Leonid Gurulev, Dmitry Nizyaev
ACCENT. METER. SIZE. TACT.
BAR BAR. ZAKTACT.
In music, sounds, as you yourself understand, are organized in time. Due to this we're talking about about two terms that are quite similar in application, but still have fundamental difference. This rhythm And meter, which we already met in the previous lesson. Let us repeat, just in case: rhythm is the ratio of durations, or rather, moments of sounds in music. That is, a certain “drawing” or “pattern” that unfolds over time. Let's compare this with the concept of "meter". Meter - in music theory, means an abstract pulsation, which is always implied in music, although it may not be embodied in real sounds. Rhythm is a pattern, and meter is a grid. One concept is embodied in notes, and the other is abstract.
The individual clicks of an imaginary metronome are called "beats." Each measure of the work is made up of beats. The number of beats in a bar may be different, but the main thing you need to pay attention to now is that these beats are not equal to each other. Regardless of the genre and other parameters of music, the first beat (the first metrical beat) of each measure always has a b O greater semantic load, greater weight than all other parts. Therefore, the first beat of the bar is called downbeat- this is also an established term. Actually, a beat is the space between two adjacent strong beats. And that involuntary emphasis that you place on the strong beat when playing music is called accent. However, you can place emphasis on any note if required by the nature of the melody. Just so you don’t get confused: the downbeat is an indestructible thing, and the accent is just a manner of performance.
The beats that do not have accents are called weak beats.
The uniform alternation of strong and weak beats of time is called meter- the same meaning, but in different words.
A fraction of a meter can be expressed in different durations: a meter (or, if you prefer, a unit of time) in a piece of music can be expressed in whole, half, eighth, or sixteenth durations. In principle, any duration, but personally I have never encountered works with a meter smaller than sixteenths.
Let's go further and get acquainted with the concept size. Speaking programmers' language, specifying the time signature for a piece of music is similar to loading an initialization file - it's like pre-setting parameters before starting. Size is usually represented as a simple fraction, that is, two numbers, one above the other. These numbers are written immediately after the key (and key signs, if any) so that the middle line of the staff serves as a fraction separator for them. The numerator indicates the number of beats, that is, how many metronome beats should sound in each measure. The denominator is the duration, which will serve as a unit of measurement. For example:
In musical notation, bars are separated from each other by a vertical line across the staff. This line is called a bar line. A bar line is placed before the downbeat to emphasize it.
If music begins with a weak beat, then an incomplete beat is formed first, which is called off beat. In most cases, the beat does not exceed half a beat. A beat can also appear in the middle of a piece before any part of it.
At the end, and sometimes at the end of a part of a piece, a double bar line is placed.
In most cases, works or individual parts of them that begin with an upbeat end with an incomplete measure, complementing the upbeat. This is a tradition. This is done even when there is no longer any musical material left to create the final incomplete bar - the incomplete bar is simply “added” using pauses.
SIMPLE METERS AND SIZES. GROUPING
DURATIONS IN SIMPLE METERS
A meter in which accents (strong beats) are repeated evenly every other beat is called bipartite.
A meter in which accents are repeated evenly after two beats is called trilobed.
Bipartite and tripartite meters with one accent are called simple. All their sizes expressing the same thing are called simple sizes. Simple sizes include:
a) two-part dimensions -
the size is also called alla breve and has a different designation: .
b) Trilobed sizes - less common
The formation of rhythmic groups within a measure is called grouping durations.
When grouping durations in simple meters, the main beats of the measure (metric beats) must be separated from each other. For example:
In the order of grouping durations in simple time signatures, the following exceptions are allowed:
1) Combining all durations with a common edge is possible in cases where these durations are the same. For example:
In 3/8 time, due to the small beats of the measure, the following grouping is allowed:
2) A sound whose duration occupies the entire measure is written in one note without using a league.
3) In the case when the note that begins the metrical beat has a dot, for example:
COMPLEX METERS AND SIZES. RELATIVELY STRONG SHARES. GROUPING DURATIONS IN COMPLEX MEASURES
When merging simple homogeneous meters are formed compound meters.
A compound meter may consist of two or more simple meters. Thereby compound meter may have several strong beats. The number of strong beats in a complex meter corresponds to the number of simple meters included in its composition.
The accent of the first beat of a compound meter is stronger than the rest of its accents, so this beat is called strong, and shares with more weak accents are called relatively strong shares
All dimensions expressing complex meters are also called complex dimensions. Therefore, what was said above about the composition of complex meters applies equally to complex sizes.
The most common dimensions expressing a complex meter are the following complex dimensions:
a) four-beat sizes: 4/4, 4/8, less common 4/2
b) six-part sizes: 6/4, 6/8, less common 6/16
c) nine-beat sizes: 9/8, 9/4 and 9/16 are very rare
d) twelve-lobed sizes: 12/8, less common 12/16
You can use other sizes, since there are no fundamental prohibitions. You will still have to take into account that the “perceptibility” of your music will greatly deteriorate as the size becomes more complex. All sizes, as can be seen from the explanations above, one way or another go back to two- or three-beats, or, in other words, to the genres of march or waltz. These simple, danceable and familiar movements in two or three steps are perceived most naturally by the listener, thanks to which such music is easily remembered and evokes a more emotional response. Dimensions that do not have family connection with two- and three-beats, for example 5/4, 11/4, 7/8, etc., are perceived by ear as very unusual, exotic, difficult. You will need considerable talent, a talent for suggestion and personal charm to give music in such metrical conditions a real naturalness and memorability...
Grouping in complex dimensions is that the simple dimensions that make them up are not combined into common ones rhythm groups, but are grouped separately, forming independent groups; as if hidden bars, not highlighted by bar lines. A sound whose duration occupies the entire complex measure is written as a total duration (one note), but sometimes also as notes connected by a league, the duration of which is equal to simple measures. This last appointment more consistent with the patterns of grouping in complex sizes.
MIXED METERS AND SIZES. GROUPING
DURATIONS IN MIXED SIZES
As we already know, simple meters can be combined into complex ones. From the merger of two or more simple heterogeneous meters are formed complex mixed meters. For simplicity they are called mixed meters, and the sizes expressing them are mixed sizes.
Mixed time signatures are found in music much less frequently than simple and complex meters. The most common of them are five-beat and seven-beat: 5/4, 5/8, 7/4, 7/8.
Occasionally there are other mixed sizes, for example 11/4. For example, in the finale of the opera "The Snow Maiden" by N. Rimsky-Korsakov there is a large solemn choral number in 11/4 time - it sounds very fresh. Also, most of you have probably heard the melody “Take Five” in 5/4 time, which jazz performers invariably use for their improvisations.
Mixed sizes differ from complex sizes in several ways:
1) the structure of mixed sizes depends on the sequence of simple sizes and their components, which affects the alternation of strong and relatively strong beats;
2) the alternation of strong and relatively strong beats of the bar follows unevenly.
For example:
A). Five-lobe sizes:
Pay attention to the “dependence” of the strong beats (under the note, the strong beat is highlighted with a “bird on the side” - an accent sign) on the size indicated in the key.
In the first case, the accents fall on the first and third beats, in the second case - on the first and fourth beats of the measure.
b) Seven-lobed sizes: 7/4 (3/4+2/4+2/4) and 7/4 (2/4+2/4+3/4). Try to identify strong and relatively strong beats yourself, using the example above.
Here, in the first case, the accents fall on the first, fourth and sixth beats of the bar, in the second case - on the first, third and fifth beats of the bar.
The bar structure - 7/4 (2/4+3/4+2/4) is almost never found in music.
There are cases when in the same piece of music the order of alternation of simple meters that make up a mixed time signature changes.
To make it easier to read notes in mixed time signatures, sometimes next to the main size designation an auxiliary designation is written in parentheses in the form of alternating simple sizes in a measure, as we have just seen.
Variable sizes are also available. Let's say one measure has three quarter notes, and the next one has four. In this case new size is set at the beginning of the measure.
SYNCOPE
A rhythmic figure in which there is a discrepancy between the rhythmic and metrical accents is called syncopation. In music, syncopation is common, occurring when, for example, the sound of a downbeat of a meter continues to sound on a subsequent downbeat. The result is a shift in emphasis to this weak metrical beat.
The same thing is observed in cases where the sound of the weak time of any metric beat is preserved on the strong time of the next metric beat. For example:
More common following forms syncopation, they are considered basic:
a) inter-bar syncopations, two-beat and three-beat;
b) intra-beat syncopations, two-beat and three-beat.
In addition, syncopation can occur after a pause occurring on the accented beat. In the spelling of intra-bar syncopations, deviations from the rule for grouping durations are allowed. So, for example, intra-bar syncopation is usually written by merging weak and strong beats into one note, but sometimes it is also written using a league, in two notes, adhering to the grouping rule. Inter-bar syncopations are written with two notes, connecting them with a league through a bar line.
GROUPING IN VOCAL MUSIC
In music for voice with text, the grouping of durations is associated with the syllabic composition of speech. An individual duration per syllable is not combined into a group with adjacent durations. If one syllable is sung with several sounds, then their durations are combined into groups according to general rule. I will not give unnecessary examples. This topic is not at all complicated, so to reinforce it, if you need to, look at any Beatles song or in the “Vocal works” of the library of our website, and everything will become clear to you.
PACE
The speed of movement is called pace. In music, tempo, as one of the means of expression, depends on the content of the musical work (or, rather, vice versa: the content depends on tempo). Tempos are divided into three main groups: slow, moderate and fast. To determine tempos, mainly Italian notations are used. Behind Lately In Russian publications, tempo designations in Russian began to be used. In jazz scores, English terms are traditionally used. Below is a list of basic tempo designations.
Slow pace: Largo- wide, Lento- drawn out, Adagio- slowly, Grave- hard.
Moderate pace: Andante- calmly, slowly, Andantino- more mobile than andante, Moderate- moderately Sostenuto- restrained, Allegretto- lively, Allegro moderato- moderately soon.
Fast pace: Allegro- soon, Vivo- alive, Vivace- alive, Presto- fast Prestissimo- very fast.
To clarify the shades of movement when deviating from its basic tempos, some additional notations are used: molto- Very, assai- very, con moto- with movement, commodo- convenient, non troppo - not too much, non tanto - not so much, sempre- all the time, meno mosso- less mobile piu mosso- more mobile tranquillo- calmly.
For greater expressiveness when performing a piece of music, gradual accelerations or decelerations are often used general movement. They are indicated in the musical text with the following words:
a) To slow down: ritenuto- holding back, ritardando- being late, allargando- expanding, rallentando- slowing down
b) To accelerate: accelerando- accelerating, animando- inspiring, stringendo- accelerating, stretto- compressed, squeezing
To return the movement to the original pace, the following notations are used: a tempo- at a pace tempo primo- initial tempo, tempo I°- initial tempo, l"istesso tempo- the same pace.
All tempos used in music according to verbal designations are approximate or, as they say, conventional. To establish a more accurate tempo, use a metronome. The most common metronome of the inventor Mälzel is in the form of a tetrahedral pyramid with a pendulum. Therefore, the metronome is abbreviated as M.M., which means “Metronome of Mälzel.” The metronome uses a pendulum to count the required number of beats per minute. The speed is adjusted by a moving weight. The metronome pendulum is driven by a winding mechanism. Each beat is taken as a unit of time - a fraction of a given meter and, according to the size, is considered as a duration equal to a half, or a quarter, or an eighth, etc. The composer sets the tempo designation using a metronome after the verbal designation. For example: Allegro M. M. = 18.
Permitted by the performer minor deviations from the tempos indicated by the author depend on his artistic individuality and his personal understanding of the music being performed.
CONDUCTING TECHNIQUES
Under conducting, in in a broad sense This word refers to the management of the performance of a musical work by a choir, orchestra or other large ensembles.
When applied to singing or solfeggio, conducting means a means of: firstly, counting, that is, indicating the time of duration and changing beats; secondly, setting the pace for of this work. Strange as it may seem, you can conduct even for yourself when you read unfamiliar notes, sing or write down a melody from memory. In these cases, conducting yourself not only makes it much easier for you to navigate the meter - and all your work, but also unexpectedly greatly speeds up the process of learning, adaptation, development, etc. Conduct yourself - and almost all the new concepts from the music theory course will be absorbed by you twice as quickly and firmly.
- (German Takt, from Latin tactus - touch) - from the 17th century. basic unit of meter in music, segment of music. works starting with a strong metric. accent. In musical notation, T. are distinguished by standing before these accents vertical lines- bar lines. Music Encyclopedia
Today we will talk about musical time signature - numerically meter, as well as how to count and conduct in different meters, but first let's repeat a little what pulse, meter, strong and weak beats are.
There can be a lot of variants of the rhythmic pattern in a two-quarter measure. Let's see some of them.
Size 3/4 "three quarters" – it has three beats, and each is equal to one quarter note. The counting is “one-and, two-and, three-and.” The sum of three quarters can also be dialed different ways. If, for example, you combine all three quarter notes into one note, you get a half note with a dot - this is the longest note that can be written in a bar with a given time signature. Check out some rhythmic fill options for this time signature.
Size 3/8 "three eighths" – it is similar to three-quarters in its three-beat length, only the duration of each beat here is an eighth, not a quarter. The count is "one-two-three". The eighth is the main duration, but it can be split into sixteenths if necessary or connected into a quarter (if two eighths are connected) or a quarter with a dot (connecting three eighths at once). Common rhythmic filling options:
Complex time signatures
The most common compound time signatures in music are four quarters and six eighths. Each of them consists of two simple ones.
Size 4/4 "four quarters" – contains four beats, and the duration of each beat is one quarter note. This size is the sum of two simple 2/4 sizes, which means it has two accents - on the first beat and on the third. The first beat is called strong, and the third, which corresponds to the beginning of the second simple size, called relatively strong , which is weaker than strong. Additionally, we would like to inform you that 4/4 time signature is sometimes also indicated by a sign similar to the letter C (open circle).
Size 6/8 "six eighths"
- this is a six-beat size, it is composed of two simple three-beats, the pulsation is in eighth notes. The strong beat in it is the first, and the relatively strong beat is the fourth (the beginning of the second is in simple size 3/8).
In addition to these most common complex time signatures, a musician may encounter others similar to them: 4/8, 6/4, 9/8, 12/8. All these complex dimensions are formed according to a similar principle. For example, a 9/8 measure is three 3/8 measures added together, 12/8 is four similar simple measures connected.
Mixed sizes
Mixed complex sizes are formed when not the same, but different simple ones are combined together, for example, a two-lobe with a three-lobe. From the variety of mixed sizes, four stand out that catch the eye more often than others. These are 5/4 and 5/8, as well as 7/4 and 7/8. From time to time, a musician may encounter 11/4 time signature, but this is very rare (for example, in the final chorus “Light and Power” from the opera “The Snow Maiden” by N.A. Rimsky-Korsakov).
Measurements 5/4 and 5/8 (“five quarters” and “five eighths”) - five-beat, they are based on the same principle, only in one case the pulsation occurs in quarter durations, and in the other - in eighths. Since these sizes are complex, they consist of two simple ones - bilobed and trilobed. Moreover, variations of these sizes are possible depending on the order of the simple ones.
For example, if in 5/4 there is 2/4 first and then 3/4, then the relatively strong beat is on the third beat. But if in the same size a three-beat is placed first, and after two-beats, then in this case a relatively strong beat will already fall on the fourth beat, thus one accent will be shifted, and this will change the entire internal rhythmic organization in the measure.
In order for the performer to know which version of the mixed size he will be dealing with, the notes often indicate in parentheses next to the set size which simple meters it is composed of. Based on the presented sum of sizes, it is usually clear what comes first - 2/4 or 3/4. For example: 5/4 (2/4 + 3/4) or 5/4 (3/4 + 2/4). The same goes for size 5/8.
Sizes 7/4 and 7/8
- composed of three simple ones, one of which is trilobed, and the remaining two are bipartite. This size can most often be seen in arrangements of Russian folk songs, sometimes also in instrumental music of predominantly Russian composers.
Variants of addition of the seven-beat meter differ in the location of the three-beat meter (more often it is located either at the beginning or at the end of the measure, much less often - in the middle).
We have discussed the main musical sizes. As in any business, it was important to understand the principle, then when you encounter some unusual size, you will no longer get lost. However, if there are still things that you do not understand, then write your questions in the comments. Perhaps they will help to significantly improve this material.
Although professional musicians can memorize music by ear, most beginners need to learn how to read music. Understanding the principles of reading music is also important for dancers and can captivate the heart of the casual listener. First you need to learn how to count the rhythm of music, or know how long to hold or play each note. It is also important to know the definition of time signature. This article describes standard principles reading music using a 4/4 time signature.
Steps
Part 1
Rhythm counting- Quarter notes take up 1/4 of a bar.
- Eighth notes take up 1/8 of a bar.
- Sixteenth notes take up 1/16 of a bar.
- Notes can be combined to create one whole note, for example, one half note and two quarter notes last one full measure.
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Try to keep the rhythm. If the rhythm is monotonous, try beating it with your heel and counting to four several times: 1-2-3-4, 1-2-3-4. Speed is not as important here as maintaining the same amount of space between each strike. A metronome can be helpful in maintaining a steady rhythm.
- Every full cycle the count 1-2-3-4 equals one measure.
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Try counting the length of the base notes. Say or sing “la” while continuing to count the rhythm to yourself. A whole note will take up the entire measure, so start singing the note "A" on the first beat and hold it until you reach the fourth. You just sang a whole note.
- Two half notes make up a full measure. Sing an "A" note for beats 1-2, then a new "A" note for beats 3-4.
- Four quarter notes make up a full measure. Sing an "A" note for each beat you beat.
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For smaller notes, add syllables. For eighth notes, you need to divide the bar into eight equal segments, although you will continue to hit only four beats per bar. Add the word “and” between each beat: “1 and 2 and 3 and 4 and.” Practice until you get it right. Each word represents 1/8 of a note.
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Point value. Sometimes in music there is a small dot right after the notes. This means that the length of the note should be increased by 50%.
- A half note usually takes up two beats, but with a dot it increases to three beats.
- A quarter note without a dot takes up one beat, while a quarter note with a dot takes up 1 1/2 beats.
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Practice playing triplets. Triplet refers to a group of three notes that lasts one beat. Their execution is quite problematic, since all the previously studied notes had equal shares. Pronunciation of syllables can help you master triplets.
- Try hitting triplets, saying “1st, 2nd, 3rd, 4th.”
- Remember to keep the number beats consistent by using a metronome or foot taps.
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Do it your way. Fermata is a musical notation that looks like a dot with an arc above the note. According to this symbol, you have the right to stretch the note as much as you like, regardless of musical rules.
- If you are part of an ensemble, then the duration of the note is determined by the conductor.
- If you are performing alone, determine the most appropriate length in advance.
- Listen to a recording of yourself playing if you're not sure how long to hold a note. This will give you insight into other artists' solutions, which will help you choose the best sound.
Part 2
Studying the Time Signature-
Determine the time signature. In the top left corner of the sheet music you will see some musical notation. The first symbol is called the "clef", which usually depends on the instrument on which the piece is played. Then there may be sharps or flats. But after them you should see two numbers arranged in a column. This is the time signature.
- In the first part of this article we used 4/4 time signature, which is indicated by two fours standing friend on a friend.
The concept of tact. Music is divided into measures, indicated by vertical bars. Notes in music are named according to how much time they occupy in a bar. Think of the beat as a pie that can be cut into quarters, halves, eighths, or a combination of different notes.
Learning basic musical notation. Note names contain information about what part of the bar they occupy. To fully understand, you must know elementary meaning"share". A whole note will take up the entire measure. Half notes take up half a bar.