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In a sense all simple triple time signatures, such as 3 8, 3 4, 3 2, etc.—and all compound duple times, such as 6 8, 6 16 and so on, are equivalent. A piece in 3 4 can be easily rewritten in 3 8, simply by halving the length of the notes.
Compound metres are written with a time signature that shows the number of divisions 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, 6 8. Contrast this with the time signature 3
The most common time signatures for simple sextuple metre are 6 4 and 6 8, and compound sextuple metre is most often written in 18 8 or 18 16. A time signature of 18 8 or 18 16, however, does not necessarily mean that the bar is a sextuple metre with each beat divided into three. It may, for example, be used to indicate a bar of triple metre in ...
Simple quintuple meter can be written in 5. 4 or 5. 8 time, but may also be notated by using regularly alternating bars of triple and duple meters, for example 2. 4 + 3. 4. Compound quintuple meter, with each of its five beats divided into three parts, can similarly be notated using a time signature of 15. 8, by writing triplets on each beat of ...
Duple metre (or Am. duple meter, also known as duple time) is a musical metre characterized by a primary division of 2 beats to the bar, usually indicated by 2 and multiples ( simple) or 6 and multiples ( compound) in the upper figure of the time signature, with 2. 2 ( cut time ), 2. 4, and 6. 8 (at a fast tempo) being the most common examples.
Triple metre (or Am. triple meter, also known as triple time) is a musical metre characterized by a primary division of 3 beats to the bar, usually indicated by 3 ( simple) or 9 ( compound) in the upper figure of the time signature, with 3. 4, 3. 8 and 9. 8 being the most common examples. The upper figure being divisible by three does not of ...
In compound time (6 8 or 6 4). Where a regular pattern of two beats to a measure is established at the start of a phrase. This changes to a pattern of three beats at the end of the phrase. Archaic hemiola. The minuet from J. S. Bach's keyboard Partita No. 5 in G major articulates groups of 2 times 3 quavers that are really in 6 8 time, despite ...
The beat is always called ta. In simple meters, the division and subdivision are always ta-di and ta-ka-di-mi. Any note value can be the beat, depending on the time signature. In compound meters (wherein the beat is generally notated with dotted notes), the division and subdivision are always ta-ki-da and ta-va-ki-di-da-ma.