A. Meters having different lower numbers may alternate.

In such cases, one common note value will

generally remain constant, and the effect will again be that of a composite meter.

B. Larger patterns of recurring meters are also possible. Meters employing varying numbers and units of
beats may be freely intermixed.

C. Effects similar to those previously illustrated may be achieved by using accent marks to displace the
normal metric accents.

III. Jazz syncopation typically involves a displacement within a regular meter by use of the tie into the strong beat.

188 TWENTIETH-CENTURY MATERIALS

IV. Complex rhythmic effects can be achieved by juxtaposing varying rhythmic divisions but keeping a common
measure (polyrhythms).

This effect can also be achieved by juxtaposing different metric patterns, keeping a common note value
(polymeters).

Isorhythmic effects involve recurring rhythmic patterns (rhythmic ostinatos) that do not necessarily coincide
with pitch patterns.

V. Ametrical rhythmic effects are best notated without a meter signature and without bar lines.

VI. Suggestions for class discussions.

A. Bring examples from the literature into class.

RHYTHMIC AND METRIC DEVICES 189

 B. Analyze examples that use many changes of meter.
1. Is there an overall pattern of repetition?
2. What relationship exists between the metric patterns and the phrase structure?
3. What determines the choice of a particular meter?

C. Suggested reading (see the Bibliography): Dallin, Persichetti, DeLone.

Exercises
1. Write brief excerpts for unpitched percussion instruments characterized as follows:

a. In an irregular (composite) meter.

b. Using extensive meter changes.

c. Using accent marks to displace the normal metric accent.

2. Write a piece for percussion ensemble, employing polyrhythms and polymeters.

190 TWENTIETH-CENTURY MATERIALS

4 Tertian Harmony

I. Traditional tertian chords (chords built of thirds) persisted into the twentieth century.

A. Composers use triads of all qualities, including “indeterminate” triads (in a tertian context, chords with
omitted thirds):

B. “Tall” chords are built by superimposing (stacking) major and minor thirds. The following types of
chords are possible.
1. Traditional sevenths and ninths, either dominant or nondominant.

2. “Taller” chords constructed by adding thirds beyond the ninth to form dominant or nondominant
elevenths or thirteenths.

These chords are found most often in root position, with the wider spacings toward the bottom. The
uppermost members of the chord (ninth, eleventh, thirteenth, etc.) typically occur in the highest
voices. The fifth, and occasionally the third, may be omitted. Very close spacing of these chords,
which emphasizes seconds, yields a clusterlike effect. (See Part IV, Unit 8.)

191
 C. Some of the most common chords are altered dominants. These include ninths and elevenths with raised
and/or lowered fifths, and V7 or V9 with both major and minor thirds (often spelled as a raised ninth).

D. Superposed chords and suspensive chords are similar to tall chords or added note chords with omitted
tones; compare them to polychords.

E. Added note chords are most frequently those with an M2 (or M9) or an M6 above the root of a major or
minor triad.

The presence of the seventh in an added note chord may result in the sound of a tall chord.

192 TWENTIETH-CENTURY MATERIALS