Changes

Time signatures do more than represent the basic facts of the meter, they also give clues to the musician as to style and character. Since composers have a variety of choices within this system, in that a triple meter could be written in <math>\frac{3}{4}</math>, <math>\frac{3}{8}</math>, or <math>\frac{3}{2}</math>, the composer makes a conscious choice, based on whether the piece has a broad or lively character. For example, <math>\frac{2}{2}</math> time, often referred to as "cut-time," is the meter of choice for marches, so a musical work written in this movement might suggest a march-like interpretation even if the word "march" were not in the title. Some intelligent deduction is required, however, because it is also the meter of ''pavanes'', a slow-moving dance of which [[Richard Wagner|Wagner's]] wedding march (written in <math>\frac{4}{4}</math> !) is a well-known example.

Time signatures do more than represent the basic facts of the meter, they also give clues to the musician as to style and character. Since composers have a variety of choices within this system, in that a triple meter could be written in <math>\frac{3}{4}</math>, <math>\frac{3}{8}</math>, or <math>\frac{3}{2}</math>, the composer makes a conscious choice, based on whether the piece has a broad or lively character. For example, <math>\frac{2}{2}</math> time, often referred to as "cut-time," is the meter of choice for marches, so a musical work written in this movement might suggest a march-like interpretation even if the word "march" were not in the title. Some intelligent deduction is required, however, because it is also the meter of ''pavanes'', a slow-moving dance of which [[Richard Wagner|Wagner's]] wedding march (written in <math>\frac{4}{4}</math> !) is a well-known example.

Two more trends in 20th-century music bear mention. The first is the use of frequently changing meter, first used extensively by Stravinsky, who in his Concerto for Piano and Winds wrote passages where every measure is in a different meter. With this practice, it is debatable if a discernible meter is ever established, and composers often seem to use this tool to evade any sense of meter. On quite the opposite side, another trend is for the use of "additive" time signatures, which appear like this:<br /> <math>\frac{2+3+2}{8}</math>

Two more trends in [[Twentieth Century period (music)|20th century music]] bear mention. The first is the use of frequently changing meter, first used extensively by Stravinsky, who in his Concerto for Piano and Winds wrote passages where every measure is in a different meter. With this practice, it is debatable if a discernible meter is ever established, and composers often seem to use this tool to evade any sense of meter. On quite the opposite side, another trend is for the use of "additive" time signatures, which appear like this:<br /> <math>\frac{2+3+2}{8}</math>

What this means is that each measure contains beats of different lengths. Often with this type of time signature, the bottom number does not represent the ''tactus'', rather the smallest rhythmic unit, which is grouped in various configurations into larger pulses. This music often has a discernible groove, and many other musical traditions in Eastern Europe and South America are based on this kind of rhythmic structure.

What this means is that each measure contains beats of different lengths. Often with this type of time signature, the bottom number does not represent the ''tactus'', rather the smallest rhythmic unit, which is grouped in various configurations into larger pulses. This music often has a discernible groove, and many other musical traditions in Eastern Europe and South America are based on this kind of rhythmic structure.

[[Category:Musical terms]]

[[Category:Musical terms]]