Ever wondered why some people seem to have a gift for music have you ever
wished that you could play by ear sing in tune improvise and jam you're in the
right place time to turn those wishes into reality
welcome to the Musicality Podcast with your host Christopher Sutton
In our recent interview with Jeremy Dittus of the Dalcroze School of the
Rockies he explained how Dalcroze training can give you a physical
instinct for how pitch and rhythm work in music and specifically he gave
examples for how it can help you with understanding meter but what is meter in
music that's what we'll be talking about in this episode musical meter and the
time signatures that go along with them are thoroughly covered by most music
theory courses but if you haven't studied theory or you've studied it and
found it hard to really understand the concepts or put them into practice I
wanted to explain meter from a different angle the listening angle the word meter
was inherited from poetry where it describes the underlying structure of a
poem whatever the words might be there is typically a system of how many lines
are in each verse how many syllables are in each line and the pattern of long
syllables versus short ones and emphasized ones versus weaker ones now
there are names and terminology and detailed explanations and theory behind
all this but when you listen to a poem you just understand what's going on
instinctively and subconsciously it's what makes the poem sound like a poem
and not just a string of words and to a large extent meter is what helps music
sound like music and not just a sequence of pitched sounds so the concept of
meter is carried across from poetry to music but with one important difference
you probably already know that the timing patterns of notes in music is
referred to as rhythm not meter in music we actually have two layers what you
actually hear I eat the notes and what the underlying structures are which
influence where those notes fall and which ones are emphasized so when we
talk about Mita in music we're not necessarily talking about something you
actually hear that's the first big thing to understand it's something you feel
which is implied by the notes that you hear that's what can make it a bit
tricky to get your ears around at first but don't worry it doesn't take long you
can think of Mita as an underlying skeleton or a grid system of time which
we can then fit our notes into in fact I'll talk a bit in a minute about how
this all relates to what we talked about in our previous episode on grid notation
for rhythm so from what we've said so far you probably have a pretty good
sense of what would define the meter of a piece of music it's going to be the
system of when notes occur and which ones are emphasized there's a basic unit
of timing which we call the beat that's the regular pulse of the music if you
clap along with a song you're probably clapping in time with the beat for
example here's a bit of music and you might clap along like this now you might
accidentally clap at twice or half the speed of the beat which is because the
beat can naturally be split up into subdivisions we'll talk more about that
in a minute but we have this beat that creates a regular grid of when things
tend to happen in the music but not all beats are created equal we generally
emphasize certain beats and let others be weaker for example if we're clapping
along it might actually sound something like this
now remember we're not talking about rhythm
we're the exact notes and which ones are emphasized can vary continually
throughout a piece we're talking about the underlying structure which
influences those rhythms that underlying structure is generally really repetitive
this gives us a second level of structure which we call measures or bars
where beats are grouped together based on the pattern of emphasis for example
if we emphasize every second beat we'd have a measure that's two beats long one
two one two one two one two this is common for traditional marches where the
strong weak pattern will tell us soldiers when to swing their left leg
and when to swing their right leg to keep in time the strong weak strong weak
pattern becomes left right left right if instead we emphasize every third beat we
create measures that are three beats long and this gives us more of a waltz
feel one two three one two three one two three again this corresponds to how
dancers would move in repeating patterns of footwork for this music can you see
why the physical exercises used in Dalcroze can be so effective for helping
you tune in to the underlying meter in music the most common form of meter in
modern music is what's called 4/4 in fact it's so prevalent that it's also
referred to as common time in this pattern you have a strong first beat
followed by three weaker beats one two three four one two three four one two
three four normally the third beat is a little bit emphasized too but weaker
than the first one so we end up with a four beat measure this is where we get
our classic 4/4 rock beat pattern of bass drum hi-hat snare drum hi-hat like
we talked about in the grid notation episode the bass drum is the strongest
so it's on beat one the snare drum is a little bit weaker
so that's on beat three and then beats two and four just get the light cymbal
hit like this
often the percussion part is the best thing to listen for if you're trying to
tune in to the meter while the melody and harmony might be employing all kinds
of interesting rhythms typically the role of the percussion and the bass is
to follow the meter quite closely and give the other musicians and the
listener a solid clear sense of the beat we can certainly tune into the meter
without that for example if you just hear a solo melody line played on
saxophone if you have some experience in music you can probably immediately here
where the measures are and how many beats are in each measure even if the
notes played aren't strictly following that structure but in a lot of the music
you hear today you'll find the beat is outlined really clearly by the rhythm
section of the band now you might be wondering what that second four meant
when I said it's a 4/4 meter or whether beats are always hard or doubled to get
the other subdivisions of a measure or what happens if notes occur at times not
set by this underlying structure or whether you can even have an underlying
structure where the beats aren't all the same length those questions bring us
into interesting areas of time signatures syncopation and swing rhythms
each of which all deserve their own episode in future for now I just want to
leave you with that core concept of what meter is the underlying repeating
structure of strong and weak beats which all the notes you hear are built on top
of next time you listen to a piece of music try to clap along with the beat
ask yourself which beats seem strongest and whether it's creating measures of
two three or four beats you might like to seek out some marches waltzes and
rock songs to practice with each of these and we'll put a playlist in the
show notes that musicality podcast calm to help you get started thank you for
listening to the musicality podcast this episode has ended but your musical
journey continues get over to musicality podcast.com where you will find the
links and resources mentioned in this episode as well as bonus content
exclusive for podcast listeners that's musicality podcast calm
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