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The '''Meter signature''' or time signature is an indicator of the [[meter]] of a musical work, usually presented in the form of a fraction, the denominator of which indicates the unit of measurement and the numerator of which indicates the number of units that make up a measure. The time signature is typically located at the beginning of the first musical staff of a piece or movement, just after the [[key signature]].

The '''meter signature''' or time signature is an indicator of the [[meter]] of a musical work, usually presented in the form of a fraction, the denominator of which indicates the unit of measurement and the numerator of which indicates the number of units that make up a measure. The time signature is typically located at the beginning of the first musical staff of a piece or movement, just after the [[key signature]].

The denominator of the time signature indicates which note value represents the basic beat, or ''tactus'', what a conductor typically would beat. In this position, one most often finds the numbers 2, 4, 8, or 16. These numbers represent, respectively, the half, quarter, eighth, and sixteenth notes. On occasion it contains a 1 (representing a whole note) or 32 (thirty-second note), and very rarely 64 (sixty-fourth note). While numbers falling outside of this two-square pattern (i.e. 3 or 5 or 17) can theoretically make up the denominator, musicians are not trained to understand this notation, as it goes against the grain of Western rhythmic principles, and thus it almost is never written this way by composers.

The denominator of the time signature indicates which note value represents the basic beat, or ''tactus'', what a conductor typically would beat. In this position, one most often finds the numbers 2, 4, 8, or 16. These numbers represent, respectively, the half, quarter, eighth, and sixteenth notes. On occasion it contains a 1 (representing a whole note) or 32 (thirty-second note), and very rarely 64 (sixty-fourth note). While numbers falling outside of this two-square pattern (i.e. 3 or 5 or 17) can theoretically make up the denominator, musicians are not trained to understand this notation, as it goes against the grain of Western rhythmic principles, and thus it almost is never written this way by composers.