2124:
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33:
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of rhythmic bar is the foundation of human instinctive musical participation, as when we divide a series of identical clock-ticks into "tick–tock–tick–tock". "Rhythms of recurrence" arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. In his book
3457:
2092:. Some people also label quadruple, while some consider it as two duples. Any other division is considered additively, as a bar of five beats may be broken into duple+triple (12123) or triple+duple (12312) depending on accent. However, in some music, especially at faster tempos, it may be treated as one unit of five.
1687:
But step-figures such as turns, the corte and walk-ins also require "quick" steps of half the duration, each entire figure requiring 3–6 "slow" beats. Such figures may then be "amalgamated" to create a series of movements that may synchronise to an entire musical section or piece. This can be thought
198:
preferred "measured rhythm". However, Justin London has written a book about musical metre, which "involves our initial perception as well as subsequent anticipation of a series of beats that we abstract from the rhythm surface of the music as it unfolds in time". This "perception" and "abstraction"
218:
may be defined as a regular, recurring pattern of strong and weak beats. This recurring pattern of durations is identified at the beginning of a composition by a meter signature (time signature). ... Although meter is generally indicated by time signatures, it is important to realize that meter is
2246:
contends that in terms of multiple and simultaneous levels of metrical "entrainment" (evenly spaced temporal events "that we internalize and come to expect", p. 9), there is no in-principle distinction between metre and hypermetre; instead, they are the same phenomenon occurring at different
172:
Meter is the measurement of the number of pulses between more or less regularly recurring accents. Therefore, in order for meter to exist, some of the pulses in a series must be accented—marked for consciousness—relative to others. When pulses are thus counted within a metric context, they are
3541:
3630:
3601:
3572:
3512:
3483:
157:. The English word "measure", originally an exact or just amount of time, came to denote either a poetic rhythm, a bar of music, or else an entire melodic verse or dance involving sequences of notes, words, or movements that may last four, eight or sixteen bars.
3440:
3423:
3243:
3377:
3333:
3289:
3635:
3462:
3461:
3458:
3199:
3155:
3463:
3460:
1272:
are not to be confused, they use bars of the same length, so it is easy to "slip" between them just by shifting the location of the accents. This interpretational switch has been exploited, for example, by
2696:
1619:
3545:
3634:
3605:
3576:
3542:
3516:
3632:
3603:
3574:
3513:
3487:
3484:
1302:
994:
Simple metre (or simple time) is a metre in which each beat of the bar divides naturally into two (as opposed to three) equal parts. The top number in the time signature will be 2, 3, 4, 5, etc.
3445:
3444:
3441:
3428:
3427:
3424:
3247:
3446:
3429:
3244:
1100:
of beats in each bar as opposed to the number of beats. For example, compound duple (two beats, each divided into three) is written as a time signature with a numerator of six, for example,
3381:
3337:
3293:
1610:
219:
not simply a matter of notation". A definition of musical metre requires the possibility of identifying a repeating pattern of accented pulses – a "pulse-group" – which corresponds to the
3378:
3334:
3290:
3544:
2242:, who regarded it as applying to a relatively small scale, conceiving of a still larger kind of gestural "rhythm" imparting a sense of "an extended upbeat followed by its downbeat"
1473:
at the end of the shorter lines so that the underlying musical metre is 8–8–8–8 beats, the cadences dividing this musically into two symmetrical "normal" phrases of four bars each.
1469:, the four lines having a syllable-count of 8–6–8–6 (Hymns Ancient and Modern Revised), the rhyme-scheme usually following suit: ABAB. There is generally a pause in the melody in a
3633:
3604:
3575:
3515:
3203:
3159:
2695:
3486:
3200:
3156:
2228:. "Hypermeter is metre, with all its inherent characteristics, at the level where bars act as beats". For example, the four-bar hypermeasures are the prototypical structure for
1669:
time at approximately 66 beats per minute. The basic slow step forwards or backwards, lasting for one beat, is called a "slow", so that a full "right–left" step is equal to one
2207:. The melodic lines in bars 1–4 and 5–8 are (almost) identical, and both form hypermetric spans. The two hyperbeats are the low Cs, in the first and fifth bars of the example.
3443:
3426:
3246:
3110:
3459:
1301:
3380:
3336:
3292:
3682:
831:
In classical music theory it is presumed that only divisions of two or three are perceptually valid, so a metre not divisible by 2 or 3, such as quintuple metre, say
4528:
1618:
203:, Joel Lester notes that, "nce a metric hierarchy has been established, we, as listeners, will maintain that organization as long as minimal evidence is present".
3202:
3158:
407:
is the metric level at which pulses are heard as the basic time unit of the piece. Faster levels are division levels, and slower levels are multiple levels. A
2212:
1389:
322:, by far the most common class in Western music, is where each time value is a multiple or fraction of a fixed unit (beat, see paragraph below), and normal
352:
is where the time values are not based on any fixed unit; since the time values lack a fixed unit, regularly recurring accents are no longer a possibility.
4643:
Neal, Jocelyn (2000). "Songwriter's
Signature, Artist's Imprint: The Metric Structure of a Country Song". In Wolfe, Charles K.; Akenson, James E. (eds.).
4480:
Lee, C. S. (1985). "The
Rhythmic Interpretation of Simple Musical Sequences: Towards a Perceptual Model". In Peter Howell; Ian Cross; Robert West (eds.).
1413:
arrangement of such figures into musical phrases (lines, couplets) and of such phrases into melodies, passages or sections (stanzas, verses) to give what
5149:
4911:
3543:
2885:. More generally, sometimes rhythms are combined in a way that is neither tactus nor bar preserving—the beat differs and the bar size also differs. See
3631:
3602:
3573:
3514:
1424:
commonly did not include musical notation but simply texts that could be sung to any tune known by the singers that had a matching metre. For example,
3485:
95:, the number of syllables in each line, and the arrangement of those syllables as long or short, accented or unaccented. The first coherent system of
3442:
3425:
3245:
2724:
With polymetre, the bar sizes differ, but the beat remains constant. Since the beat is the same, the various metres eventually agree. (Four bars of
4158:
1651:
3379:
3335:
3291:
2904:
dichotomy is fundamental to all perception". In the music, the two metres will meet each other after a specific number of beats. For example, a
4565:
4341:
4333:
4325:
4317:
4202:
4166:
3201:
3157:
2161:
rhythm (the
Turkish word for "limping") – also became more common in the 20th century: such metres include quintuple as well as more complex
2896:
pattern that is fitted to a metric framework, or focus on one rhythmic stream while treating others as "noise". This is consistent with the
4609:
4489:
4248:
315:. Metrical rhythm, measured rhythm, and free rhythm are general classes of rhythm and may be distinguished in all aspects of temporality:
60:, metric onsets are not necessarily sounded, but are nevertheless implied by the performer (or performers) and expected by the listener.
4935:
945:
293:
pulse group. In turn, metric bars may comprise 'metric groups' - for example, a musical phrase or melody might consist of two bars x
4876:
4850:
4816:
4790:
4768:
4749:
4726:
4656:
4546:
4508:
4470:
4447:
4424:
4405:
4388:
4369:
4298:
4271:
4185:
2211:
1759:
1556:
1388:
1089:
Compound metre (or compound time), is a metre in which each beat of the bar divides naturally into three equal parts. That is, each
514:
5615:
4597:
1381:
1278:
1020:
metre because there are three beats in each measure; simple duple (two beats) or simple quadruple (four) are also common metres.
4820:
1420:
Traditional and popular songs may draw heavily upon a limited range of metres, leading to interchangeability of melodies. Early
1314:. Likewise, simple metre can be shown in compound through duples. In practice, however, this is rarely done because it disrupts
2204:
1224:
1207:
1190:
1130:, which also assigns six eighth notes to each measure, but by convention connotes a simple triple time: 3 quarter-note beats.
1066:
1049:
1032:
787:
770:
702:
685:
625:
608:
5142:
5086:
4904:
4871:, edited by L. Poundie Burstein and David Gagné, 103–122. Harmonologia Series, no. 12. Hillsdale, New York: Pendragon Press.
1737:
1733:
1534:
1530:
1289:
452:
448:
2697:
2632:
2623:
2614:
1493:
metre), a wealth of irregular or compound metres are used. Other terms for this are "additive metre" and "imperfect time".
340:
is where each time value is a multiple or fraction of a specified time unit but there are not regularly recurring accents (
5752:
2659:
2650:
2641:
1303:
495:
4415:
Krebs, Harald (2005). "Hypermeter and
Hypermetric Irregularity in the Songs of Josephine Lang.". In Deborah Stein (ed.).
2127:
2296:
2101:
1477:
1310:
Compound metre divided into three parts could theoretically be transcribed into musically equivalent simple metre using
467:
78:
1337:, conductors typically provide two beats per bar; however, all six beats may be performed when the tempo is very slow.
963:(LCD) of the two or more metric divisions. For example, much African music is recorded in Western notation as being in
5650:
5514:
4523:
1445:
223:
in poetry. Frequently a pulse-group can be identified by taking the accented beat as the first pulse in the group and
2173:
has two 2-beat units and a 3-beat unit with a stress at the beginning of each unit. Similar metres are often used in
1722:
1519:
728:
is a metre in which each bar is divided into three beats, or a multiple thereof. For example, in the time signature
2901:
1485:
474:
1741:
1726:
1538:
1523:
441:
5742:
5719:
5610:
5585:
5376:
5135:
4897:
4721:. 6th corrected reprint of the 10th ed. (1970), revised and reset. London and New York: Oxford University Press.
4398:
Aural Skills
Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians
4224:
1425:
960:
5620:
5570:
5459:
5366:
2708:
The syncopation may then be added, moving "night" forward one eighth note, and the first phrase is generated.
1340:
Compound time is associated with "lilting" and dancelike qualities. Folk dances often use compound time. Many
481:
388:(e.g. seconds elapsed on an ordinary clock) if necessary to determine how long it will take to play the bar.
5709:
5580:
2939:
5259:
5026:
2178:
1979:...) Similarly compound quadruple, four beats to a bar, each divided by three, the top number being "12" (
1773:
74:
2810:, the number of beats varies within a fixed bar length. For example, in a 4:3 polyrhythm, one part plays
5691:
5555:
5254:
4882:
Waters, Keith (1996). "Blurring the
Barline: Metric Displacement in the Piano Solos of Herbie Hancock".
4668:
2758:'s Second String Quartet (1951), in which a constant triplet texture holds together overlapping bars of
463:
2213:
1390:
63:
A variety of systems exist throughout the world for organising and playing metrical music, such as the
1227:
1210:
1193:
1069:
1052:
1035:
790:
773:
705:
688:
628:
611:
5386:
5184:
4620:
3023:
2232:, in and against which country songs work. In some styles, two- and four-bar hypermetres are common.
119:
910:
divisible by 2 or 3 are considered equivalent to groupings of duple or triple metre measures; thus,
5625:
5605:
2152:
1650:, that has instantly recognizable patterns of beats built upon a characteristic tempo and bar. The
593:
4356:
The ABC of Music: A Short
Practical Guide to the Basic Essentials of Rudiments, Harmony, and Form'
2195:
Hypermetre: four-beat measure, four-bar hypermeasure, and four-hyperbar verses. Hyperbeats in red.
311:
The level of musical organisation implied by musical metre includes the most elementary levels of
5277:
5041:
4831:
2897:
2258:
2145:
2130:
2110:
1603:
1598:
1093:
contains a triple pulse. The top number in the time signature will be 6, 9, 12, 15, 18, 24, etc.
191:
150:
112:
1284:
399:
aspects that produce temporal regularity or structure, against which the foreground details or
210:
Metric levels: beat level shown in middle with division levels above and multiple levels below.
5747:
5671:
5419:
5046:
5036:
5006:
4872:
4846:
4812:
4786:
4764:
4745:
4722:
4652:
4605:
4561:
4542:
4504:
4485:
4466:
4443:
4420:
4401:
4384:
4365:
4337:
4329:
4321:
4313:
4294:
4277:
4267:
4244:
4198:
4181:
4162:
2141:
1876:...). When there are four beats to a bar, it is alternatively referred to as "quadruple" time.
1384:" shows a common fourfold multiplication of rhythmic phrases into a complete verse and melody.
1274:
347:
130:
5630:
5434:
5409:
5361:
5234:
5158:
4982:
4965:
4677:
4361:
4259:
2893:
2174:
1689:
1481:
1405:
and includes not only the basic rhythm of the foot, pulse-group or figure used but also the
400:
224:
5524:
5519:
5404:
5371:
5287:
5066:
5011:
4824:
4811:, 3 vols., ed. Laura Kuhn. New York: Schirmer-Thomson Gale; London: Simon & Schuster.
4666:
Pieslak, Jonathan (2007). "Re-casting Metal: Rhythm and Meter in the Music of
Meshuggah".
2105:
1693:
1470:
1294:
812:
552:
341:
331:
84:
3117:'s albums of the eighties have several songs that use polymetre of various combinations.
488:
4197:, second edition, edited by Charles Hiroshi Garrett. New York: Oxford University Press.
3124:, whose compositions often feature unconventionally timed rhythm figures cycling over a
2596:
2027:
Compound triple: three beats to a bar, each divided by three, the top number being "9" (
5681:
5655:
5394:
5249:
5111:
5001:
4838:
4354:
4236:
3672:
2605:
2254:
2236:
2162:
1453:
1398:
1012:, each bar contains three quarter-note beats, and each of those beats divides into two
986:
Simple metre and compound metre are distinguished by the way the beats are subdivided.
824:
818:
365:
323:
154:
142:
108:
104:
92:
64:
57:
4704:(1953). "String Quartet No. 2 in E-flat, Op. 73: An Analytical Note by the Composer."
2892:
Research into the perception of polymetre shows that listeners often either extract a
1776:(about 1600–1900), there are four different families of time signature in common use:
5736:
5686:
5545:
5464:
5336:
5292:
5229:
5209:
5166:
5076:
5071:
4995:
4955:
4737:
4715:
4701:
4645:
4519:
2755:
2229:
1433:
1341:
925:, for example, is rarely used because it is considered equivalent to two measures of
412:
408:
220:
161:
100:
4585:
1786:: two or four beats to a bar, each divided by two, the top number being "2" or "4" (
5600:
5590:
5565:
5476:
5439:
5341:
5329:
5319:
5282:
5269:
5219:
5096:
4950:
4861:
4778:
4689:
4349:
3667:
3114:
3076:
1880:
1464:
1410:
1371:
1315:
1090:
952:
743:, each bar contains three (3) quarter-note (4) beats, and with a time signature of
725:
574:
548:
312:
195:
123:
69:
53:
2291:, etc.) generate many different surface rhythms. For example, the first phrase of
4459:
4436:
2694:
2210:
1617:
1387:
1300:
5676:
5550:
5529:
5506:
5491:
5304:
5239:
5214:
5189:
5091:
4945:
2944:
2300:
2292:
2221:
2170:
2116:
1783:
1711:
1647:
1508:
1437:
1013:
544:
540:
430:
369:
327:
96:
49:
48:(American spelling) refers to regularly recurring patterns and accents such as
5575:
5449:
5314:
5309:
5106:
5056:
5051:
5021:
4987:
4977:
4681:
2807:
2719:
1634:
1488:
956:
404:
377:
146:
4867:
Larson, Steve (2006). "Rhythmic
Displacement in the Music of Bill Evans". In
4856:
Honing, Henkjan (2002). "Structure and
Interpretation of Rhythm and Timing."
403:
of any piece of music are projected. Metric levels may be distinguished: the
5645:
5635:
5595:
5560:
5444:
5204:
5081:
5061:
5031:
4970:
4940:
4869:
Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schachter
3677:
3121:
2886:
2225:
1934:
duple: two beats to a bar, each divided by three, the top number being "6" (
1577:
1441:
1357:
1353:
4281:
1569:
1096:
Compound metres are written with a time signature that shows the number of
230:
Frequently metres can be subdivided into a pattern of duples and triples.
206:
5496:
5481:
5324:
5299:
4960:
4219:
3027:
1449:
1349:
951:
Higher metres are used more commonly in analysis, if not performance, of
373:
138:
116:
17:
411:
is a durational pattern which occupies a period of time equivalent to a
368:. Some music, such as some graphically scored works since the 1950s and
5471:
5454:
5429:
5414:
5399:
5356:
5199:
5016:
4635:
4630:
2191:
1883:: three beats to a bar, each divided by two, the top number being "3" (
1448:". This is possible because the texts share a popular basic four-line (
455: in this section. Unsourced material may be challenged and removed.
2199:
1376:
384:
is Italian for "without metre", meaning to play without a beat, using
32:
5486:
5424:
5351:
5179:
5174:
5116:
4920:
2947:
explains: "At this very moment on stage we have drummer A playing in
2754:). An example is the second moment, titled "Scherzo polimetrico", of
2220:
Hypermetre is large-scale metre (as opposed to smaller-scale metre).
1458:
1421:
1406:
1311:
396:
165:
134:
88:
5127:
4889:
4845:, second edition (rev. 1949). Mainz, London, and New York: Schott.
5640:
5346:
5244:
5224:
5101:
4434:
Latham, Alison (2002a). "Compound Time ". In Alison Latham (ed.).
4212:
Sensation and Perception in the History of Experimental Psychology
3628:
3599:
3570:
3539:
3510:
3481:
3455:
3438:
3421:
3375:
3331:
3287:
3241:
3197:
3153:
2198:
2190:
2157:
1643:
1642:
Metre is often essential to any style of dance music, such as the
1576:
1568:
1375:
1345:
1319:
1283:
392:
361:
357:
205:
31:
5194:
1429:
1402:
385:
5131:
4893:
4310:
The Enjoyment of Music: An Introduction to Perceptive Listening
4291:
Perspectives in Music Theory: An Historical-Analytical Approach
4193:
Berry, David Carson, and Sherman Van Solkema (2013). "Theory".
2114:(shown below) is an example. This practice is sometimes called
1705:
1502:
1016:, making it a simple metre. More specifically, it is a simple
424:
1397:
The concept of metre in music derives in large part from the
4364:(foreword). London & New York: Oxford University Press.
3913:
3911:
3030:, has polymetric verses, with the drums and bass playing in
1586:
3850:
3848:
4457:
Latham, Alison (2002b). "Metre". In Alison Latham (ed.).
3775:
3773:
3120:
Polymetres are a defining characteristic of the music of
2129:
Audio playback is not supported in your browser. You can
1226:
Audio playback is not supported in your browser. You can
1209:
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1192:
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1068:
Audio playback is not supported in your browser. You can
1051:
Audio playback is not supported in your browser. You can
1034:
Audio playback is not supported in your browser. You can
955:, as lowest number possible which may be used to count a
789:
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772:
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704:
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687:
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627:
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610:
Audio playback is not supported in your browser. You can
194:
preferred to speak of "time" and "rhythmic shape", while
3022:, and the alto sax blowing his nose". "Touch And Go", a
2803:, and barlines rarely coincide in all four instruments.
4558:
Hearing in Time: Psychological Aspects of Musical Meter
4539:
Hearing in Time: Psychological Aspects of Musical Meter
2253:
and Middleton have described musical metre in terms of
2235:
The term was coined, together with "hypermeasures", by
4024:
4022:
4040:
3724:
3722:
3709:
3707:
3705:
3703:
3701:
3699:
3697:
1625:
Includes regular metre followed by an irregular metre
846:, is assumed to either be equivalent to a measure of
658:, which has four quarter-note beats per measure, and
4560:(second ed.). Oxford: Oxford University Press.
4112:
2357:
2341:
2325:
673:, which has four dotted-quarter-note beats per bar.
528:
Metres classified by the number of beats per measure
5664:
5538:
5505:
5385:
5268:
5165:
4541:(first ed.). Oxford: Oxford University Press.
3045:, while the guitar, synthesizer, and vocals are in
2104:, it became more common to switch metre—the end of
1654:defines the tango, for example, as to be danced in
4714:
4644:
4503:. Carbondale: Southern Illinois University Press.
4458:
4435:
4353:
3902:
326:reoccur regularly, providing systematic grouping (
4176:Benward, Bruce, and Marilyn Nadine Saker (2003).
3839:
4465:. Oxford and New York: Oxford University Press.
4442:. Oxford and New York: Oxford University Press.
4180:, Vol. 1, seventh edition. Boston: McGraw-Hill.
3683:List of musical works in unusual time signatures
758:, each bar contains three dotted-quarter beats.
4763:. Englewood Cliffs, New Jersey: Prentice-Hall.
4651:. Lexington, KY: University Press of Kentucky.
4529:The New Grove Dictionary of Music and Musicians
3752:
2937:In "Toads of the Short Forest" (from the album
2303:on "night", may be generated from its metre of
982:Metres classified by the subdivisions of a beat
170:
5143:
4905:
4713:Scholes, Percy (1977). John Owen Ward (ed.).
4308:Forney, Kristine, and Joseph Machlis (2007).
2870:are played in the same time as four beats of
2203:Opening of the third movement of Beethoven's
2076:If the beat is divided into two the metre is
8:
4744:. Oxford: Clarendon Press. p. 25ex2.6.
810:Metres with more than four beats are called
380:, may be considered ametric. The music term
91:, where it denotes the number of lines in a
4694:Music Notation: A Manual of Modern Practice
3866:
3764:
2855:beats are stretched so that three beats of
1740:. Unsourced material may be challenged and
1537:. Unsourced material may be challenged and
160:Metre is related to and distinguished from
5705:
5150:
5136:
5128:
4912:
4898:
4890:
3953:
3854:
3779:
2148:from one metric unit or metre to another.
1372:Musical form § Levels of organization
4312:, tenth edition. New York: W. W. Norton.
4064:
3890:
1760:Learn how and when to remove this message
1557:Learn how and when to remove this message
515:Learn how and when to remove this message
415:or pulses on an underlying metric level.
4604:. Milton Keynes: Open University Press.
4417:Engaging Music: Essays in Music Analysis
4266:. Chicago: University of Chicago Press.
3917:
2491:
2475:
2455:
2439:
2391:
2322:
2084:. If each bar is divided into two it is
1115:. Contrast this with the time signature
4159:Imperial Society of Teachers of Dancing
4136:
3989:
3929:
3728:
3713:
3693:
2261:concepts to show how different metres (
1652:Imperial Society of Teachers of Dancing
360:, has freer rhythm, like the rhythm of
4231:. New York: Warner Bros. Publications.
4195:The Grove Dictionary of American Music
4100:
4088:
4076:
4052:
3965:
3878:
3827:
3815:
3803:
3740:
2243:
1632:
1417:calls "the time pattern of any song".
4809:Baker's Student Encyclopedia of Music
4628:, Bizarre Records / Reprise Records,
4419:. New York: Oxford University Press.
4013:
4001:
3941:
3791:
1414:
419:Frequently encountered types of metre
99:in modern Western music was based on
7:
4785:. New Haven: Yale University Press.
4783:The Stratification of Musical Rhythm
4518:London, Justin (2001). "Rhythm". In
4241:Musical Form and Musical Performance
4124:
4028:
3977:
2239:
1738:adding citations to reliable sources
1573:Typical figures of the waltz rhythm.
1535:adding citations to reliable sources
1476:In some regional music, for example
453:adding citations to reliable sources
87:inherited the concept of metre from
2250:
1931:
1133:Examples of compound metre include
997:For example, in the time signature
946:additive rhythm and divisive rhythm
643:Corresponding quadruple metres are
558:For example, in the time signature
248:metre consists of three units of a
4761:Aspects of Twentieth-century Music
4619:Mothers of Invention, The (1970),
4532:(2nd ed.). London: Macmillan.
227:the pulses until the next accent.
25:
4843:Elementary Training for Musicians
3467:Measure-preserving polyrhythm 5:4
3450:Measure-preserving polyrhythm 4:3
3433:Measure-preserving polyrhythm 2:3
1780:
1344:are often in compound time: some
577:(4) beats. In the time signature
391:Metric structure includes metre,
278:metre consists of two units of a
5715:
5714:
5704:
2934:metre will meet after 12 beats.
2692:
2658:
2649:
2640:
2631:
2622:
2613:
2604:
2595:
2208:
1710:
1633:Problems playing this file? See
1615:
1507:
1385:
1382:Drei Chinesen mit dem Kontrabass
1298:
429:
4759:Wittlich, Gary E., ed. (1975).
4733:, chapters "Metre" and "Rhythm"
4482:Musical Structure and Cognition
4264:The Rhythmic Structure of Music
3113:) and some other combinations.
941:
440:needs additional citations for
190:is not very precisely defined.
4858:Tijdschrift voor Muziektheorie
4579:. London: Joseph Williams Ltd.
3251:Measure-preserving polyrhythm
3060:(the choruses are entirely in
2080:, if divided into three it is
1:
4884:Annual Review of Jazz Studies
4717:The Oxford Companion to Music
4461:The Oxford Companion to Music
4438:The Oxford Companion to Music
4214:. New York: Appleton-Century.
4178:Music: In Theory and Practice
1163:(compound triple metre), and
4575:MacPherson, Stewart (1930).
3111:Mëkanïk Dëstruktïẁ Kömmandöh
3007:, the tambourine playing in
2688:
2685:
2682:
2679:
2676:
2673:
2656:
2647:
2638:
2629:
2620:
2611:
2602:
2593:
2567:
2551:
2535:
2519:
2423:
2407:
2375:
2126:
1380:The German children's song "
1322:changes. When conducting in
1223:
1206:
1189:
1178:(compound quadruple metre).
1065:
1048:
1031:
786:
769:
701:
684:
624:
607:
573:, each bar contains two (2)
5515:History of music publishing
4807:Anon. (1999). "Polymeter."
4400:. Oxford University Press.
4396:Karpinski, Gary S. (2000).
1446:The House of the Rising Sun
5769:
4696:. Boston: Allyn and Bacon.
4501:The Rhythms of Tonal Music
4484:. London: Academic Press.
4383:. New York: W. W. Norton.
4041:Berry and Van Solkema 2013
3385:Beat-preserving polymetre
3341:Beat-preserving polymetre
3297:Beat-preserving polymetre
3207:Beat-preserving polymetre
3163:Beat-preserving polymetre
2717:
2102:20th-century concert music
1369:
1290:I like to be in A-mer-i-ca
201:The Rhythms of Tonal Music
5720:Category:Musical notation
5700:
5586:Numbered musical notation
5377:Scientific pitch notation
4931:
4835:. (Accessed 4 April 2009)
4682:10.1525/mts.2007.29.2.219
4647:Country Music Annual 2000
4379:Hoppin, Richard H. 1978.
4210:Boring, Edwin G. (1942).
4113:Mothers of Invention 1970
3653:at a tempo of 60 bpm
3623:at a tempo of 60 bpm
3594:at a tempo of 60 bpm
1426:The Blind Boys of Alabama
961:lowest common denominator
861:followed by a measure of
551:, or a multiple thereof (
535:Duple and quadruple metre
153:with a defined tempo and
5367:Helmholtz pitch notation
5042:Non-retrogradable rhythm
4584:Merriam-Webster (2015).
4293:. New York: Dodd, Mead.
4161:. Hodder and Stoughton.
2088:and if into three it is
1700:Metre in classical music
1148:(compound duple metre),
592:, each bar contains two
5710:List of musical symbols
5581:Nashville Number System
4819:. Online version 2006:
4742:The Aesthetics of Music
4622:Weasels Ripped My Flesh
4556:London, Justin (2012).
4537:London, Justin (2004).
3903:Forney and Machlis 2007
3867:Cooper & Meyer 1960
3765:Cooper & Meyer 1960
3563:at tempo of 90 bpm
3534:at tempo of 90 bpm
3505:at tempo of 90 bpm
2992:, the organ playing in
2962:, drummer B playing in
2940:Weasels Ripped My Flesh
2131:download the audio file
1688:of as an equivalent of
1228:download the audio file
1211:download the audio file
1194:download the audio file
1070:download the audio file
1053:download the audio file
1036:download the audio file
791:download the audio file
774:download the audio file
706:download the audio file
689:download the audio file
629:download the audio file
612:download the audio file
168:(grouping), and beats:
73:and similar systems in
36:Musical and lyric metre
5260:Transposing instrument
4829:Anon. . "Polyrhythm".
4602:Studying Popular Music
3840:Benward and Saker 2003
3654:
3624:
3595:
3564:
3535:
3506:
3468:
3451:
3434:
3415:
3371:
3327:
3281:
3237:
3193:
2977:, the bass playing in
2825:while the other plays
2217:
2196:
2179:Indian classical music
1774:common practice period
1591:
1581:
1574:
1394:
1307:
978:, the LCD of 4 and 3.
906:. Higher metres which
356:Some music, including
211:
179:
44:(British spelling) or
37:
4936:Additive and divisive
4669:Music Theory Spectrum
4499:Lester, Joel (1986).
4289:Cooper, Paul (1973).
3638:
3608:
3579:
3548:
3519:
3490:
3466:
3449:
3432:
3384:
3340:
3296:
3250:
3206:
3162:
2202:
2194:
2175:Bulgarian folk dances
1590:
1580:
1572:
1379:
1287:
209:
35:
5753:Cognitive musicology
5062:Prolation and tempus
4243:. New York: Norton.
3753:Merriam-Webster 2015
2153:asymmetrical rhythms
1734:improve this section
1531:improve this section
1497:Metre in dance music
1436:" to the setting of
1352:, and sometimes the
806:More than four beats
547:is divided into two
449:improve this article
364:compared to that of
5606:Percussion notation
4823:27 May 2011 at the
4258:Cooper, Grosvenor;
3477:
3149:
2165:along the lines of
2155:– sometimes called
1316:conducting patterns
876:, or the opposite:
594:dotted-quarter-note
401:durational patterns
263:pulse group, and a
4832:Grove Music Online
4638:(list of releases)
4598:Middleton, Richard
4157:. Teach Yourself.
3655:
3625:
3596:
3565:
3536:
3507:
3475:
3469:
3452:
3435:
3416:
3372:
3328:
3282:
3238:
3194:
3147:
2898:Gestalt psychology
2297:A Hard Day's Night
2218:
2197:
2111:The Rite of Spring
1604:Michael Praetorius
1592:
1582:
1575:
1395:
1308:
464:"Metre" music
370:non-European music
212:
192:Stewart MacPherson
113:quantitative metre
38:
5728:
5727:
5672:Mensural notation
5125:
5124:
5037:Metric modulation
4567:978-0-19-974437-4
4342:978-0-393-10757-9
4334:978-0-393-92888-4
4328:(text with DVD);
4326:978-0-393-17410-6
4318:978-0-393-92885-3
4260:Meyer, Leonard B.
4203:978-0-19-531428-1
4168:978-0-340-22517-2
3659:
3658:
3636:
3606:
3577:
3546:
3517:
3488:
3473:
3472:
3464:
3447:
3430:
3382:
3338:
3294:
3248:
3204:
3160:
3079:uses extensively
2704:
2703:
2698:
2299:", excluding the
2214:
2169:time, where each
2142:metric modulation
2135:
1770:
1769:
1762:
1620:
1567:
1566:
1559:
1440:' version of the
1391:
1304:
1275:Leonard Bernstein
1238:
1237:
1232:
1215:
1198:
1080:
1079:
1074:
1057:
1040:
801:
800:
795:
778:
716:
715:
710:
693:
639:
638:
633:
616:
525:
524:
517:
499:
103:derived from the
97:rhythmic notation
16:(Redirected from
5760:
5743:Rhythm and meter
5718:
5717:
5708:
5707:
5571:Graphic notation
5235:Rehearsal letter
5159:Musical notation
5152:
5145:
5138:
5129:
4914:
4907:
4900:
4891:
4796:
4774:
4755:
4732:
4720:
4709:
4706:The Music Review
4697:
4685:
4662:
4650:
4639:
4627:
4615:
4611:978-0-33515276-6
4593:
4580:
4571:
4552:
4533:
4514:
4495:
4491:978-0-12357170-0
4476:
4464:
4453:
4441:
4430:
4411:
4392:
4375:
4362:Benjamin Britten
4359:
4345:
4304:
4285:
4254:
4250:978-0-39309767-2
4232:
4215:
4206:
4189:
4172:
4155:Ballroom Dancing
4140:
4134:
4128:
4122:
4116:
4110:
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4098:
4092:
4086:
4080:
4074:
4068:
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4026:
4017:
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3999:
3993:
3987:
3981:
3975:
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3957:
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3933:
3927:
3921:
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3888:
3882:
3876:
3870:
3864:
3858:
3852:
3843:
3837:
3831:
3825:
3819:
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3807:
3801:
3795:
3789:
3783:
3777:
3768:
3762:
3756:
3750:
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3738:
3732:
3726:
3717:
3711:
3652:
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3650:
3649:
3637:
3622:
3621:
3620:
3619:
3607:
3593:
3592:
3591:
3590:
3578:
3562:
3561:
3560:
3559:
3547:
3533:
3532:
3531:
3530:
3518:
3504:
3503:
3502:
3501:
3489:
3478:
3474:
3465:
3448:
3431:
3414:
3413:
3412:
3411:
3399:
3398:
3397:
3396:
3383:
3370:
3369:
3368:
3367:
3355:
3354:
3353:
3352:
3339:
3326:
3325:
3324:
3323:
3311:
3310:
3309:
3308:
3295:
3280:
3279:
3278:
3277:
3265:
3264:
3263:
3262:
3249:
3236:
3235:
3234:
3233:
3221:
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3219:
3218:
3205:
3192:
3191:
3190:
3189:
3177:
3176:
3175:
3174:
3161:
3150:
3146:
3138:
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3136:
3135:
3108:
3107:
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3105:
3093:
3092:
3091:
3090:
3074:
3073:
3072:
3071:
3059:
3058:
3057:
3056:
3044:
3043:
3042:
3041:
3021:
3020:
3019:
3018:
3006:
3005:
3004:
3003:
2991:
2990:
2989:
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2976:
2975:
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2973:
2961:
2960:
2959:
2958:
2933:
2932:
2931:
2930:
2918:
2917:
2916:
2915:
2900:tenet that "the
2884:
2883:
2882:
2881:
2869:
2868:
2867:
2866:
2854:
2853:
2852:
2851:
2839:
2838:
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2836:
2824:
2823:
2822:
2821:
2802:
2801:
2800:
2799:
2787:
2786:
2785:
2784:
2772:
2771:
2770:
2769:
2753:
2752:
2751:
2750:
2739:= seven bars of
2738:
2737:
2736:
2735:
2700:
2699:
2663:
2662:
2654:
2653:
2645:
2644:
2636:
2635:
2627:
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2609:
2608:
2600:
2599:
2581:
2580:
2579:
2578:
2565:
2564:
2563:
2562:
2549:
2548:
2547:
2546:
2533:
2532:
2531:
2530:
2505:
2504:
2503:
2502:
2489:
2488:
2487:
2486:
2469:
2468:
2467:
2466:
2453:
2452:
2451:
2450:
2437:
2436:
2435:
2434:
2421:
2420:
2419:
2418:
2405:
2404:
2403:
2402:
2389:
2388:
2387:
2386:
2371:
2370:
2369:
2368:
2355:
2354:
2353:
2352:
2339:
2338:
2337:
2336:
2323:
2317:
2316:
2315:
2314:
2290:
2289:
2288:
2287:
2275:
2274:
2273:
2272:
2216:
2215:
2205:Waldstein sonata
2168:
2071:
2070:
2069:
2068:
2056:
2055:
2054:
2053:
2041:
2040:
2039:
2038:
2023:
2022:
2021:
2020:
2008:
2007:
2006:
2005:
1993:
1992:
1991:
1990:
1978:
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1975:
1963:
1962:
1961:
1960:
1948:
1947:
1946:
1945:
1927:
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1911:
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1897:
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1875:
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1860:
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1857:
1845:
1844:
1843:
1842:
1830:
1829:
1828:
1827:
1815:
1814:
1813:
1812:
1800:
1799:
1798:
1797:
1772:In music of the
1765:
1758:
1754:
1751:
1745:
1714:
1706:
1683:
1682:
1681:
1680:
1668:
1667:
1666:
1665:
1622:
1621:
1589:
1562:
1555:
1551:
1548:
1542:
1511:
1503:
1491:
1463:or, in hymnals,
1393:
1392:
1336:
1335:
1334:
1333:
1306:
1305:
1271:
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1269:
1268:
1256:
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1254:
1253:
1183:
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1177:
1176:
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1162:
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1159:
1147:
1146:
1145:
1144:
1129:
1128:
1127:
1126:
1114:
1113:
1112:
1111:
1025:
1024:
1011:
1010:
1009:
1008:
977:
976:
975:
974:
939:
938:
937:
936:
924:
923:
922:
921:
905:
904:
903:
902:
890:
889:
888:
887:
875:
874:
873:
872:
860:
859:
858:
857:
845:
844:
843:
842:
813:quintuple metres
763:
762:
757:
756:
755:
754:
742:
741:
740:
739:
678:
677:
672:
671:
670:
669:
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601:
600:
591:
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589:
588:
572:
571:
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569:
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513:
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498:
457:
433:
425:
307:
306:
305:
304:
292:
291:
290:
289:
277:
276:
275:
274:
262:
261:
260:
259:
247:
246:
245:
244:
182:Metric structure
129:Later music for
21:
5768:
5767:
5763:
5762:
5761:
5759:
5758:
5757:
5733:
5732:
5729:
5724:
5696:
5660:
5534:
5525:Music publisher
5520:Music engraving
5501:
5381:
5372:Letter notation
5264:
5161:
5156:
5126:
5121:
5012:Harmonic rhythm
4927:
4918:
4860:7(3):227–232. (
4839:Hindemith, Paul
4825:Wayback Machine
4804:
4802:Further reading
4799:
4793:
4777:
4771:
4758:
4752:
4736:
4729:
4712:
4700:
4688:
4665:
4659:
4642:
4625:
4618:
4612:
4596:
4583:
4574:
4568:
4555:
4549:
4536:
4517:
4511:
4498:
4492:
4479:
4473:
4456:
4450:
4433:
4427:
4414:
4408:
4395:
4378:
4372:
4348:
4307:
4301:
4288:
4274:
4257:
4251:
4237:Cone, Edward T.
4235:
4218:
4209:
4192:
4175:
4169:
4152:
4148:
4143:
4135:
4131:
4123:
4119:
4111:
4107:
4099:
4095:
4087:
4083:
4075:
4071:
4063:
4059:
4051:
4047:
4039:
4035:
4027:
4020:
4012:
4008:
4000:
3996:
3988:
3984:
3976:
3972:
3964:
3960:
3954:MacPherson 1930
3952:
3948:
3940:
3936:
3928:
3924:
3916:
3909:
3901:
3897:
3889:
3885:
3877:
3873:
3865:
3861:
3855:MacPherson 1930
3853:
3846:
3838:
3834:
3826:
3822:
3814:
3810:
3802:
3798:
3790:
3786:
3780:MacPherson 1930
3778:
3771:
3763:
3759:
3751:
3747:
3739:
3735:
3727:
3720:
3712:
3695:
3691:
3664:
3648:
3643:
3642:
3641:
3640:
3639:
3629:
3618:
3613:
3612:
3611:
3610:
3609:
3600:
3589:
3584:
3583:
3582:
3581:
3580:
3571:
3558:
3553:
3552:
3551:
3550:
3549:
3540:
3529:
3524:
3523:
3522:
3521:
3520:
3511:
3500:
3495:
3494:
3493:
3492:
3491:
3482:
3476:Various metres
3456:
3439:
3422:
3410:
3405:
3404:
3403:
3402:
3401:
3395:
3390:
3389:
3388:
3387:
3386:
3376:
3366:
3361:
3360:
3359:
3358:
3357:
3351:
3346:
3345:
3344:
3343:
3342:
3332:
3322:
3317:
3316:
3315:
3314:
3313:
3307:
3302:
3301:
3300:
3299:
3298:
3288:
3276:
3271:
3270:
3269:
3268:
3267:
3261:
3256:
3255:
3254:
3253:
3252:
3242:
3232:
3227:
3226:
3225:
3224:
3223:
3217:
3212:
3211:
3210:
3209:
3208:
3198:
3188:
3183:
3182:
3181:
3180:
3179:
3173:
3168:
3167:
3166:
3165:
3164:
3154:
3145:
3134:
3129:
3128:
3127:
3126:
3125:
3104:
3099:
3098:
3097:
3096:
3095:
3089:
3084:
3083:
3082:
3081:
3080:
3070:
3065:
3064:
3063:
3062:
3061:
3055:
3050:
3049:
3048:
3047:
3046:
3040:
3035:
3034:
3033:
3032:
3031:
3017:
3012:
3011:
3010:
3009:
3008:
3002:
2997:
2996:
2995:
2994:
2993:
2987:
2982:
2981:
2980:
2979:
2978:
2972:
2967:
2966:
2965:
2964:
2963:
2957:
2952:
2951:
2950:
2949:
2948:
2929:
2924:
2923:
2922:
2921:
2920:
2914:
2909:
2908:
2907:
2906:
2905:
2880:
2875:
2874:
2873:
2872:
2871:
2865:
2860:
2859:
2858:
2857:
2856:
2850:
2845:
2844:
2843:
2842:
2841:
2835:
2830:
2829:
2828:
2827:
2826:
2820:
2815:
2814:
2813:
2812:
2811:
2798:
2793:
2792:
2791:
2790:
2789:
2783:
2778:
2777:
2776:
2775:
2774:
2768:
2763:
2762:
2761:
2760:
2759:
2749:
2744:
2743:
2742:
2741:
2740:
2734:
2729:
2728:
2727:
2726:
2725:
2722:
2714:
2693:
2657:
2648:
2639:
2630:
2621:
2612:
2603:
2594:
2577:
2572:
2571:
2570:
2569:
2568:
2561:
2556:
2555:
2554:
2553:
2552:
2545:
2540:
2539:
2538:
2537:
2536:
2529:
2524:
2523:
2522:
2521:
2520:
2501:
2496:
2495:
2494:
2493:
2492:
2485:
2480:
2479:
2478:
2477:
2476:
2465:
2460:
2459:
2458:
2457:
2456:
2449:
2444:
2443:
2442:
2441:
2440:
2433:
2428:
2427:
2426:
2425:
2424:
2417:
2412:
2411:
2410:
2409:
2408:
2401:
2396:
2395:
2394:
2393:
2392:
2385:
2380:
2379:
2378:
2377:
2376:
2367:
2362:
2361:
2360:
2359:
2358:
2351:
2346:
2345:
2344:
2343:
2342:
2335:
2330:
2329:
2328:
2327:
2326:
2313:
2308:
2307:
2306:
2305:
2304:
2286:
2281:
2280:
2279:
2278:
2277:
2271:
2266:
2265:
2264:
2263:
2262:
2209:
2187:
2166:
2163:additive metres
2138:
2137:
2136:
2134:
2106:Igor Stravinsky
2098:
2067:
2062:
2061:
2060:
2059:
2058:
2052:
2047:
2046:
2045:
2044:
2043:
2037:
2032:
2031:
2030:
2029:
2028:
2019:
2014:
2013:
2012:
2011:
2010:
2004:
1999:
1998:
1997:
1996:
1995:
1989:
1984:
1983:
1982:
1981:
1980:
1974:
1969:
1968:
1967:
1966:
1965:
1959:
1954:
1953:
1952:
1951:
1950:
1944:
1939:
1938:
1937:
1936:
1935:
1923:
1918:
1917:
1916:
1915:
1914:
1908:
1903:
1902:
1901:
1900:
1899:
1893:
1888:
1887:
1886:
1885:
1884:
1871:
1866:
1865:
1864:
1863:
1862:
1856:
1851:
1850:
1849:
1848:
1847:
1841:
1836:
1835:
1834:
1833:
1832:
1826:
1821:
1820:
1819:
1818:
1817:
1811:
1806:
1805:
1804:
1803:
1802:
1796:
1791:
1790:
1789:
1788:
1787:
1766:
1755:
1749:
1746:
1731:
1715:
1702:
1694:prosody (music)
1679:
1674:
1673:
1672:
1671:
1670:
1664:
1659:
1658:
1657:
1656:
1655:
1640:
1639:
1631:
1629:
1628:
1627:
1626:
1623:
1616:
1613:
1607:
1593:
1587:
1563:
1552:
1546:
1543:
1528:
1512:
1499:
1489:
1482:Bulgarian music
1386:
1374:
1366:
1332:
1327:
1326:
1325:
1324:
1323:
1299:
1295:West Side Story
1277:, in the song "
1267:
1262:
1261:
1260:
1259:
1258:
1252:
1247:
1246:
1245:
1244:
1243:
1234:
1233:
1231:
1217:
1216:
1214:
1200:
1199:
1197:
1173:
1168:
1167:
1166:
1165:
1164:
1158:
1153:
1152:
1151:
1150:
1149:
1143:
1138:
1137:
1136:
1135:
1134:
1125:
1120:
1119:
1118:
1117:
1116:
1110:
1105:
1104:
1103:
1102:
1101:
1087:
1076:
1075:
1073:
1059:
1058:
1056:
1042:
1041:
1039:
1007:
1002:
1001:
1000:
999:
998:
992:
984:
973:
968:
967:
966:
965:
964:
935:
930:
929:
928:
927:
926:
920:
915:
914:
913:
912:
911:
901:
896:
895:
894:
893:
892:
886:
881:
880:
879:
878:
877:
871:
866:
865:
864:
863:
862:
856:
851:
850:
849:
848:
847:
841:
836:
835:
834:
833:
832:
825:septuple metres
819:sextuple metres
808:
797:
796:
794:
780:
779:
777:
753:
748:
747:
746:
745:
744:
738:
733:
732:
731:
730:
729:
723:
712:
711:
709:
695:
694:
692:
668:
663:
662:
661:
660:
659:
653:
648:
647:
646:
645:
644:
635:
634:
632:
618:
617:
615:
587:
582:
581:
580:
579:
578:
568:
563:
562:
561:
560:
559:
553:quadruple metre
537:
530:
521:
510:
504:
501:
458:
456:
446:
434:
421:
376:repertoire for
342:additive rhythm
338:Measured rhythm
332:divisive rhythm
320:Metrical rhythm
303:
298:
297:
296:
295:
294:
288:
283:
282:
281:
280:
279:
273:
268:
267:
266:
265:
264:
258:
253:
252:
251:
250:
249:
243:
238:
237:
236:
235:
234:
233:For example, a
184:
173:referred to as
145:to accompany a
143:musical phrases
28:
27:Aspect of music
23:
22:
15:
12:
11:
5:
5766:
5764:
5756:
5755:
5750:
5745:
5735:
5734:
5726:
5725:
5723:
5722:
5712:
5701:
5698:
5697:
5695:
5694:
5689:
5684:
5679:
5674:
5668:
5666:
5662:
5661:
5659:
5658:
5653:
5648:
5643:
5638:
5633:
5628:
5623:
5618:
5613:
5608:
5603:
5598:
5593:
5588:
5583:
5578:
5573:
5568:
5563:
5558:
5553:
5548:
5542:
5540:
5536:
5535:
5533:
5532:
5527:
5522:
5517:
5511:
5509:
5503:
5502:
5500:
5499:
5494:
5489:
5484:
5479:
5474:
5469:
5468:
5467:
5462:
5457:
5452:
5447:
5442:
5432:
5427:
5422:
5417:
5412:
5407:
5402:
5397:
5391:
5389:
5383:
5382:
5380:
5379:
5374:
5369:
5364:
5359:
5354:
5349:
5344:
5339:
5334:
5333:
5332:
5327:
5322:
5312:
5307:
5302:
5297:
5296:
5295:
5290:
5285:
5274:
5272:
5266:
5265:
5263:
5262:
5257:
5252:
5250:Time signature
5247:
5242:
5237:
5232:
5227:
5222:
5217:
5212:
5207:
5202:
5197:
5192:
5187:
5182:
5177:
5171:
5169:
5163:
5162:
5157:
5155:
5154:
5147:
5140:
5132:
5123:
5122:
5120:
5119:
5114:
5112:Time signature
5109:
5104:
5099:
5094:
5089:
5084:
5079:
5074:
5069:
5064:
5059:
5054:
5049:
5047:Notes inégales
5044:
5039:
5034:
5029:
5024:
5019:
5014:
5009:
5004:
4999:
4992:
4991:
4990:
4980:
4975:
4974:
4973:
4963:
4958:
4953:
4948:
4943:
4938:
4932:
4929:
4928:
4919:
4917:
4916:
4909:
4902:
4894:
4888:
4887:
4880:
4865:
4854:
4836:
4827:
4803:
4800:
4798:
4797:
4791:
4775:
4769:
4756:
4750:
4738:Scruton, Roger
4734:
4727:
4710:
4702:Rubbra, Edmund
4698:
4686:
4663:
4657:
4640:
4616:
4610:
4594:
4581:
4572:
4566:
4553:
4547:
4534:
4515:
4509:
4496:
4490:
4477:
4471:
4454:
4448:
4431:
4425:
4412:
4406:
4393:
4381:Medieval Music
4376:
4370:
4346:
4305:
4299:
4286:
4272:
4255:
4249:
4233:
4216:
4207:
4190:
4173:
4167:
4153:Anon. (1983).
4149:
4147:
4144:
4142:
4141:
4129:
4117:
4105:
4093:
4081:
4069:
4065:Middleton 1990
4057:
4045:
4033:
4018:
4006:
3994:
3982:
3970:
3958:
3946:
3934:
3922:
3907:
3895:
3891:Karpinski 2000
3883:
3871:
3859:
3844:
3832:
3820:
3808:
3796:
3784:
3769:
3757:
3745:
3733:
3718:
3692:
3690:
3687:
3686:
3685:
3680:
3675:
3673:Metre (poetry)
3670:
3663:
3660:
3657:
3656:
3644:
3626:
3614:
3597:
3585:
3567:
3566:
3554:
3537:
3525:
3508:
3496:
3471:
3470:
3453:
3436:
3418:
3417:
3406:
3391:
3373:
3362:
3347:
3329:
3318:
3303:
3284:
3283:
3272:
3257:
3239:
3228:
3213:
3195:
3184:
3169:
3144:
3141:
3130:
3100:
3085:
3066:
3051:
3036:
3013:
2998:
2983:
2968:
2953:
2925:
2910:
2876:
2861:
2846:
2831:
2816:
2794:
2779:
2764:
2745:
2730:
2713:
2710:
2706:
2705:
2702:
2701:
2690:
2687:
2684:
2681:
2678:
2675:
2672:
2670:
2667:
2666:
2664:
2655:
2646:
2637:
2628:
2619:
2610:
2601:
2591:
2590:
2588:
2586:
2584:
2582:
2573:
2566:
2557:
2550:
2541:
2534:
2525:
2518:
2515:
2514:
2512:
2510:
2508:
2506:
2497:
2490:
2481:
2474:
2471:
2470:
2461:
2454:
2445:
2438:
2429:
2422:
2413:
2406:
2397:
2390:
2381:
2373:
2372:
2363:
2356:
2347:
2340:
2331:
2309:
2282:
2267:
2255:deep structure
2186:
2183:
2128:
2125:
2123:
2122:
2097:
2096:Changing metre
2094:
2074:
2073:
2063:
2048:
2033:
2025:
2015:
2000:
1985:
1970:
1955:
1940:
1929:
1919:
1904:
1889:
1877:
1867:
1852:
1837:
1822:
1807:
1792:
1768:
1767:
1718:
1716:
1709:
1701:
1698:
1675:
1660:
1630:
1624:
1614:
1609:
1608:
1595:
1594:
1585:
1584:
1583:
1565:
1564:
1515:
1513:
1506:
1498:
1495:
1365:
1362:
1342:Baroque dances
1328:
1263:
1248:
1240:
1239:
1236:
1235:
1225:
1222:
1220:
1218:
1208:
1205:
1203:
1201:
1191:
1188:
1186:
1169:
1154:
1139:
1121:
1106:
1086:
1085:Compound metre
1083:
1082:
1081:
1078:
1077:
1067:
1064:
1062:
1060:
1050:
1047:
1045:
1043:
1033:
1030:
1028:
1003:
991:
988:
983:
980:
969:
931:
916:
897:
882:
867:
852:
837:
807:
804:
803:
802:
799:
798:
788:
785:
783:
781:
771:
768:
766:
749:
734:
722:
719:
718:
717:
714:
713:
703:
700:
698:
696:
686:
683:
681:
664:
649:
641:
640:
637:
636:
626:
623:
621:
619:
609:
606:
604:
583:
564:
536:
533:
529:
526:
523:
522:
437:
435:
428:
420:
417:
354:
353:
345:
335:
299:
284:
269:
254:
239:
183:
180:
155:time signature
147:fixed sequence
101:rhythmic modes
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
5765:
5754:
5751:
5749:
5746:
5744:
5741:
5740:
5738:
5731:
5721:
5713:
5711:
5703:
5702:
5699:
5693:
5692:Transcription
5690:
5688:
5687:Sight-reading
5685:
5683:
5682:Perfect pitch
5680:
5678:
5675:
5673:
5670:
5669:
5667:
5663:
5657:
5654:
5652:
5649:
5647:
5644:
5642:
5639:
5637:
5634:
5632:
5629:
5627:
5624:
5622:
5619:
5617:
5616:Ancient Greek
5614:
5612:
5609:
5607:
5604:
5602:
5599:
5597:
5594:
5592:
5589:
5587:
5584:
5582:
5579:
5577:
5574:
5572:
5569:
5567:
5564:
5562:
5559:
5557:
5556:Chord diagram
5554:
5552:
5549:
5547:
5546:Braille music
5544:
5543:
5541:
5539:Other systems
5537:
5531:
5528:
5526:
5523:
5521:
5518:
5516:
5513:
5512:
5510:
5508:
5504:
5498:
5495:
5493:
5490:
5488:
5485:
5483:
5480:
5478:
5475:
5473:
5470:
5466:
5463:
5461:
5458:
5456:
5453:
5451:
5448:
5446:
5443:
5441:
5438:
5437:
5436:
5433:
5431:
5428:
5426:
5423:
5421:
5418:
5416:
5413:
5411:
5408:
5406:
5403:
5401:
5398:
5396:
5393:
5392:
5390:
5388:
5384:
5378:
5375:
5373:
5370:
5368:
5365:
5363:
5360:
5358:
5355:
5353:
5350:
5348:
5345:
5343:
5340:
5338:
5335:
5331:
5328:
5326:
5323:
5321:
5318:
5317:
5316:
5313:
5311:
5308:
5306:
5303:
5301:
5298:
5294:
5291:
5289:
5286:
5284:
5281:
5280:
5279:
5276:
5275:
5273:
5271:
5270:Musical notes
5267:
5261:
5258:
5256:
5255:Transposition
5253:
5251:
5248:
5246:
5243:
5241:
5238:
5236:
5233:
5231:
5228:
5226:
5223:
5221:
5218:
5216:
5213:
5211:
5210:Key signature
5208:
5206:
5203:
5201:
5198:
5196:
5193:
5191:
5188:
5186:
5183:
5181:
5178:
5176:
5173:
5172:
5170:
5168:
5164:
5160:
5153:
5148:
5146:
5141:
5139:
5134:
5133:
5130:
5118:
5115:
5113:
5110:
5108:
5105:
5103:
5100:
5098:
5095:
5093:
5090:
5088:
5085:
5083:
5080:
5078:
5077:Rhythmic mode
5075:
5073:
5070:
5068:
5065:
5063:
5060:
5058:
5055:
5053:
5050:
5048:
5045:
5043:
5040:
5038:
5035:
5033:
5030:
5028:
5025:
5023:
5020:
5018:
5015:
5013:
5010:
5008:
5005:
5003:
5000:
4998:
4997:
4993:
4989:
4986:
4985:
4984:
4981:
4979:
4976:
4972:
4969:
4968:
4967:
4964:
4962:
4959:
4957:
4956:Canter rhythm
4954:
4952:
4949:
4947:
4944:
4942:
4939:
4937:
4934:
4933:
4930:
4926:
4922:
4915:
4910:
4908:
4903:
4901:
4896:
4895:
4892:
4885:
4881:
4878:
4877:1-57647-112-8
4874:
4870:
4866:
4863:
4859:
4855:
4852:
4851:0-901938-16-5
4848:
4844:
4840:
4837:
4834:
4833:
4828:
4826:
4822:
4818:
4817:0-02-865315-7
4814:
4810:
4806:
4805:
4801:
4794:
4792:0-300-01884-3
4788:
4784:
4780:
4779:Yeston, Maury
4776:
4772:
4770:0-13-049346-5
4766:
4762:
4757:
4753:
4751:0-19-816638-9
4747:
4743:
4739:
4735:
4730:
4728:0-19-311306-6
4724:
4719:
4718:
4711:
4707:
4703:
4699:
4695:
4691:
4690:Read, Gardner
4687:
4683:
4679:
4676:(2): 219–45.
4675:
4671:
4670:
4664:
4660:
4658:0-8131-0989-2
4654:
4649:
4648:
4641:
4637:
4633:
4632:
4624:
4623:
4617:
4613:
4607:
4603:
4599:
4595:
4591:
4587:
4582:
4578:
4577:Form in Music
4573:
4569:
4563:
4559:
4554:
4550:
4548:0-19-516081-9
4544:
4540:
4535:
4531:
4530:
4525:
4521:
4520:Stanley Sadie
4516:
4512:
4510:0-8093-1282-4
4506:
4502:
4497:
4493:
4487:
4483:
4478:
4474:
4472:0-19-866212-2
4468:
4463:
4462:
4455:
4451:
4449:0-19-866212-2
4445:
4440:
4439:
4432:
4428:
4426:0-19-517010-5
4422:
4418:
4413:
4409:
4407:0-19-511785-9
4403:
4399:
4394:
4390:
4389:0-393-09090-6
4386:
4382:
4377:
4373:
4371:0-19-317103-1
4367:
4363:
4358:
4357:
4351:
4350:Holst, Imogen
4347:
4343:
4339:
4335:
4331:
4327:
4323:
4319:
4315:
4311:
4306:
4302:
4300:0-396-06752-2
4296:
4292:
4287:
4283:
4279:
4275:
4273:0-226-11521-6
4269:
4265:
4261:
4256:
4252:
4246:
4242:
4238:
4234:
4230:
4227:
4226:
4221:
4217:
4213:
4208:
4204:
4200:
4196:
4191:
4187:
4186:0-07-294262-2
4183:
4179:
4174:
4170:
4164:
4160:
4156:
4151:
4150:
4145:
4138:
4133:
4130:
4126:
4121:
4118:
4114:
4109:
4106:
4102:
4097:
4094:
4090:
4085:
4082:
4078:
4073:
4070:
4066:
4061:
4058:
4054:
4049:
4046:
4042:
4037:
4034:
4030:
4025:
4023:
4019:
4015:
4010:
4007:
4003:
3998:
3995:
3991:
3986:
3983:
3979:
3974:
3971:
3967:
3962:
3959:
3955:
3950:
3947:
3943:
3938:
3935:
3931:
3926:
3923:
3919:
3918:Wittlich 1975
3914:
3912:
3908:
3904:
3899:
3896:
3892:
3887:
3884:
3880:
3875:
3872:
3868:
3863:
3860:
3856:
3851:
3849:
3845:
3841:
3836:
3833:
3829:
3824:
3821:
3817:
3812:
3809:
3805:
3800:
3797:
3793:
3788:
3785:
3781:
3776:
3774:
3770:
3766:
3761:
3758:
3754:
3749:
3746:
3742:
3737:
3734:
3730:
3725:
3723:
3719:
3715:
3710:
3708:
3706:
3704:
3702:
3700:
3698:
3694:
3688:
3684:
3681:
3679:
3676:
3674:
3671:
3669:
3666:
3665:
3661:
3647:
3627:
3617:
3598:
3588:
3569:
3568:
3557:
3538:
3528:
3509:
3499:
3480:
3479:
3454:
3437:
3420:
3419:
3409:
3394:
3374:
3365:
3350:
3330:
3321:
3306:
3286:
3285:
3275:
3260:
3240:
3231:
3216:
3196:
3187:
3172:
3152:
3151:
3142:
3140:
3133:
3123:
3118:
3116:
3112:
3103:
3088:
3078:
3069:
3054:
3039:
3029:
3025:
3016:
3001:
2986:
2971:
2956:
2946:
2942:
2941:
2935:
2928:
2913:
2903:
2902:figure–ground
2899:
2895:
2890:
2888:
2879:
2864:
2849:
2834:
2819:
2809:
2804:
2797:
2782:
2767:
2757:
2756:Edmund Rubbra
2748:
2733:
2721:
2716:
2711:
2709:
2691:
2671:
2669:
2668:
2665:
2661:
2652:
2643:
2634:
2625:
2616:
2607:
2598:
2592:
2589:
2587:
2585:
2583:
2576:
2560:
2544:
2528:
2517:
2516:
2513:
2511:
2509:
2507:
2500:
2484:
2473:
2472:
2464:
2448:
2432:
2416:
2400:
2384:
2374:
2366:
2350:
2334:
2324:
2321:
2320:
2319:
2312:
2302:
2298:
2294:
2285:
2270:
2260:
2256:
2252:
2248:
2245:
2244:London (2012)
2241:
2238:
2233:
2231:
2230:country music
2227:
2223:
2222:Hypermeasures
2206:
2201:
2193:
2189:
2184:
2182:
2180:
2176:
2172:
2164:
2160:
2159:
2154:
2149:
2147:
2143:
2132:
2121:
2119:
2118:
2113:
2112:
2107:
2103:
2095:
2093:
2091:
2087:
2083:
2079:
2066:
2051:
2036:
2026:
2018:
2003:
1988:
1973:
1958:
1943:
1933:
1930:
1922:
1907:
1892:
1882:
1878:
1870:
1855:
1840:
1825:
1810:
1795:
1785:
1782:
1779:
1778:
1777:
1775:
1764:
1761:
1753:
1743:
1739:
1735:
1729:
1728:
1724:
1719:This section
1717:
1713:
1708:
1707:
1704:
1699:
1697:
1695:
1691:
1685:
1678:
1663:
1653:
1649:
1645:
1638:
1636:
1612:
1605:
1601:
1600:
1579:
1571:
1561:
1558:
1550:
1540:
1536:
1532:
1526:
1525:
1521:
1516:This section
1514:
1510:
1505:
1504:
1501:
1496:
1494:
1492:
1487:
1483:
1479:
1474:
1472:
1468:
1467:
1462:
1460:
1456:-form called
1455:
1451:
1447:
1443:
1439:
1435:
1434:Amazing Grace
1431:
1428:rendered the
1427:
1423:
1418:
1416:
1412:
1408:
1404:
1400:
1383:
1378:
1373:
1368:
1364:Metre in song
1363:
1361:
1359:
1355:
1351:
1347:
1343:
1338:
1331:
1321:
1317:
1313:
1297:
1296:
1291:
1286:
1282:
1280:
1276:
1266:
1251:
1229:
1219:
1212:
1202:
1195:
1185:
1184:
1181:
1180:
1179:
1172:
1157:
1142:
1131:
1124:
1109:
1099:
1094:
1092:
1084:
1071:
1061:
1054:
1044:
1037:
1027:
1026:
1023:
1022:
1021:
1019:
1015:
1006:
995:
989:
987:
981:
979:
972:
962:
958:
954:
953:cross-rhythms
949:
947:
943:
934:
919:
909:
900:
885:
870:
855:
840:
829:
827:
826:
821:
820:
815:
814:
805:
792:
782:
775:
765:
764:
761:
760:
759:
752:
737:
727:
720:
707:
697:
690:
680:
679:
676:
675:
674:
667:
652:
630:
620:
613:
603:
602:
599:
598:
597:
595:
586:
576:
567:
556:
554:
550:
546:
542:
534:
532:
527:
519:
516:
508:
497:
494:
490:
487:
483:
480:
476:
473:
469:
466: –
465:
461:
460:Find sources:
454:
450:
444:
443:
438:This section
436:
432:
427:
426:
423:
418:
416:
414:
410:
409:rhythmic unit
406:
402:
398:
394:
389:
387:
383:
379:
375:
371:
367:
363:
359:
351:
350:
346:
343:
339:
336:
333:
329:
325:
321:
318:
317:
316:
314:
309:
302:
287:
272:
257:
242:
231:
228:
226:
222:
217:
208:
204:
202:
197:
193:
189:
181:
178:
176:
169:
167:
163:
158:
156:
152:
148:
144:
141:consisted of
140:
136:
132:
127:
125:
121:
120:ancient Greek
118:
114:
110:
106:
102:
98:
94:
90:
86:
85:Western music
82:
80:
79:African music
76:
72:
71:
66:
65:Indian system
61:
59:
55:
51:
47:
43:
34:
30:
19:
5730:
5591:Klavarskribo
5566:Figured bass
5440:Appoggiatura
5387:Articulation
5185:Abbreviation
4994:
4924:
4883:
4868:
4857:
4842:
4830:
4808:
4782:
4760:
4741:
4716:
4705:
4693:
4673:
4667:
4646:
4629:
4621:
4601:
4589:
4576:
4557:
4538:
4527:
4524:John Tyrrell
4500:
4481:
4460:
4437:
4416:
4397:
4380:
4355:
4309:
4290:
4263:
4240:
4229:
4223:
4211:
4194:
4177:
4154:
4137:Pieslak 2007
4132:
4120:
4108:
4096:
4084:
4072:
4060:
4048:
4036:
4009:
3997:
3990:Scruton 1997
3985:
3973:
3961:
3949:
3937:
3930:Latham 2002a
3925:
3898:
3886:
3874:
3862:
3835:
3823:
3811:
3799:
3787:
3767:, p. 3.
3760:
3748:
3736:
3729:Latham 2002b
3714:Scholes 1977
3668:Metre (hymn)
3645:
3615:
3586:
3555:
3526:
3497:
3407:
3392:
3363:
3348:
3319:
3304:
3273:
3258:
3229:
3214:
3185:
3170:
3131:
3119:
3115:King Crimson
3101:
3086:
3067:
3052:
3037:
3014:
2999:
2984:
2969:
2954:
2943:), composer
2938:
2936:
2926:
2911:
2891:
2877:
2862:
2847:
2832:
2817:
2805:
2795:
2780:
2765:
2746:
2731:
2723:
2715:
2707:
2574:
2558:
2542:
2526:
2498:
2482:
2462:
2446:
2430:
2414:
2398:
2382:
2364:
2348:
2332:
2310:
2283:
2268:
2249:
2234:
2219:
2188:
2156:
2150:
2139:
2117:mixed metres
2115:
2109:
2099:
2089:
2085:
2081:
2077:
2075:
2064:
2049:
2034:
2016:
2001:
1986:
1971:
1956:
1941:
1920:
1905:
1890:
1868:
1853:
1838:
1823:
1808:
1793:
1771:
1756:
1750:October 2020
1747:
1732:Please help
1720:
1703:
1686:
1676:
1661:
1641:
1597:
1553:
1547:October 2020
1544:
1529:Please help
1517:
1500:
1478:Balkan music
1475:
1466:common metre
1465:
1457:
1419:
1415:Holst (1963)
1399:poetic metre
1396:
1367:
1339:
1329:
1309:
1293:
1264:
1249:
1241:
1170:
1155:
1140:
1132:
1122:
1107:
1097:
1095:
1088:
1017:
1014:eighth notes
1004:
996:
993:
990:Simple metre
985:
970:
950:
932:
917:
907:
898:
883:
868:
853:
838:
830:
823:
817:
811:
809:
750:
735:
726:Triple metre
724:
721:Triple metre
665:
650:
642:
584:
575:quarter-note
565:
557:
538:
531:
511:
505:October 2020
502:
492:
485:
478:
471:
459:
447:Please help
442:verification
439:
422:
390:
382:senza misura
381:
355:
348:
337:
319:
313:musical form
310:
300:
285:
270:
255:
240:
232:
229:
215:
213:
200:
196:Imogen Holst
187:
185:
174:
171:
159:
133:such as the
128:
124:Latin poetry
111:unit in the
83:
68:
62:
45:
41:
39:
29:
5677:Music stand
5551:Chord chart
5530:Scorewriter
5507:Sheet music
5305:Dotted note
5240:Repeat sign
5215:Ledger line
5092:Syncopation
4592:. New York.
4101:London 2004
4089:Boring 1942
4077:Rubbra 1953
4053:London 2012
4004:, p. .
3966:London 2001
3879:Cooper 1973
3869:, p. .
3828:Lester 1986
3816:Yeston 1976
3804:London 2004
3741:Hoppin 1978
3148:Polymetres
2945:Frank Zappa
2301:syncopation
2293:The Beatles
2240:Cone (1968)
2224:consist of
2151:The use of
1692:(see also:
1599:Terpsichore
1596:Dance from
1438:The Animals
541:duple metre
349:Free rhythm
151:basic steps
105:basic types
5737:Categories
5651:Shakuhachi
5626:Ekphonetic
5611:Simplified
5576:Lead sheet
5450:Grace note
5315:Note value
5310:Grace note
5278:Accidental
5107:Time point
5057:Polyrhythm
5052:Note value
5022:Homorhythm
4988:Note value
4978:Cross-beat
4590:Dictionary
4228:(songbook)
4014:Stein 2005
4002:Anon. 1983
3942:Holst 1963
3792:Holst 1963
3689:References
3024:hit single
2919:metre and
2840:, but the
2808:polyrhythm
2720:Polyrhythm
2718:See also:
2259:generative
2251:Lee (1985)
2226:hyperbeats
2185:Hypermetre
2146:modulation
1635:media help
1486:Macedonian
1484:, and the
1370:See also:
957:polyrhythm
942:hypermetre
828:(7), etc.
475:newspapers
405:beat level
395:, and all
378:shakuhachi
40:In music,
5646:Swaralipi
5636:Kunkunshi
5596:Tablature
5561:Eye music
5445:Glissando
5420:Fingering
5205:Dal segno
5082:Stop-time
5032:Isorhythm
5007:Half-time
4971:Count off
4941:Anacrusis
4708:14:36–44.
4586:"Measure"
4320:(cloth);
4220:Cars, The
4125:Cars 1981
4043:, §5(vi).
4029:Neal 2000
3978:Read 1964
3905:, ?.
3678:Hymn tune
3122:Meshuggah
2894:composite
2887:Polytempi
2712:Polymetre
2689:night...
2237:Edward T.
1721:does not
1518:does not
1490:3+2+2+3+2
1442:folk song
1358:siciliana
1354:passepied
1318:when the
1242:Although
1098:divisions
186:The term
117:classical
56:. Unlike
18:Polymeter
5748:Patterns
5656:Znamenny
5497:Tonguing
5482:Staccato
5435:Ornament
5410:Dynamics
5362:Interval
5325:Notehead
5300:Cue note
4983:Duration
4966:Counting
4961:Colotomy
4886:8:19–37.
4841:(1974).
4821:Archived
4781:(1976).
4740:(1997).
4692:(1964).
4600:(1990).
4526:(eds.).
4352:(1963).
4336:(pbk.);
4262:(1960).
4239:(1968).
4225:Panorama
4222:(1981).
4103:, 49–50.
3920:, ch. 3.
3818:, 50–52.
3662:See also
3143:Examples
3028:The Cars
2257:, using
2247:levels.
2082:compound
1932:Compound
1450:quatrain
1407:rhythmic
1356:and the
1350:courante
1312:triplets
397:rhythmic
374:Honkyoku
372:such as
225:counting
139:galliard
109:metrical
5665:Related
5631:Gamelan
5621:Chinese
5601:Parsons
5472:Portato
5455:Mordent
5430:Marcato
5415:Fermata
5405:Damping
5400:Caesura
5357:Tremolo
5288:natural
5200:Da capo
5067:Prosody
5017:Hemiola
4636:Discogs
4631:MS 2028
4282:1139523
4146:Sources
3968:, §I.8.
1879:Simple
1742:removed
1727:sources
1690:prosody
1611:"Volte"
1606:, 1612)
1539:removed
1524:sources
1471:cadence
1422:hymnals
1292:" from
1279:America
959:is the
940:. See:
596:beats.
545:measure
543:, each
489:scholar
324:accents
5487:Tenuto
5425:Legato
5395:Accent
5352:Tuplet
5117:Tuplet
5002:Groove
4921:Rhythm
4875:
4849:
4815:
4789:
4767:
4748:
4725:
4655:
4608:
4564:
4545:
4507:
4488:
4469:
4446:
4423:
4404:
4387:
4368:
4340:
4332:
4324:
4316:
4297:
4280:
4270:
4247:
4201:
4184:
4165:
4091:, 253.
4067:, 211.
4031:, 115.
4016:, 329.
3980:, 147.
3743:, 221.
3139:base.
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