Size in "3/4"
The measure is determined by the number and type of its metric units - fractions - denoted size. In musical notation, the size is indicated after the key at the beginning of a piece of music (or the measure from which it has changed), conditionally, in the form of an ordinary fraction (for example, “3/2”, “2/4”, “6/8”, “ 4/4", etc.) or its symbol ( C equivalent to 4/4, equivalent to 2/2). The numerator indicates the number of shares, and the denominator - their relative duration.
bar line
In musical notation, measures are separated from each other by a vertical line across the stave, which is called barline. The barline is placed before the downbeat.
If the product begins with a weak beat, then at the beginning it forms incomplete measure, which is called on the beat. In most cases, the lead time does not exceed half a measure. Zatakt can be formed in the middle of the work before any part of it. By tradition, works that begin with an off-beat end with an incomplete measure that complements the off-beat. Even when there is no musical material left to complete, the upbeat is often added with rests.
Closing barline
At the end, and sometimes at the end of a part of the work, put double bar line. Double barline with oily dash ( final bar line) marks the end of the work.
Rhythm, meter and tempo
In music, sounds are organized in time, this organization is defined by two concepts: rhythm and meter. Many people confuse the concepts of "rhythm" and "meter".
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See what "Tact (music)" is in other dictionaries:
- [in music] n., m., use. comp. often Morphology: (no) what? tact, what? tact, (see) what? tact, what? tact, about what? about tact; pl. what? so you; (no) what? beats, what? tactam, (see) what? beats, what? beats, about what? about bars music 1. In ... ... Dictionary of Dmitriev
tact- a, m. tact m. , German Takt lat. tactus touch, feeling. A sense of proportion, prompting the right approach to whom, what l, the correct understanding of what l. ALS 1. With what tact, or speaking in Russian, sharpness, she manages with each of her ... Historical Dictionary of Gallicisms of the Russian Language
Musĭca (ars), μουσική (τέχνη), sometimes also musica, orum; τὰ μουσικά, like the art of the muses in general, covers a much larger area than what is now called M. All spiritual activity, both scientific and ... ... Real Dictionary of Classical Antiquities
stave
Notes are placed on five horizontal rulers, which are called staff or stave. Staff rulers are always counted down up in order, that is, the bottom line is the first, the one following it is the second, and so on.
Notes on the stave are located on the lines or between them. The bottom line of the stave is Mi.
Any note located on this line is played as an E, as long as there are no up or down signs.
The next note (between the lines) is the note F, and so on.
Notes may also be distributed outside the stave and recorded on additional rulers. The extra rulers above the staff are called the top extra rulers and are counted from bottom to top of the staff.
These additional rulers record high sounds. Low sounds are recorded under the staff and are called lower additional rulers, and are counted from top to bottom from the stave.
Keys
At the beginning of the staff, a key is always set, which determines the pitch of one of the sounds in the scale, from which the pitch of the remaining sounds is counted.
Treble clef (or salt key) determines on the staff the position of the sound of the salt of the first octave, which is written on the second line.
The bass clef (or fa clef) determines the position on the staff of the fa sound of a small octave, which is recorded on the fourth line.
Measure and time signature. Confluent and weak parts.
For the convenience of reading notes, a musical recording is divided into equal periods of time (number of beats) - so you
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Tact -
This is a piece of musical notation, limited by two bar lines.
The first note of each measure has an accent - an accent.
This accented beat serves as the beginning of the count in each bar.
The bars are separated from each other by vertical lines that cross the staff. These vertical bars are called barlines.
After the key, the time signature is set.
The size is indicated by two numbers, one under the other in the form of a fraction: 2/4; 3/6; 4/4 etc.
The top number indicates the number of beats in a measure, and the bottom number indicates the duration of each beat (what duration is taken as a unit of account - a quarter, half, etc.).
(For example: 2/2 time signature is two half-length notes, and 7/8 time signature is seven eighth notes.)
As we have already said, the first beats of each measure stand out, sound stronger than other sounds - they are accentuated.
At the same time, the frequency of sounding of strong and weak parts is preserved, i.e. there is a uniform change of accents. Typically, a measure consists of several beats, the first strong (it is marked with an accent sign > in the stave) and several weak ones following it.
In a two-beat measure (2/4), the first beat (“one”) is strong, the second (“two”) is weak.
In a three beat measure (3/4), the first beat (“one”) is strong, the second (“two”) is weak, and the third (“three”) is weak.
Double and triple beats are called simple. Quadruple measure (4/4) is complex. It is formed from two simple measures of double time signature. In such a complex bar, there are two strong accents on the first and third beats, with the first accent being on the strongest beat of the measure, and the second accent on a relatively weaker beat, i.e. it sounds slightly weaker than the first.
Accidentals
In order to indicate the key of a note, flat, sharp, double-flat, double-sharp, and becar signs may be placed before the note.
Such characters are called accidentals.
If there is a sharp in front of the note, then the note rises by half a tone, double-sharp - by a tone. If flat, then the note is lowered by a semitone, and if double-sharp, by a tone. Decreasing and raising signs appearing once are applied to the entire score until they are canceled by another sign.
There is a special sign that cancels a decrease or increase in a note and returns it to its natural pitch - this is a backer. Double flat and double sharp are rarely used.
Accidentals are used mainly in two cases: as key and as random.
Key signs are located to the right of the key in a certain order: fa - do - sol - re - la - mi - si for sharps , for flat - si - mi - la - re - sol - do - fa .
If in any bar how many times the same note occurs with a sharp or flat, then the flat or sharp is put only once and retains its effect throughout the entire bar. Such sharps and flats are called random.
Length of notes and pauses
Whether the note is shaded or not, as well as the sticks attached to them, i.e. Stems indicate the duration of a note. The main durations of notes are whole (1) and are indicated by an unshaded head without a stem, as well as its half divisions: half (2), quarter (3), eighth (4), sixteenth (5), etc. In this case, the duration of a whole note is a relative value: it depends on the current tempo of the piece.
Another standard duration is the double integer, denoted by a small unshaded rectangle with strokes near the corners.
If several notes are recorded in a row with a duration less than the fourth, and none of them (except, perhaps, the first) falls on a strong beat, then they are recorded under a common edge or a viscous stick connecting the ends of the stems.
Moreover, if the notes are eighth, the edge is single, if the sixteenth is double, etc. In our time, there is a combination of notes from different measures, as well as notes that are not in a row.
It happens that you need to record a note that lasts, for example, three eighths. There are two ways to do this: if there is a strong beat for the duration of the note, then two notes are taken, giving a total of three eighths (that is, a quarter and an eighth) and tied, that is, a league is placed between them - an arc, with ends almost touching the ovals of the notes .
If the strong beat is left aside, then to extend the note by half of its sound, a dot is placed to the right of the oval (that is, in this case, three eighths is a quarter with a dot). Dotted notes can also be combined under one edge.
Finally, it may be necessary to divide some duration not into two halves, but into three, five, or some other number of equal parts not a multiple of two. In this case, triplets, pentoli and other similar forms of notation are used.
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A break in sound is called a pause. . The duration of pauses is measured in the same way as the duration of sounds (notes). A whole rest (8) is equal in duration to a whole note. It is indicated by a short dash under the fourth line of the staff. A half rest (9) is equal in duration to a half note. It is indicated by the same dash as the quarter rest, but this dash is written above the third line of the staff. Quadruple pause (10) is equal in duration to the fourth note and is indicated by a broken line in the center. The eighth (11), sixteenth (12) and thirty-second (13) rests are equal in duration to the eighth, sixteenth and thirty-second notes, respectively, and are indicated by a slash with one, two or three small flags.
A dot to the right of a note or rest increases its duration by half. Two dots at a note or at a pause increase the duration by half and another quarter. 
Dots above or below notes indicate the jerky nature of the performance or staccato, in which each sound loses part of its duration, becomes sharper, shorter, drier.
A league (an arc curved up or down) links adjacent notes of the same height, summing up their duration. A league connecting two or more notes at different pitches means a coherent performance of these sounds or legato.
Fermata - a sign indicating to the performer that he should increase the duration of the note or pause at his discretion.
Repetition marks
When performing a piece, it is often necessary to repeat its fragment or the entire piece. To do this, in musical notation, repetition signs are used - reprises. The music set between these signs must be repeated. Sometimes when repeated, there are different endings. In this case, at the end of the repetition, brackets are used - volts. This means that for the first time, the ending measures enclosed in the first volt are played, and on repetition, the measures of the first volt are skipped and the measures of the second volt are played instead.
(Reprise)
Pace
Music notation also indicates the tempo of the composition. Tempo is the speed at which a piece of music is played.
There are three main execution speeds: slow, moderate and fast.
The main tempo is usually indicated at the very beginning of the piece. There are five main designations for these rates:
Slowly - adagio (Adagio),
Slowly, calmly - andante (Andante),
Moderately - moderato (Moderato),
Soon - Allegro (Allegro),
Fast - presto (Presto).
The average of these paces - moderato - corresponds to the speed of a calm step.
Often, when performing a piece of music, you have to speed up or slow down its main tempo.
These changes in tempo are most often indicated by the words:
Accelerando, abbreviated accel. (accelerando) - accelerating,
Ritenuto, (ritenuto) abbreviated as rit. - slowing down
and tempo (and tempo) - at the same pace (to restore the previous pace after the previous acceleration or deceleration).
Volume
When performing a piece of music, in addition to the tempo, the necessary loudness (strength) of the sound should also be taken into account. Anything that has to do with loudness is called dynamic tints. These shades are displayed in the notes, usually between the staves.
The most commonly used designations for sound intensity are as follows:
pp (pianissimo) - very quiet,
p (piano) - quiet,
mf (mezzo-forte) - with medium strength,
f (forte) - loudly,
ff (fortissimo) - very loud.
And also signs:
<
(crescendo) - gradually increasing the sound
>
(diminuendo) - gradually weakening the sound.
Along with the above designations of tempos, the notes often contain words that indicate the nature of the performance of the music of the work, for example: melodious, gentle, agile, playful, with brilliance, decisively, etc.
Melisma signs
Melisma signs do not change the tempo or rhythmic pattern of the melody, but only decorate it. There are the following types of melisms:
Scale and octave
Musical sounds form a musical sound range, which starts from the lowest sounds to the highest. There are seven basic sounds of the scale: do, re, mi, fa, salt, la, si.
- (German Takt, from Latin tactus - touch) - from the 17th century. main unit of meter in music, segment of muses. products, starting with a strong metric. accent. In musical writing, T. are distinguished by vertical lines standing in front of these accents - bar lines. Music Encyclopedia
Every person studying music must undergo study and solfeggio. And one of the fundamental themes is the size in music. Next, their main varieties, methods of definition and some of the most common combinations will be considered.
The concept of musical meter
Before giving a definition of what constitutes a musical size, you need to have an idea of \u200b\u200ba concept called musical meter.
It is generally accepted that all music is based on the so-called pulsation - the alternation of beats of equal duration, which can be strong and weak. The downbeat is always in first place in the bar. But one should not confuse strong beats with an accent, since such a selection can also fall on weak beats.
In modern music, one can often find meters consisting of two or three beats. In a simple expression, a two-beat meter consists of one strong and one weak beat (one-two), and a triple meter consists of one strong and two weak beats (one-two-three). Thus, a musical meter can be represented as a process of counting such alternations, or even as a kind of time grid with a sequence of beats indicated in it.
Types of shares and their varieties
Understanding what constitutes a musical time signature is impossible without knowing the types of beats. As already mentioned, in the simplest case, they are divided into strong and weak.
However, some may object, they say, but what about the most common size 4/4? In music, it is believed that the first beat is strong, the second and fourth are weak, but the third is relatively strong. The size itself is complex, since it consists of two simple ones. But this will be discussed separately.
The beat in music
Now a few words about the understanding of tact. In simple terms, a measure in music is the gap between one beat and the other.
No matter how many beats are indicated in the musical time signature in total, only one strong beat can be present in a bar, and as many as you like regarding strong and weak beats. Counting in a bar always starts with a "one". Depending on the size, the shares can be counted as "one-two" ("one-two-three"), "one-and-two-and" ("one-and-two-and-three-and"), etc. d.
Time signature in music: main varieties
Finally, we turn to the concept of size. Measures in music are sometimes called the numerical expression of a meter, indicating the relative duration of the beats and their total number in one measure.
Why is the concept of relative duration used? Yes, only because the beats can be broken down into components, which the musical meter does not provide. For example, the 4/4 time signature in music, also denoted by the Latin letter "C", provides for a single measure, consisting of four quarter notes in total.
But every quarter note can also be represented as combinations of eighths, sixteenths, thirty-seconds, or even sixty-fourths! How exactly they will be combined with each other, the composer himself decides. The main thing is that their sum does not exceed the total duration of the sound, corresponding to four quarters. But these are the basics of musical literacy.
As for the main varieties, time signatures in music are divided into simple and complex. Complex sizes also include categories of mixed, asymmetrical and variable sizes.
Simple time signatures
Based on the understanding of the meter, it is possible to describe the sizes that are called simple in music. They are divided into two-part and three-part sizes. In the first case, the repetition of strong beats occurs through one weak one, and in the second - through two.
The most common two-part sizes are considered to be 2/8, 2/4 and 2/2 (the size 2/2 in music, as well as 2/8, is extremely rare and is considered exclusively within the framework of theoretical information). Of the tripartite sizes, these are 3/4, 3/8 and 3/2. Again, 3/2 or 3/8 is hardly ever used, and three-quarters is the most common (for example, it is used for almost all waltzes).
Complex musical time signatures
Complex dimensions in the simplest case should be understood as the union of two or more simple ones. At the same time, it is the first share of the first size that is strong, and it seems that the strong share from the second automatically goes into the category of relatively strong ones.
In complex sizes, the easiest to understand are sizes like 4/4, 4/2, 6/4, 6/2, 6/8, 12/8, 8/4, 8/8. As you can see, these sizes are comparable to each other, for example, 8/8 is the same as 4/4.
Mixed and asymmetrical time signatures
Another thing is mixed sizes. In music, five-, seven-, nine- and eleven-beat combinations are most often found. And the sequence of shares, respectively, may look completely different. Let's take 5/4 as an example.
When creating this size, simple components are used: 2/4 and 3/4. But the combination can look like both "2 + 3" and "3 + 2". Thus, there is a shift relative to the strong beat.
Perhaps the most striking and famous composition written in this size with the combination "3 + 2" can be called "Mary Magdalene's Aria" from Andrew Lloyd Webber's rock opera "Jesus Christ Superstar".
As for other dimensions, there may be more combinations in them. So, for example, the time signature 7/8 can consist of the sequences "2+2+3", "2+3+2" or "3+2+2". In nine- and eleven-beat dimensions, there are more such variations, respectively. But when creating music using such meters, it is worth remembering that an ordinary listener will hardly perceive such a melody by ear, and not everyone can play it.
Although, if you look at the bands that play thrash metal, they do it just fine and quite often combine "ripped" riffs with the usual simple or complex time signatures.
For example, the same Xentrix group very successfully alternates the time signatures of 3/4 with triplets of eighth notes on each beat and 7/8, sometimes adding 9/8. Naturally, it will not be so easy for an unprepared listener to determine the size by ear the first time, but it sounds very, very interesting. In general, a classic of the genre.
Variable time signatures
This type of meter is extremely rare in music, and mainly in folk musical folklore. Bulgarian folk songs are a prime example.
The very concept of this term implies only that during one composition the main size can change several times, for example, using several ordinary complex and several asymmetrical sizes.
Sizing Method
When determining the size, the listener relies solely on his hearing, and this is the only way to distinguish exactly where the strong beat sounds, from which you need to build on.
However, in almost all music schools, students use a special conducting technique in solfeggio lessons. For example, the size 4/4 is represented as a wave of the hand, first down, then to the left, then to the right and up again (usually at an angle of 45 degrees).
Three quarters - swing down, right and up. Six-eighths - swing down, left, right, up again, and at the top two wave signals to the right (or in another combination). However, at first, when determining the dimensions by ear and writing dictations, teachers, in order to develop a sense of rhythm in students, deliberately highlight the strong beat of each measure. It is this technique that makes it possible to achieve that in the future a person will be able to determine any type of dimension (even taking into account their alternation) independently and without any accents or prompts.
Conclusion
To draw a line, it can be noted that time signatures are very closely related to the understanding of musical meter, beats and measures. Therefore, in order to learn to clearly determine which dimension sounds in any piece of music, one cannot do without the basics of musical literacy and solfeggio.
True, many students, at least at first, do not like solfeggio, to put it mildly, considering it unnecessary and difficult to understand. However, it is he who is the very basis that provides fertile ground for the formation of a person as a musician of the highest professional level. After all, even a world-famous guitarist who played in such well-known bands as Deep Purple and Rainbow claimed that the speed of moving fingers along the fretboard is not yet a technique. Without knowledge of the basics and classical canons of music, it is simply impossible to become a professional of the highest level.
So novice musicians can be advised to stock up on patience and perseverance and study these subjects thoroughly. In musical education, so to speak, it is like "Our Father".
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What do you need to know in order to clearly feel the rhythm of music?
If you have worked through the previous material, then we can congratulate you: you have already mastered the main part of musical writing! Now we begin to study an equally important topic: rhythm and everything connected with it. So:
Rhythm
You already know that a sound (note) has an important property for music: duration. Also in the previous lessons we considered parts of melodies as examples. Literally 1 - 2 bars, but this is enough to make sure that the notes are played sequentially, as written: from left to right. The sequential construction of the durations of sounds (notes) is called rhythm (read in turn, from left to right, the duration of the melody presented below - this will be the rhythm).
Durations of sounds (notes) can be combined into so-called rhythmic groups, "> figures. In this example, rhythmic groups are highlighted in red brackets:
Figure 1. Rhythmic groups
When listening to a song, a person often taps the rhythm with his foot, shakes his head rhythmically, and dances. A person can move "to the beat" of the music, because the music, as it were, pulsates evenly. The sounds (notes) to which such a pulsation falls (that is, the very moment when a person, for example, makes one head movement to the music) are accentuated notes. And such a selection of sounds is called ">accent. The part of a measure that contains accented sounds is called strong"> beat. Parts of the measure that do not have accents are called weak shares
As a rule, the strongest accent falls on the first beat of the measure. The second strongest - in the middle of the bar. The weakest beat falls at the end of the measure. In the figure, we have shown the strong and weak beats of the measure at a time signature of 4/4. Let's review them
Figure 2. Accented notes
Please note: under some notes there are signs that we have not yet studied. The sign "" denotes an accented note. The sign "" denotes a strongly accented note. Tap the rhythm along with the melody. You will be tapping accented and heavily accented notes.
Meter
In Figure 2, strong and weak beats alternate evenly. This alternation is called meter.
The size
In one of the first lessons, we briefly touched on the concept the size works. We remind you: the size is what is indicated in the drawings of this lesson as “4/4” (to the right of the treble clef). Now we can give a completely scientific definition of the term "the size of the work."
Let's return to Figure 2 again. We look at the notes from left to right, starting with the very first one (the note “re”). Below it is the sign "heavily accented note". The duration of the note is a quarter. It turns out that this is a strong beat lasting a quarter. Next comes the weak beat. Duration - also a quarter. Then a strong beat and a weak beat. Each is a quarter long. As a result, we have 4 beats lasting a quarter each in one measure. This is exactly what is written with the key: 4/4 (the first, that is, the top number “4” on the stave indicates the number of beats in a bar, the second number “4” is the duration of each beat, so we read the size like this: “four quarters”) .
Tact
You already know what tact is. Please note that a measure is also a segment of a piece of music from a strong beat to the next strong beat. Now you know the full definition of a measure.
If the music begins with a weak beat, then the very first measure is incomplete. This is a hit. As a rule, the last bar will be incomplete just enough so that the sum of the durations of the first and last bars is exactly a bar. Note that the beat can also occur in the middle of the work. Lead-in example:
Figure 3. Zatakt
To make it easier to hear the upbeat, we added another track to the musical accompaniment of this drawing. It is not shown in the figure. The first beat is incomplete. Its total length is a quarter (the sum of two eighths). This is the hitch. And the last measure (half with a dot) complements the first so that the total duration of both measures is 4/4 (a whole note).
Results
In this article, we have given a lot of material. If something is misunderstood - do not be discouraged. In the future, we will again use the studied concepts and, if necessary, comment on them. So let's find out!
You now know such concepts as rhythm, strong and weak beats,
