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Simple and Compound Time

Lesson 2/182 | Study Time: 5 Min
Simple and Compound Time

Simple and Compound Time

Time signatures fall into two basic categories – simple time and compound time. Simple time is any time signature where the basic beat is divisible by two. E.g. in * , ^ and % the basic beat is a quarter note which may be divided in half to become two eighth notes per beat. Any time signature where the basic beat is divisible by three is called compound time. The most common example of compound time is six eight time ()). Other examples of compound time would be _ and + . In compound time, the basic beat is felt as a dotted quarter note which can be divided by three.

The Six Eight Time Signature

This is the six eight time signature.

There are six eighth notes in one bar of ) time.

The six eighth notes are divided into two groups of three.

When playing ) time there are two beats within each bar with each beat being a dotted quarter note. (This is different to * and ^ time where each beat is a quarter note). Accent the 1 and 4 count to help establish the two beats per bar. Here is an example written in ) time which contains some typical note groupings. This time signature is particularly common in Irish and European Folk music and African music.

This traditional American song is in ) time and is in the key of A minor. It contains a G# note in bar 14 which comes from the harmonic minor scale, but all the other notes are contained in the natural minor scale. In minor key melodies, it is common to use notes from more than one scale. Don’t forget to use the expressive techniques you have learnt when playing a melody even if they are not written as part of the sheet music.

Here is an exercise to help you get familiar with note groupings in ) time. Play it slowly with a metronome until you are comfortable with all the rhythms and then gradually increase the tempo. Practice each bar by itself at first if necessary. In the final bar, you will see a dotted 16th note followed by a 32nd note, which is half the value of a 16th note. If you are unsure about this, listen to the CD a few times until you are confident you can play it correctly. Thirty second notes are dealt with in the following lesson.

Here is a great piece by JS Bach from Sonata number 2 for flute and harpsichord. It is written in the key of G minor in ) time and contains several of the rhythms from the previous exercise.

Peter Gelling

Peter Gelling

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Class Sessions

1- INTRODUCTION 2- Parts of the Saxophone 3- Tuning Your Saxophone 4- The Note B 5- The Note F 6- The Lead-In 7- The Eighth Notes 8- The Note D in the Middle Register 9- The Sharp Sign 10- The Note Low C 11- Syncopation 12- The Note E Flat 13- The Triplet 14- The Note C Sharp 15- The Note G Sharp or A Flat 16- The Chromatic Scale 17- Playing in all Keys 18- Transposing 19- More on Blues Scales 20- Improvisation 21- New Notes 22- Intervals 23- Understanding Chords 24- Chord Construction 25- Seventh Arpeggios 26- Rhythms Using Triplets 27- Expressive Techniques 28- Sixteenth Notes 29- 16th Note Set Rhythms 30- Articulations 31- Ghost Notes 32- Bending Notes 33- Call and Response 34- Minor Keys and Scales 35- Relative Keys 36- Simple and Compound Time 37- The Sixteenth Note Triplet 38- Dynamics 39- Modes 40- Scale Tone Chords 41- Seventh Chord Types 42- Scale Tone 7th Chords 43- The <span class="symbolB">2 5 1</span> Progression 44- Other Chord Types 45- Chord Substitution 46- Guide Tones 47- Altered Chords 48- Harmonizing Minor Scales 49- Learning Song Forms 50- APPENDIX ONE 51- APPENDIX TWO 52- GLOSSARY OF MUSICAL TERMS 53- Using the Complete CD 54- Putting the Saxophone Together 55- How to Read Music 56- Duets 57- Slurs 58- The Tie 59- Using the Octave Key 60- The C Major Scale 61- The Blues Scale 62- Swing Rhythms 63- The D Major Scale 64- The A Major Scale 65- More About Major Scales 66- Using the Key Cycle 67- Developing Rhythmic Control 68- High Notes 69- Interval Qualities 70- Arpeggios 71- Double Sharps and Double Flats 72- Alternating Thirds 73- Vibrato 74- Tempo Markings 75- Repetition and Variation 76- Accents 77- False Fingerings 78- Dip Bending 79- The Harmonic Minor Scale 80- Learning a New Minor Key 81- Swinging Sixteenth Notes 82- Volume Changes 83- Names of the Modes 84- Scale Tone Chord Arpeggios 85- Learning to Play Seventh Chords 86- Scale Tone 7th Pattern 87- <span class="symbolB">1</span> Becomes <span class="symbolB">2</span> 88- Memorizing Chord Types 89- Substituting Two Ahead 90- Practical Use of Guide Tones 91- Learning Altered Chords 92- Minor Key Progressions 93- Play-Along Recordings 94- Before You Begin 95- Attaching the Mouthpiece 96- Chord Symbols 97- Key Signatures 98- 12 Bar Blues 99- Riffs 100- The Key of C Major 101- Enharmonic Notes 102- First and Second Endings 103- The Note D Flat 104- The E Major Scale 105- Accidentals 106- Improvising With Set Rhythms 107- Two Octave Scales 108- Interval Distances 109- Chords Transposed for Accompaniment 110- Growling 111- Tempo Changes 112- The Trill 113- The Melodic Minor Scale 114- Table of Minor Scales 115- The Twelve Eight Time Signature 116- Thirty Second Notes 117- Modal Tonalities 118- Major Key Triad Pattern 119- Dominant Sevenths 120- Scale Tone 7ths in all Keys 121- <span class="symbolB">5</span> Becomes <span class="symbolB">2</span> 122- Extended Chords 123- Scale Tone Seventh Substitution 124- Other Guide Tones 125- Sharp Eleven Chords 126- Minor Key Modes 127- Jazz Terminology 128- Attaching the Reed 129- Keeping Time 130- Breathing Technique 131- The G Major Scale 132- Two Octave C Major Scale 133- Practical Use of Enharmonic Notes 134- The 8va Symbol 135- Intervals in Sequences 136- Improvising With Arpeggios 137- Sixteenth Note Figures 138- The Fall-Off 139- Cut Common Time 140- Scale Tone Chords in all Keys 141- Minor Sevenths 142- Other Common Progressions 143- Eleventh Chords 144- Relative Substitution 145- Guide Tones in Modes 146- Higher Extensions in Minor Keys 147- Rhythm Changes 148- Attaching the Neck to the Body 149- Where To Breathe 150- Other Useful Exercises 151- More on Key Signatures 152- Mixing Different Scales 153- Learning Intervals in all Keys 154- Augmented and Diminished Arpeggios 155- Using Modes in all Keys 156- Common Progressions 157- Practicing Scales and Arpeggios 158- Learning Standards 159- Thirteenth Chords 160- Dominant Minor Substitution 161- Substitutions in Minor Keys 162- Blues Changes 163- How to Hold the Saxophone 164- Posture 165- The Key of F Major 166- Identifying Intervals by Ear 167- How to Learn a New Progression 168- Minor 7 Flat Five Chords 169- Learning New Chords 170- Tritone Substitution 171- Blues Changes Using Substitutions 172- Fingering Numbers 173- Harmonic Intervals 174- Diminished 7th Chords 175- Listening 176- Fingering Diagram 177- The Saxophone as a Transposing Instrument 178- Transcribing 179- Playing Your First Note 180- Transposing Chart 181- Serving the Song 182- Tonguing

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