpg 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Rhythmic-Dict-blank-no-2-300x22.jpg 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Rhythmic-Dict-blank-no-2-768x56.jpg 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Rhythmic-Dict-blank-no-2-1536x111.jpg 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Rhythmic-Dict-blank-no-2-2048x148.jpg 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Rhythmic-Dict-blank-no-2-65x5.jpg 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Rhythmic-Dict-blank-no-2-225x16.jpg 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Rhythmic-Dict-blank-no-2-350x25.jpg 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Have a pencil and eraser handy, and use the video below to listen to and complete the rhythmic dictation.<\/p>\n<p class=\"p1\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/04\/Ex2.3-Practicing-rhythmic-dictation.pdf\" target=\"_blank\" rel=\"noopener\">Ex2.3 Practicing rhythmic dictation<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: R10 Rhythmic dictation practice (3:52)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-3\" title=\"R10 Rhythmic Dictation Practice\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/UwcR80UKCQ0?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>This video walks you through a short rhythmic dictation activity, geared for beginners. The meter is 3\/2. The dictation is four bars long and features only the beat and division levels. Three playings are given.<\/p>\n<div class=\"textbox shaded\">\n<p>Want more practice? Try these drills:<\/p>\n<p style=\"padding-left: 40px\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/5958\/\" target=\"_blank\" rel=\"noopener\">Appendix C<\/a>, which contains more dictations for practice<\/p>\n<p style=\"padding-left: 40px\"><a class=\"rId62\" href=\"https:\/\/www.teoria.com\/en\/exercises\/rd4.php\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice rhythmic dictation<\/span><\/a><span class=\"import-Hyperlink\"> (<\/span><span class=\"import-Hyperlink\">teoria<\/span><span class=\"import-Hyperlink\">)<\/span><\/p>\n<\/div>\n<\/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 2<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a class=\"rId66\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/1-introduction-to-rhythm-and-meter-2\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount\u2019s intro to rhythm and meter<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId67\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/3-simple-meters\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount\u2019s chapter on simple meter<\/span><\/a><\/p>\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/simple-meter-and-time-signatures\/\" target=\"_blank\" rel=\"noopener\">Chelsey Hamm, Kris Shaffer, and Mark Gotham&#8217;s chapter on simple meter and time signatures<\/a> (Open Music Theory)<\/p>\n<p><a href=\"https:\/\/uen.pressbooks.pub\/auralskills\/chapter\/simple-meter-simple-divisions\/\" target=\"_blank\" rel=\"noopener\">Timothy Chenette&#8217;s chapter on simple meter<\/a> (Foundations of Aural Skills)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-54-1\"><span class=\"import-outputbox\">Adaptation\/remix of <\/span><a class=\"rId49\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Conducting-24time.svg\"><span class=\"import-Hyperlink\">\"Conducting-24time.svg,\"<\/span><\/a><span class=\"import-outputbox\">\u00a0<\/span><a class=\"rId50\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Conducting-34time.svg\"><span class=\"import-Hyperlink\">\"Conducting-34time.svg,\"<\/span><\/a><span class=\"import-outputbox\">\u00a0<\/span><a class=\"rId51\" target=\"_blank\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Conducting-44time.svg\" rel=\"noopener\"><span class=\"import-Hyperlink\">\"Conducting-44time.svg\"<\/span><\/a><span class=\"import-outputbox\"> by <\/span><a class=\"rId52\" target=\"_blank\" href=\"https:\/\/en.wikipedia.org\/wiki\/User:Hankwang\" rel=\"noopener\"><span class=\"import-Hyperlink\">Hankwang<\/span><\/a><span class=\"import-outputbox\"> is licensed under <\/span><a class=\"rId53\" target=\"_blank\" href=\"http:\/\/creativecommons.org\/licenses\/by-sa\/3.0\" rel=\"noopener\"><span class=\"import-Hyperlink\">CC BY-SA 3.0<\/span><\/a> <a href=\"#return-footnote-54-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_54_2232\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_2232\"><div tabindex=\"-1\"><p>the initial onset of a sound<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_2233\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_2233\"><div tabindex=\"-1\"><p>the length of a sustained sound<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_265\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_265\"><div tabindex=\"-1\"><p>musical organization of attacks and durations in time<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_309\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_309\"><div tabindex=\"-1\"><p>in Western musical notation, a circular shape that is placed on a space or line of a staff to represent a pitch<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_310\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_310\"><div tabindex=\"-1\"><p>in Western musical notation, a vertical line that is placed on the left side beneath a notehead, or on the right side above a notehead<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_311\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_311\"><div tabindex=\"-1\"><p>in Western musical notation, an added shape placed at the end of a stem, used in durations of an eighth note and shorter<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_268\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_268\"><div tabindex=\"-1\"><p>symbol denoting a duration of silence<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_313\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_313\"><div tabindex=\"-1\"><p>periodic measure for organizing rhythmic durations in time; sometimes also used as a synonym for \"time signature\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_333\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_333\"><div tabindex=\"-1\"><p>in Western musical notation, vertical lines within the staff that demarcate the end of each measure<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_334\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_334\"><div tabindex=\"-1\"><p>in Western musical notation, a symbol containing two numbers, which shows how the meter is organized<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_335\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_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_54_336\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_336\"><div tabindex=\"-1\"><p>the primary tactus, or fundamental recurring pulse in a meter<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_341\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_341\"><div tabindex=\"-1\"><p>how the beat level is divided in a meter: simple meters divide each beat into equal groups of two, and compound meters divide each beat into equal groups of three<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_338\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_338\"><div tabindex=\"-1\"><p>in Western musical notation, a line connecting two or more notes that have flags<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_292\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_292\"><div tabindex=\"-1\"><p>in Western music notation, a symbol placed to the right of a note or rest that increases its duration by half of its value<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_315\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_315\"><div tabindex=\"-1\"><p>symbol that connects two durations together, with no separation between them or attack on the second duration<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_316\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_316\"><div tabindex=\"-1\"><p>symbol that connects two or more different notes together in a unit, either suggesting connected or legato playing, a single bow stroke for stringed instruments, or a melisma for singers<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_54_317\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_54_317\"><div tabindex=\"-1\"><p>a group of two or more notes that are sung on a single syllable<\/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":2,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-54","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/54","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":118,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/54\/revisions"}],"predecessor-version":[{"id":6968,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/54\/revisions\/6968"}],"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\/54\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=54"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=54"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=54"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=54"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}