- Lesson 1: Note values, duration, and time signatures
- Lesson 2: Rhythm, dotted notes, ties, and rests
- Lesson 3: Meters in double and triple time, upbeats
- Lesson 4: Meters in 6, 9, and 12
- Lesson 5: Review of time signatures – Simple, compound, and complex
- Lesson 6: Constant versus changing time, adding triplets, and duplets
- Glossary of musical terms
Created by All Star Orchestra.
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- What is a movement?(34 votes)
- A movement is a section of the song. It's like a song in and of itself but connected to the other movements to create the whole idea of it. Like, if you had a song about winter you might have a movement about holidays and another about snow.(40 votes)
- At2:09would it be possible if the actual notes were played to reveal the measure/beat/timing/tempo?(7 votes)
- Would the theme from Jaws be an example of changing time?(5 votes)
- I think that that would be more of an accelerando (just getting faster and faster) rather than actually changing the time signature (how many beats per measure).(10 votes)
- I'm still slightly confused about one thing. Are duplets like triplets, but with quarter notes instead of eighth notes?(1 vote)
- No, it's different... we're talking about putting a "two-feel" over top of what is normally a "three-feel". For simplicity, let's think of a waltz, going ONE two three, ONE two three, ONE two three...
Do "ONE two three..." for a while like that and start tapping your foot or clapping or whatever on the ONEs. Now comes the tricky part. Tap or clap again right in-between the "two" and "three" without changing the tempo or anything. If "one-two-three" were quarter notes in 3/4 time, you are going to clap or tap on the "upbeat" or "and" of two. ONE two AND three, ONE two AND three.
When you get the feel for this, this is the general idea of a duplet, and what I mean by it being a "two feel" over top of a "three feel".
You can have much more complicated things, like 7 notes over the time of 3 beats, which is quite strange for the brain to do accurately, and more complicated things yet, but they are rare or absent in many music forms.(10 votes)
- Are duplets just a set of two notes that take up one beat? Triplets are three, so are Duplets two?(2 votes)
- No, actually it's two notes that take up three beats, for example an eighth note duplet would actually take up the time of 3 eighth notes(7 votes)
- Seeing that the time signature can change is only confusing me all the more as to why we need to designate them in the first place... :((3 votes)
- Time signatures are there to give the music a ''feel''. A waltz is only a waltz if it's in 3/4 (or other triple time). A piece in 3/4 feels different from one in 6/8, even though they have the same number of quaver beats, because the emphasis is in different places. A composer will change time signature to give a music a different mood, but if he didn't use a time signature he would have to write the new emphasises out by hand. So basically time signatures are shorthand for putting in emphases on notes in a regular pattern.(4 votes)
- How can you performs 3 eight notes in the same time as a quarter? Since quarter is a measure of time, and eighth is a measure of time? That's like saying you can squeeze 3 eights of a second inside one fourth of a second. Makes no sense.(3 votes)
- Triplets aren't made up of eighth notes, just notated similarly to them. Mathematically speaking, a triplet that takes up the space of a quarter note is a set of three twelfth-notes, but we don't refer to them that way in music.(4 votes)
- are there any quizzes/fun stuff in this lesson?(3 votes)
- There are not as of right now but if you would like some, you could make the suggestion as a feature request on the help desk: https://khanacademy.zendesk.com/(3 votes)
- how do you know how to play the right notes
i was wondering how?(3 votes)
- A lot of practice goes in to knowing how to play the right notes. Some people read music and that helps them, others will memorize the music to know how to play it. Practice is the key.(3 votes)
- [Voiceover] At times, especially in popular dance forms the meter will remain constant. All ballroom dancing fits into this category. A march would also fit into this category, remaining constant, usually in two-four. It is also the case with most music from the 18th and 19th centuries. In the latter part of the 1800's and into the 1900's, composers started to feel free to change meters during a movement or work, sometimes quite often. The actual meters remain as we have discussed. If we look at the last movement of the Sam Jones "Cello Concerto", we can see some simple changes of meter, from two-four to three-four, back to two-four, then three-four and four-four. ("Cello Concerto" by Sam Jones) Another simple example is in Phillip Glass' "Harmonium Mountain". At this excerpt, he mixes the meters two-four, three-four, and four-four. ("Harmonium Mountain" by Phillip Glass) If we look at David Stock's work called "Blast" written in 2010, we find a more complicated section of meter changers, using five-eight, seven-eight, three-four, and four-four. ("Blast" by David Stock) If we look at a four-four measure, we have learned that the measure can easily be divided by using various note lengths. Half notes, quarter notes, sixteenth notes, thirty-second notes and so forth. But what if a composer would like to divide one of those quarter notes into three equal parts to create more rhythmic interest? We accomplish this by adding a three above or below a group of three eighth notes. The three signifies that three notes are performed during the time of one quarter note. Let's again look at Phillip Glass' "Harmonium Mountain". In this passage we see the violins playing the groups of three called triplets, and the violas and cellos are playing quarter notes. Then the violas join the violins playing triplets, the cellos play the eighth notes and the double basses play the quarter notes. ("Harmonium Mountain" by Phillip Glass) This method of changing duple notes to triple notes can work in any duple meter. The composer can also divide the triple beat in different ways. For example, instead of three eighth notes in a beat, we could see an eighth note and a quarter note, or a quarter note and an eighth note. We still need the number three above or below the notes. If we look at Ravel's "Daphnis et Chloe" the meter is five-four, but Ravel adds the three for each part to create triplets. You will see that he doesn't continue to write the three during the continuation of the excerpt, assuming that the performer understands the pattern. ("Daphnis et Chloe" by Ravel) The triplet is the most common variation within a meter, but there could also be, for example, five notes within a quarter, again with a five above or below, or six, or quite frankly any number that is not common to the meter. In a triple meter like six-eight, one could do the same. Six-eight can be one dotted half note or two dotted quarter notes, or six eighths, or twelve sixteenths. We could also have a rhythm of quarter, eighth, or eighth, quarter. Or any combination that adds up to six eighth notes. If a composer wanted four notes during a dotted quarter note, the number four would go above or below the group of notes. As you can see, the notation of rhythm can become very complicated. We will discuss this in later lessons.