Chapter 4

Chapter 4
Compound Meters
• Compare "Greensleeves" with "Down in the Valley."

Specifically listen for the differences in primary beats
and the differences in the secondary beats.
Meter Signatures
• Compound meter signatures differ from simple meter

signatures in important ways.
• The beat unit divides in threes; therefore, the beat unit is

always dotted.
• The bottom number of a meter signature indicates the

division of the beat rather than the beat itself. For
example, if the bottom number of a meter signature is an
8, the beat unit is a dotted quarter note. (eighth note +
eighth note + eighth note = dotted quarter note)
In Compound Meters:
• The top number of the meter signature is 6 or greater and

divisible by 3. Most ofter, the top number will be 6, 9, or
12 (duple, triple, quadruple).
• The lower number represents the division of the beat, not

the beat itself. It is usually 8, but it can be anything.
• In all other ways, compound meters are treated the
same as simple meters. They are conducted the
same. They can have an anacrusis.
• Compare the three examples on the following page.

Rhythmic Notation in Compound Meters
The Dotted-Quarter Beat Unit

Beaming in Compound Meter
• Beaming in compound meter is no different than in simple

meter - rhythms should be beamed to reflect the beat
unit.
• When dealing with two rests, dots are generally avoided

as it is more clear to not include them. Dots on rests can
be included as long as the intention is abundantly clear.
Subdividing the Beat
• Just as in simple meters, compound beats can be

subdivided. The beat unit will be dotted, there will be three
divisions of the beat, and there will be six subdivisions of
the beat.
• Perform the music on the following slide.

Beat Units Other Than the Dotted Quarter
• Compare the melody to "Greensleeves" written in different

meter signatures.
• When the bottom number of the meter signature is a
4,it becomes trickier to beam according to the beat as
you cannot beam quarter and half notes.
Syncopation
• Syncopations are created in compound meters by

placing: ties from a weak part of a beat across a stronger
part, an accent mark on a weak beat or the weak part of
a beat, a rest on the strong part of a beat that causes a
weaker part to sound accented.
Mixing Beat Divisions
Triplets
• Note below how the last beat of measure places 3 eighth

notes in a place where 2 eighth should exist.
• In simple meters, the beat may occasionally be divided
into three parts instead of the normal two. These
beats, marked with a 3, are called triplets.
• When notating triplets, use a note value that is one

duration unit smaller than the beat it replaces.
Duplets, Quadruplets, and Polyrhythm
• Duplets and Quadruplets appear in compound meter and

are frequently referred to as "tuplets."
• Notice below the triplet and the end of beat 2 and the
quadruplet at the beginning of measure 18.
• The downbeat of measure 18 contains a polyrhythm:
the juxtaposition of two beat divisions (three agains
four, two against three, etc).
• Note the triplets and the polyrhythms below
"Super Duplet"
• Duplets and Quadruplets can be found in simple triple

meters at the measure level rather than the beat level.
• In this example on the next slide, there are two quarter-

note bets per measure rather than three.
• This creates a temporary disruption in the meter from

triple to duple.
Hemiola in Compound Meter
• Hemiolas in compound meter are less typical than

hemioas in simple meter.
• The normal three part division of the beat is temporarily

grouped in twos in the upper voice.
• In the example on the next slide, it is possible to hear both

meters at the same time. 3/2 in the upper voice created
by a hemiola and 6/4 in the lower voice as indicated by
the key signatures.
Metrical Accent and Implications for Performance
• Meter is hierarchical, and implies accent patterns that are identical

whether the meter is simple or compound.
• Duple: strong-weak
• Triple: strong-weak-weak
• Quadruple: strong-weak-medium-weak
• Rhythmic notation only approximates a truly musical performance. The

performer's interpretation will usually include tempo fluctuations that
speed up or slow down slightly as the work approaches an important
musical goal. This type of transitory tempo fluctuation is called rubato.
Questions for Review
• How are compound meters distinguished from simple meters?
• When reading a compound meter signature, how do you

determine the number of beats per measure and the beat unit.
• Provide the number of beats per measure and the beat unit for
each of the following meter signatures: 12/4, 9/16, 6/4
• What guidelines should you follow in beaming rhythms together?

What makes this difficult when the dotted-half is the beat unit.
• How do the guidelines for metrical accent compare in simple and

compound meters?
Terms You Should Know
• anacrusis • metrical accent
• compound duple • quadruplet
• compound triple • rubato
• compound quadruple • triplet
• duplet • tuplet
• hemiola

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• Compare "Greensleeves" with "Down in the Valley."

• Compound meter signatures differ from simple meter

• The beat unit divides in threes; therefore, the beat unit is

• The bottom number of a meter signature indicates the

• The top number of the meter signature is 6 or greater and

• The lower number represents the division of the beat, not

• Compare the three examples on the following page.

The Dotted-Quarter Beat Unit

• Beaming in compound meter is no different than in simple

• When dealing with two rests, dots are generally avoided

• Just as in simple meters, compound beats can be

• Perform the music on the following slide.

• Compare the melody to "Greensleeves" written in different

• Syncopations are created in compound meters by

• Note below how the last beat of measure places 3 eighth

• When notating triplets, use a note value that is one

Duplets, Quadruplets, and Polyrhythm

• Duplets and Quadruplets appear in compound meter and

• Note the triplets and the polyrhythms below

• Duplets and Quadruplets can be found in simple triple

• In this example on the next slide, there are two quarter-

• This creates a temporary disruption in the meter from

• Hemiolas in compound meter are less typical than

• The normal three part division of the beat is temporarily

• In the example on the next slide, it is possible to hear both

• Meter is hierarchical, and implies accent patterns that are identical

• Rhythmic notation only approximates a truly musical performance. The

• How are compound meters distinguished from simple meters?

• When reading a compound meter signature, how do you

• What guidelines should you follow in beaming rhythms together?

• How do the guidelines for metrical accent compare in simple and

Terms You Should Know

• anacrusis • metrical accent

• compound duple • quadruplet

• compound triple • rubato

• compound quadruple • triplet

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