{"id":656,"date":"2023-05-11T19:03:57","date_gmt":"2023-05-11T19:03:57","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/composite-meters\/"},"modified":"2025-08-14T19:18:42","modified_gmt":"2025-08-14T19:18:42","slug":"composite-meters","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/composite-meters\/","title":{"raw":"Composite meters","rendered":"Composite meters"},"content":{"raw":"<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 30<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nIn this chapter, we will learn:\r\n<ul>\r\n \t<li>The most common types of [pb_glossary id=\"2757\"]composite meter[\/pb_glossary]<\/li>\r\n \t<li>How to conduct and read rhythms using time signatures of composite meters<\/li>\r\n \t<li>How to aurally identify composite meters<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\nSome systems of metric organization can be thought of as a combination or <em>composite<\/em> of two or more simple duple and triple meters, resulting in unequal, asymmetric beats. We call these [pb_glossary id=\"2757\"]composite[\/pb_glossary] or asymmetric meters. The time signatures for composite meters usually feature 5 or 7 as the top number. Other composite meters similarly combine groups of 3 and 2 divisions.\r\n<h1><a id=\"Composite meters with 5 as the top number\"><\/a>Composite meters with 5 as the top number<\/h1>\r\nWhen 5 is the top number of a composite meter, the five divisions form two uneven beat groups\u2014either 3 + 2 or 2 + 3. Conducting becomes a modified duple pattern: the beat with three divisions is slightly longer than the beat with two. Example 30\u20111 uses a 2 + 3 grouping. Notice how the eighth notes are beamed to show this grouping. Example 30\u20112 uses a 3 + 2 grouping, beamed to show a longer first beat followed by a shorter second beat.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 30\u20111. Sample rhythm in [latex]\\color{white}{}^5_8[\/latex] with 2 + 3 grouping<\/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\/05\/Ex-30.1-23.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.1-23-1024x70.png\" alt=\"image of rhythm in 5\/8: 2 eighths, 3 eighths, bar line, one quarter note, three eighths, barline, two eighths, siciliano rhythm, bar line, one quarter, one dotted quarter, final bar line\" width=\"1024\" height=\"70\" class=\"alignnone wp-image-3379 size-large\" \/><\/a>\r\n\r\nPractice this rhythm, with conducting, by watching the video on composite meters from 1:27 to 2:20.\r\n\r\nhttps:\/\/youtu.be\/yyaukn6h2oE?si=Ipf6buXEqNXY4P5w&amp;t=87\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 30\u20112. Sample rhythm in [latex]\\color{white}{}^5_8[\/latex] with 3 + 2 grouping<\/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\/05\/Ex-30.2-32.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.2-32-1024x71.png\" alt=\"rhythm in 5\/8: 3 eighths, 2 eighths, bar line, dotted quarter, 2 eighths, bar line, siciliano rhythm, 2 eighths, bar line, dotted quarter, quarter, final bar line\" width=\"1024\" height=\"71\" class=\"alignnone wp-image-3382 size-large\" \/><\/a>\r\n\r\nPractice this rhythm, with conducting, by watching the video on composite meters starting from 2:20 to 3:13.\r\n\r\nhttps:\/\/youtu.be\/yyaukn6h2oE?si=N_qiGGfy54kun9sT&amp;t=140\r\n\r\n<\/div>\r\n<\/div>\r\nListen to the 3 + 2 grouping in Dave Brubeck\u2019s famous \u201cTake Five\u201d in Example 30\u20113.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 30\u20113. Paul Desmond, \u201cTake Five,\u201d recorded by the Dave Brubeck Quartet, 0:14\u20130:35<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.3-brubeck.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1YQWosTIljIvxAgHWTp7KP?si=ba3715a9e6ac49ed\">Spotify<\/a>.\r\n\r\nLearn about American jazz saxophonist <strong>Paul Desmond<\/strong> (1924\u20131977) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.07633\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Max Harrison.\r\n\r\nLearn about American jazz composer <strong>Dave Brubeck<\/strong> (1920\u20132012) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.04121\">Oxford Music Online article<\/a>, written by Richard Wang.\r\n\r\n<\/div>\r\n<\/div>\r\nListen to the 2 + 3 grouping in Example 30-4. Visual cues that contribute to the interpretation of 2 + 3 can be found in the cello part (labeled in the score as \"Violoncell\"), particularly in mm. 2 and 4, where the rhythm is two quarter notes followed by a dotted half.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 30-4. Pyotr Il\u2032yich Tchaikovsky, Symphony no. 6, op. 74, mvt. 2, mm. 1\u20135, strings only<\/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\/05\/New-Ex-30.4-tchaikovsky.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-Ex-30.4-tchaikovsky-1024x343.png\" alt=\"image of score in 5\/4\" width=\"1024\" height=\"343\" class=\"alignnone wp-image-4695 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-ex-30.4.mp3\"][\/audio]\r\n\r\nListen to the full movement, performed by the Cincinnati Symphony Orchestra conducted by Paavo J\u00e4rvi, on <a href=\"https:\/\/open.spotify.com\/track\/65JehzVG0TEnDrFQPgk5Aw?si=f51f14bc62434116\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Russian composer <strong>Pyotr Il'yich Tchaikovsky<\/strong> (1840\u20131893) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51766\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Roland John Wiley.\r\n\r\n<\/div>\r\n<\/div>\r\nExample 30-5 may be interpreted as either 2 + 3 or 3 + 2. The transcription in Example 30-5 shows the rhythm of a pattern that repeats throughout the track. Video R08 demonstrates conducting of the 2 + 3 grouping with this example, but you may conduct in either 2 + 3 or 3 + 2, depending on your interpretation.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 30\u20115. Radiohead, \u201c15 Step,\u201d 0:00\u20130:15<\/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\/05\/Ex-30.5-transcription.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-transcription-1024x327.png\" alt=\"\" width=\"1024\" height=\"327\" class=\"alignnone size-large wp-image-4690\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.4.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6dsq7Nt5mIFzvm5kIYNORy?si=6d70c4d52c074a78\">Spotify<\/a>.\r\n\r\nLearn about English rock band <strong>Radiohead <\/strong>by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\">Oxford Music Online article<\/a>, written by Christopher Doll.\r\n\r\n<\/div>\r\n<\/div>\r\n<h1>Composite meters with 7 as the top number<\/h1>\r\nWhen 7 is the top number of a composite meter, the seven divisions form three uneven beat groups\u2014as 2 + 2 + 3 (as shown in Example 30\u20116), 3 + 2 + 2 (as shown in Example 30\u20117), or the less common 2 + 3 + 2.\u00a0 The conducting pattern for these meters is a modified triple pattern. Again, the beat with three divisions is slightly longer than the two-division beats.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 30\u20116. Sample rhythm in [latex]\\color{white}{}^7_8[\/latex] with 2 + 2 + 3 grouping<\/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\/05\/Ex-30.5-223.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-223-1024x65.png\" alt=\"image of rhythm in 7\/8: 2 eighths, 2 eighths, 3 eighths, bar line, 2 quarters, siciliano rhythm, bar line, 2 quarters, dotted quarter, final bar line\" width=\"1024\" height=\"65\" class=\"alignnone wp-image-3393 size-large\" \/><\/a>\r\n\r\nPractice this rhythm, with conducting, by watching the video on composite meters from 5:30 to 6:23.\r\n\r\nhttps:\/\/youtu.be\/yyaukn6h2oE?si=5ubUWfpZPo5ba0tN&amp;t=330\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 30\u20117. Sample rhythm in [latex]\\color{white}{}^7_8[\/latex] with 3 + 2 + 2 grouping<\/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\/05\/Ex-30.6-322.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.6-322-1024x67.png\" alt=\"image of rhythm in 7\/8: 3 eighths, 2 eighths, 2 eighths, bar line, siciliano, 2 quarters, bar line, 3 eighths, 2 quarters, final bar line\" width=\"1024\" height=\"67\" class=\"alignnone wp-image-3395 size-large\" \/><\/a>\r\n\r\nPractice this rhythm, with conducting, by watching the video on composite meters from 6:36 to 7:11.\r\n\r\nhttps:\/\/youtu.be\/yyaukn6h2oE?si=sEjoC_LLi4IixKMP&amp;t=396\r\n\r\n<\/div>\r\n<\/div>\r\nExample 30\u20118 shows the 2 + 2 + 3 pattern in another recording by Radiohead.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 30\u20118. Radiohead, \u201c2+2=5,\u201d 0:36\u20130:52<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.7-radiohead.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/37kUGdEJJ7NaMl5LFW4EA4?si=b25dbe42cb49478d\">Spotify<\/a>.\r\n\r\nLearn about English rock band <strong>Radiohead <\/strong>by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\">Oxford Music Online article<\/a>, written by Christopher Doll.\r\n\r\n<\/div>\r\n<\/div>\r\nExample 30\u20119 demonstrates the 3 + 2 + 2 grouping in a song from the musical <em>Jesus Christ Superstar<\/em>.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 30\u20119. Trad., \"Dance of Zalongo,\" opening melody<\/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\/05\/Ex-30.9-Dance-of-Zalongo.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-Dance-of-Zalongo-1024x108.png\" alt=\"image of score in 7\/8\" width=\"1024\" height=\"108\" class=\"alignnone wp-image-5643 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-30.9.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by The Plucked String Orchestra Of The Municipality Of Patras on <a href=\"https:\/\/open.spotify.com\/track\/2WyNkarHxPjOsQ8ymKwlrL?si=3c1134ebcf994434\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about the Dance of Zalongo by reading <a href=\"https:\/\/greekcitytimes.com\/2021\/12\/19\/dance-of-zalongo-souliote\/\" target=\"_blank\" rel=\"noopener\">this article<\/a> on the Greek City Times <a href=\"https:\/\/greekcitytimes.com\" target=\"_blank\" rel=\"noopener\">website<\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Composite meters with 10 as the top number\"><\/a>Composite meters with 10 as the top number<\/h1>\r\nWhen 10 is the top number, most commonly the ten divisions form four uneven beat groups as 3 + 3 + 2 + 2, as shown in Examples 30-10 and 30-11. The conducting pattern for this meter is a modified quadruple pattern.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 30\u201110. Sample rhythm in 10\/8 with 3 + 3 + 2 + 2 grouping<\/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\/05\/Ex-30.9-3322.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-3322-1024x71.png\" alt=\"image of rhythm in 10\/8: 3 eighths, 3 eighths, 2 eighths, 2 eighths, bar line, 3 eighths, 3 eighths, 2 quarters, bar line, 2 dotted quarters, 2 quarters\" width=\"1024\" height=\"71\" class=\"alignnone wp-image-3402 size-large\" \/><\/a>\r\n\r\nPractice this rhythm, with conducting, by watching the video on composite meters from 9:40 to 10:48.\r\n\r\nhttps:\/\/youtu.be\/yyaukn6h2oE?si=IWNA_BvSd_sqG7Pu&amp;t=580\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 30\u201111. Eric Whitacre, \u201cKal\u00e1 Kall\u00e1\u201d from <em>5 Hebrew Love Songs<\/em>, 0:37\u20130:56<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.10-whitacre.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Eric Whitacre Singers, on <a href=\"https:\/\/open.spotify.com\/track\/1nxLqMNg5Cj4FlNJm56jQw?si=aaecc8aded6b401f\">Spotify<\/a>.\r\n\r\nLearn about American composer <strong>Eric Whitacre<\/strong> (b. 1970) by reading the <a href=\"https:\/\/ericwhitacre.com\/biography\">bio<\/a> on his official website.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Want more practice? For additional rhythm reading practice, please refer to nos. 100\u2013115 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<h1><a id=\"EXERCISE 30-1 Identifying composite meters aurally\"><\/a>EXERCISE 30-1 Identifying composite meters aurally<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 30-1 Identifying composite meters aurally<\/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\/43x7MBeyFCRJ7aiRevLFDQ?si=1908c19a12ee4a0b\" target=\"_blank\" rel=\"noopener\">Spotify playlist for composite meters<\/a>\r\n\r\nPut the playlist on shuffle, and play up to 60 seconds of any track on the playlist. While listening, in whatever order works best for you, determine how the divisions are grouped, and find the downbeat to try out different conducting patterns. Your ultimate goal is to determine the grouping pattern and top number of the time signature (5, 7, 10, 11, or 13[footnote]There are several bonus examples on the playlist that combine groups of 3 and 2 to create meters in 11 and 13![\/footnote]).\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\/05\/Answers-to-EXERCISE-30.1-Aural-meter-ID.pdf\" target=\"_blank\" rel=\"noopener\">Answers to EXERCISE 30.1 Identifying composite meters aurally<\/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\/05\/Ex30.1-Identifying-composite-meters-aurally.pdf\" target=\"_blank\" rel=\"noopener\">Ex30.1 Identifying composite meters aurally<\/a><\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 30<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>In this chapter, we will learn:<\/p>\n<ul>\n<li>The most common types of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_656_2757\">composite meter<\/a><\/li>\n<li>How to conduct and read rhythms using time signatures of composite meters<\/li>\n<li>How to aurally identify composite meters<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p>Some systems of metric organization can be thought of as a combination or <em>composite<\/em> of two or more simple duple and triple meters, resulting in unequal, asymmetric beats. We call these <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_656_2757\">composite<\/a> or asymmetric meters. The time signatures for composite meters usually feature 5 or 7 as the top number. Other composite meters similarly combine groups of 3 and 2 divisions.<\/p>\n<h1><a><\/a>Composite meters with 5 as the top number<\/h1>\n<p>When 5 is the top number of a composite meter, the five divisions form two uneven beat groups\u2014either 3 + 2 or 2 + 3. Conducting becomes a modified duple pattern: the beat with three divisions is slightly longer than the beat with two. Example 30\u20111 uses a 2 + 3 grouping. Notice how the eighth notes are beamed to show this grouping. Example 30\u20112 uses a 3 + 2 grouping, beamed to show a longer first beat followed by a shorter second beat.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 30\u20111. Sample rhythm in <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-8b80197db66e406588e018596b2bf05d_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#99;&#111;&#108;&#111;&#114;&#123;&#119;&#104;&#105;&#116;&#101;&#125;&#123;&#125;&#94;&#53;&#95;&#56;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"51\" style=\"vertical-align: -5px;\" \/> with 2 + 3 grouping<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.1-23.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.1-23-1024x70.png\" alt=\"image of rhythm in 5\/8: 2 eighths, 3 eighths, bar line, one quarter note, three eighths, barline, two eighths, siciliano rhythm, bar line, one quarter, one dotted quarter, final bar line\" width=\"1024\" height=\"70\" class=\"alignnone wp-image-3379 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.1-23-1024x70.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.1-23-300x21.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.1-23-768x53.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.1-23-1536x105.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.1-23-2048x141.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.1-23-65x4.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.1-23-225x15.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.1-23-350x24.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Practice this rhythm, with conducting, by watching the video on composite meters from 1:27 to 2:20.<\/p>\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"R08 Intro to Composite Meters\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/yyaukn6h2oE?start=87&#38;feature=oembed\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 30\u20112. Sample rhythm in <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-8b80197db66e406588e018596b2bf05d_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#99;&#111;&#108;&#111;&#114;&#123;&#119;&#104;&#105;&#116;&#101;&#125;&#123;&#125;&#94;&#53;&#95;&#56;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"51\" style=\"vertical-align: -5px;\" \/> with 3 + 2 grouping<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.2-32.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.2-32-1024x71.png\" alt=\"rhythm in 5\/8: 3 eighths, 2 eighths, bar line, dotted quarter, 2 eighths, bar line, siciliano rhythm, 2 eighths, bar line, dotted quarter, quarter, final bar line\" width=\"1024\" height=\"71\" class=\"alignnone wp-image-3382 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.2-32-1024x71.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.2-32-300x21.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.2-32-768x53.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.2-32-1536x107.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.2-32-2048x143.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.2-32-65x5.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.2-32-225x16.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.2-32-350x24.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Practice this rhythm, with conducting, by watching the video on composite meters starting from 2:20 to 3:13.<\/p>\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"R08 Intro to Composite Meters\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/yyaukn6h2oE?start=140&#38;feature=oembed\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<\/div>\n<\/div>\n<p>Listen to the 3 + 2 grouping in Dave Brubeck\u2019s famous \u201cTake Five\u201d in Example 30\u20113.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 30\u20113. Paul Desmond, \u201cTake Five,\u201d recorded by the Dave Brubeck Quartet, 0:14\u20130:35<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-656-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.3-brubeck.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.3-brubeck.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.3-brubeck.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1YQWosTIljIvxAgHWTp7KP?si=ba3715a9e6ac49ed\">Spotify<\/a>.<\/p>\n<p>Learn about American jazz saxophonist <strong>Paul Desmond<\/strong> (1924\u20131977) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.07633\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Max Harrison.<\/p>\n<p>Learn about American jazz composer <strong>Dave Brubeck<\/strong> (1920\u20132012) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.04121\">Oxford Music Online article<\/a>, written by Richard Wang.<\/p>\n<\/div>\n<\/div>\n<p>Listen to the 2 + 3 grouping in Example 30-4. Visual cues that contribute to the interpretation of 2 + 3 can be found in the cello part (labeled in the score as &#8220;Violoncell&#8221;), particularly in mm. 2 and 4, where the rhythm is two quarter notes followed by a dotted half.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 30-4. Pyotr Il\u2032yich Tchaikovsky, Symphony no. 6, op. 74, mvt. 2, mm. 1\u20135, strings only<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-Ex-30.4-tchaikovsky.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-Ex-30.4-tchaikovsky-1024x343.png\" alt=\"image of score in 5\/4\" width=\"1024\" height=\"343\" class=\"alignnone wp-image-4695 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-Ex-30.4-tchaikovsky-1024x343.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-Ex-30.4-tchaikovsky-300x101.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-Ex-30.4-tchaikovsky-768x257.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-Ex-30.4-tchaikovsky-1536x515.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-Ex-30.4-tchaikovsky-2048x687.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-Ex-30.4-tchaikovsky-65x22.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-Ex-30.4-tchaikovsky-225x75.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-Ex-30.4-tchaikovsky-350x117.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-656-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-ex-30.4.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-ex-30.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/New-ex-30.4.mp3<\/a><\/audio><\/p>\n<p>Listen to the full movement, performed by the Cincinnati Symphony Orchestra conducted by Paavo J\u00e4rvi, on <a href=\"https:\/\/open.spotify.com\/track\/65JehzVG0TEnDrFQPgk5Aw?si=f51f14bc62434116\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Russian composer <strong>Pyotr Il&#8217;yich Tchaikovsky<\/strong> (1840\u20131893) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51766\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Roland John Wiley.<\/p>\n<\/div>\n<\/div>\n<p>Example 30-5 may be interpreted as either 2 + 3 or 3 + 2. The transcription in Example 30-5 shows the rhythm of a pattern that repeats throughout the track. Video R08 demonstrates conducting of the 2 + 3 grouping with this example, but you may conduct in either 2 + 3 or 3 + 2, depending on your interpretation.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 30\u20115. Radiohead, \u201c15 Step,\u201d 0:00\u20130:15<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-transcription.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-transcription-1024x327.png\" alt=\"\" width=\"1024\" height=\"327\" class=\"alignnone size-large wp-image-4690\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-transcription-1024x327.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-transcription-300x96.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-transcription-768x246.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-transcription-1536x491.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-transcription-2048x655.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-transcription-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-transcription-225x72.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-transcription-350x112.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-656-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.4.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.4.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6dsq7Nt5mIFzvm5kIYNORy?si=6d70c4d52c074a78\">Spotify<\/a>.<\/p>\n<p>Learn about English rock band <strong>Radiohead <\/strong>by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\">Oxford Music Online article<\/a>, written by Christopher Doll.<\/p>\n<\/div>\n<\/div>\n<h1>Composite meters with 7 as the top number<\/h1>\n<p>When 7 is the top number of a composite meter, the seven divisions form three uneven beat groups\u2014as 2 + 2 + 3 (as shown in Example 30\u20116), 3 + 2 + 2 (as shown in Example 30\u20117), or the less common 2 + 3 + 2.\u00a0 The conducting pattern for these meters is a modified triple pattern. Again, the beat with three divisions is slightly longer than the two-division beats.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 30\u20116. Sample rhythm in <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-84a243b233632f54b0907e6e057cabe7_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#99;&#111;&#108;&#111;&#114;&#123;&#119;&#104;&#105;&#116;&#101;&#125;&#123;&#125;&#94;&#55;&#95;&#56;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"51\" style=\"vertical-align: -5px;\" \/> with 2 + 2 + 3 grouping<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-223.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-223-1024x65.png\" alt=\"image of rhythm in 7\/8: 2 eighths, 2 eighths, 3 eighths, bar line, 2 quarters, siciliano rhythm, bar line, 2 quarters, dotted quarter, final bar line\" width=\"1024\" height=\"65\" class=\"alignnone wp-image-3393 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-223-1024x65.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-223-300x19.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-223-768x49.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-223-1536x98.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-223-2048x131.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-223-65x4.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-223-225x14.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.5-223-350x22.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Practice this rhythm, with conducting, by watching the video on composite meters from 5:30 to 6:23.<\/p>\n<p><iframe loading=\"lazy\" id=\"oembed-3\" title=\"R08 Intro to Composite Meters\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/yyaukn6h2oE?start=330&#38;feature=oembed\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 30\u20117. Sample rhythm in <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-84a243b233632f54b0907e6e057cabe7_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#99;&#111;&#108;&#111;&#114;&#123;&#119;&#104;&#105;&#116;&#101;&#125;&#123;&#125;&#94;&#55;&#95;&#56;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"51\" style=\"vertical-align: -5px;\" \/> with 3 + 2 + 2 grouping<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.6-322.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.6-322-1024x67.png\" alt=\"image of rhythm in 7\/8: 3 eighths, 2 eighths, 2 eighths, bar line, siciliano, 2 quarters, bar line, 3 eighths, 2 quarters, final bar line\" width=\"1024\" height=\"67\" class=\"alignnone wp-image-3395 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.6-322-1024x67.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.6-322-300x20.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.6-322-768x50.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.6-322-1536x101.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.6-322-2048x134.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.6-322-65x4.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.6-322-225x15.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.6-322-350x23.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Practice this rhythm, with conducting, by watching the video on composite meters from 6:36 to 7:11.<\/p>\n<p><iframe loading=\"lazy\" id=\"oembed-4\" title=\"R08 Intro to Composite Meters\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/yyaukn6h2oE?start=396&#38;feature=oembed\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<\/div>\n<\/div>\n<p>Example 30\u20118 shows the 2 + 2 + 3 pattern in another recording by Radiohead.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 30\u20118. Radiohead, \u201c2+2=5,\u201d 0:36\u20130:52<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-656-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.7-radiohead.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.7-radiohead.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.7-radiohead.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/37kUGdEJJ7NaMl5LFW4EA4?si=b25dbe42cb49478d\">Spotify<\/a>.<\/p>\n<p>Learn about English rock band <strong>Radiohead <\/strong>by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\">Oxford Music Online article<\/a>, written by Christopher Doll.<\/p>\n<\/div>\n<\/div>\n<p>Example 30\u20119 demonstrates the 3 + 2 + 2 grouping in a song from the musical <em>Jesus Christ Superstar<\/em>.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 30\u20119. Trad., &#8220;Dance of Zalongo,&#8221; opening melody<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-Dance-of-Zalongo.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-Dance-of-Zalongo-1024x108.png\" alt=\"image of score in 7\/8\" width=\"1024\" height=\"108\" class=\"alignnone wp-image-5643 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-Dance-of-Zalongo-1024x108.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-Dance-of-Zalongo-300x31.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-Dance-of-Zalongo-768x81.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-Dance-of-Zalongo-1536x161.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-Dance-of-Zalongo-2048x215.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-Dance-of-Zalongo-65x7.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-Dance-of-Zalongo-225x24.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-Dance-of-Zalongo-350x37.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-656-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-30.9.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-30.9.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-30.9.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by The Plucked String Orchestra Of The Municipality Of Patras on <a href=\"https:\/\/open.spotify.com\/track\/2WyNkarHxPjOsQ8ymKwlrL?si=3c1134ebcf994434\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about the Dance of Zalongo by reading <a href=\"https:\/\/greekcitytimes.com\/2021\/12\/19\/dance-of-zalongo-souliote\/\" target=\"_blank\" rel=\"noopener\">this article<\/a> on the Greek City Times <a href=\"https:\/\/greekcitytimes.com\" target=\"_blank\" rel=\"noopener\">website<\/a>.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Composite meters with 10 as the top number<\/h1>\n<p>When 10 is the top number, most commonly the ten divisions form four uneven beat groups as 3 + 3 + 2 + 2, as shown in Examples 30-10 and 30-11. The conducting pattern for this meter is a modified quadruple pattern.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 30\u201110. Sample rhythm in 10\/8 with 3 + 3 + 2 + 2 grouping<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-3322.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-3322-1024x71.png\" alt=\"image of rhythm in 10\/8: 3 eighths, 3 eighths, 2 eighths, 2 eighths, bar line, 3 eighths, 3 eighths, 2 quarters, bar line, 2 dotted quarters, 2 quarters\" width=\"1024\" height=\"71\" class=\"alignnone wp-image-3402 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-3322-1024x71.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-3322-300x21.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-3322-768x53.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-3322-1536x107.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-3322-2048x143.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-3322-65x5.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-3322-225x16.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.9-3322-350x24.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Practice this rhythm, with conducting, by watching the video on composite meters from 9:40 to 10:48.<\/p>\n<p><iframe loading=\"lazy\" id=\"oembed-5\" title=\"R08 Intro to Composite Meters\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/yyaukn6h2oE?start=580&#38;feature=oembed\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 30\u201111. Eric Whitacre, \u201cKal\u00e1 Kall\u00e1\u201d from <em>5 Hebrew Love Songs<\/em>, 0:37\u20130:56<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-656-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.10-whitacre.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.10-whitacre.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-30.10-whitacre.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Eric Whitacre Singers, on <a href=\"https:\/\/open.spotify.com\/track\/1nxLqMNg5Cj4FlNJm56jQw?si=aaecc8aded6b401f\">Spotify<\/a>.<\/p>\n<p>Learn about American composer <strong>Eric Whitacre<\/strong> (b. 1970) by reading the <a href=\"https:\/\/ericwhitacre.com\/biography\">bio<\/a> on his official website.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Want more practice? For additional rhythm reading practice, please refer to nos. 100\u2013115 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<h1><a><\/a>EXERCISE 30-1 Identifying composite meters aurally<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 30-1 Identifying composite meters aurally<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>First, access the playlist here: <a href=\"https:\/\/open.spotify.com\/playlist\/43x7MBeyFCRJ7aiRevLFDQ?si=1908c19a12ee4a0b\" target=\"_blank\" rel=\"noopener\">Spotify playlist for composite meters<\/a><\/p>\n<p>Put the playlist on shuffle, and play up to 60 seconds of any track on the playlist. While listening, in whatever order works best for you, determine how the divisions are grouped, and find the downbeat to try out different conducting patterns. Your ultimate goal is to determine the grouping pattern and top number of the time signature (5, 7, 10, 11, or 13<a class=\"footnote\" title=\"There are several bonus examples on the playlist that combine groups of 3 and 2 to create meters in 11 and 13!\" id=\"return-footnote-656-1\" href=\"#footnote-656-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a>).<\/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\/05\/Answers-to-EXERCISE-30.1-Aural-meter-ID.pdf\" target=\"_blank\" rel=\"noopener\">Answers to EXERCISE 30.1 Identifying composite meters aurally<\/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\/05\/Ex30.1-Identifying-composite-meters-aurally.pdf\" target=\"_blank\" rel=\"noopener\">Ex30.1 Identifying composite meters aurally<\/a><\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-656-1\">There are several bonus examples on the playlist that combine groups of 3 and 2 to create meters in 11 and 13! <a href=\"#return-footnote-656-1\" 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_656_2757\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_656_2757\"><div tabindex=\"-1\"><p>system of metric organization that combines two or more simple meters resulting in unequal, asymmetric beats; the most common composite meters have 5 or 7 as the top number in the time signature; also called \"asymmetric meters\"<\/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":30,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-656","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/656","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\/656\/revisions"}],"predecessor-version":[{"id":7067,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/656\/revisions\/7067"}],"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\/656\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=656"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=656"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=656"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=656"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}