 At its core, rhythmic notation is a set of symbols that

represent mathematical proportions.

 First, we will first present in parallel the terms of math

and symbols of music that we frequently use.

 Secondly, we will look at how these interact by analogy

of a ruler.
3rd Grade Math & You:
1 = whole = w
½ = half = h
¼ = quarter = q
1/8 = eighth = e
1/16 = sixteenth = x
1/32 = thirty-secondth = y
1/64 = sixty-fourth = etc.

These proportions are based on a Division by 2.

Division by 2…in musical symbols
Grab your paper ruler…

http://www.411tech.org/images/ruler_foot.jpg
The Ruler analogy…
• A ruler starts at 0 and registers the first inch at 1, the
second at 2, etc.

• In music our ruler starts at 1 and then proceeds.

• Even if the ruler does not mark everything between 0

and 1, there are various divisions and subdivisions of
an inch that must be accounted for.

• In music each beat has parts in-between for which

we can and should be able to account.
Labeling the “parts is parts…”
In inches: 1 ½ 2 etc.
In beats: 1 & 2 etc.

In inches: 1 ¼ ½ ¾ 2 etc.
In beats: 1 e & a 2 etc.
So, using our ‘ruler’ In music…
 If we’re playing four beat music, we use a four inch
ruler…over and over and over, etc.

 If we’re playing two beat music, we use a two inch

ruler…

 If we’re playing three beat music, …

 And so on…
Review
 Musical notation is merely a different way of tracking
math symbolically.

 The system is proportional, based on Division by 2.

 In describing mathematical divisions of an inch, we

use fractions. When we similarly describe dividing a
beat in music, we use a unique musical terminology:
1 e & a 2 e & a, etc.
From concepts to music
 Counting systems meet the meter of actual music
making via the notation of a time signature.
 Concepts that work together to determine how the
music actually experienced interacts with the symbols
that represent it.
 It answers questions like?
 A) How many beats are there in the repeated pattern?
 B) What notational symbol has been/will be chosen to
represent the beat?
 C) Given A & B, how are the subsequent and dependent
rhythmic relationships accurately expressed by the
notation?
In measured music, the grouping of beats
into a recurring pattern defined by
accentuation.

 "Meter." In The New Grove Dictionary of Jazz, 2nd ed., edited by Barry Kernfeld. Grove Music Online. Oxford Music Online,
http://0-www.oxfordmusiconline.com.helin.uri.edu/subscriber/article/grove/music/J298700 (accessed September 15,
2009).
Meter
Meter is how we experience the rhythm of the beat and
its divisions in two categories:

How beats are divided: Simple & Compound

How beats are grouped: Duple, Triple, Quad., etc.

First, we’ll tackle how beats are divided, then finish by adding
in the grouping at the end.
Time Signature
 A symbolic method of representing meter

 How we read a time signature is affected by the type of

meter it is symbolizing, both the number of beats
represented and how they are divided.
Looking at notation…
 First, we’ll begin by looking at time signatures
representing simple meter, the system with which we
are all most familiar.

 Secondly, we will then look at time signatures

representing compound meter.
 A word of warning: Here, there WILL be conflict…
Simple Meter

Beat ÷ 2
Reading Simple Meter

X = # of beats per measure

Y = note value that represents the beat
Examples of Simple Meter
X 4 = 4 = 4 = 4 etc.
Y 1 2 4 8

 From our understanding of mathematics, we know

that these are proportionally equivalent and in all
practical terms equal.
Also…
X 2 = 2 = 2 = 2 etc.
Y 1 2 4 8

X 3 = 3 = 3 = 3 etc.
Y 1 2 4 8
Simple Meter con’t
 Simple meter is the most common category of
rhythmic organization in Western music
 As a system that represents division by 2s, it naturally
aligns with our notation most easily
 Thus, it is usually the system by which we learn to
define a time signature.
The Problem:

 Compound meter exists!

Compound Meter

Beat ÷ 3
The other problem
 Since our notational system naturally handles ÷ 2, it
therefore rather clumsily handles ÷ 3.
 We resort to using dotted notes, etc., which adds a bit of
visual and computational complexity.
 This cuts against the grain of our habitual way of
defining time signatures, which was gained through our
understanding of simple time.
 Thus, for compound time, we must also reorganize how
we read time signatures for compound meter.
Reading Compound Meter

X = # of divisions per measure

Y = Note value that represents the division

 X in compound meter is usually 6, 9 or 12.

 3 may be either simple or compound, depending on how
the tempo affects the performance and perception of the
beat and meter.
Examples of Compound Meter
X 6 = 6 = 6 = 6 etc.
Y 1 2 4 8

 From our understanding of mathematics, we know

that these are proportionally equivalent and in all
practical terms equal.
Also…
X 9 = 9 = 9 = 9 etc.
Y 1 2 4 8

X 12 = 12 = 12 = 12 etc.
Y 1 2 4 8
For example
 In simple time:

4 = 4 beats per measure

4 q gets one beat

 In compound time:

6 = 6 divisions per measure

8 e gets one division
Simple Time

4 q = beat
4 e = division
x = subdivision
Compound Time

6 q. = beat
8 e = division
x = subdivision
comparison
4 q = beat
4 e = division
x = subdivision

6 q. = beat
8 e = division
x = subdivision
Full circle…in prose
 Meter is finally classified in prose first by its number of
divisions per beat and then by the number of beats.

4 is simple quadruple.
4
3 is simple triple.
4
6 is compound duple.
8

and so on….
 Show the beat. Show the meter. Clearly & Simply.

All subsequent decisions, from note head choice to beaming, must

intuitively and accurately match the beat perceived to the symbol seen.
Otherwise, the conflict will hamper musical communication.
For example
 See Benward & Saker, p. 16-19 for more specifics.

 Diagram from Benward & Saker: Workbook

 P. 4