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Time Signatures - Simple and compound time

Lesson 2/62 | Study Time: 5 Min
Time Signatures - Simple and compound time

Time Signatures - Simple and compound time

A TIME SIGNATURE consists of two numbers. The top number tells how many beats per bar, while the bottom number shows the value of each beat. The bottom number in any time signature can only be a note, e.g., quarter note, eighth note etc.

4 - this represents 4/1. which indicates the number of beats per bar (4)

4 - this represents 1/4, which indicates that the beats are quarter notes (crotchets).

Simple Time

SIMPLE TIME occurs when the beat falls on undotted notes (quarter notes, half notes, eighth notes etc.) and thus every beat is divisible by two. In * time the basic beat is a quarter note, which can be split into groups of two thus:

Other common examples of simple time are %, ^ and , % time indicates 2 quarter note beats per bar, ^ time indicates 3 quarter note beats per bar, and time indicates 3 eighth note beats per bar (rhythmically similar to ^ time).

Compound Time

A beat can also occur on a dotted note, making it divisible into groups of three. This is called COMPOUND TIME.

The most common examples of compound time are ) and +. The interpretation of these time signatures is different from those of simple time. ) represents 6 eight note beats per bar. It can also represent 2 beats per bar, i.e., 2 dotted quarter notes. This is calculated by dividing the top number by 3, to get the number of beats per bar (6 - 3 = 2); and dividing the bottom number by 2 (8 - 2 = 4) to get the type of dotted note receiving 1 beat. This results in a different rhythm feel for compound time. Compare ) to ^ time, where they both can obtain 6 eighth notes in a bar.

Rudiment No. 5
The Flam Accent

This rudiment is generally played in ) time, but again can also be played in % time or for rock in * time. In % and * time it will be played as a triplet.

Rudiment No. 6
The Flamacue

This rudiment combines both the flam technique and accents.

Andy Griffiths

Andy Griffiths

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Class Sessions

1- The Bossa Nova 2- INTRODUCTION 3- Time Signatures - Simple and compound time 4- Rudiment No. 7<br> The Single Paradiddle 5- Rolls 6- Rudiment No. 10<br> The Seven Stroke Roll 7- Rudiment No. 12<br> The Ten Stroke Roll 8- Rudiment No. 14<br> The Thirteen Stroke Roll 9- Rudiment No. 16<br> The Double Paradiddle 10- Rudiment No. 18<br> The Drag (or ruff) 11- Rudiment No. 23<br> The Single Ratamacue 12- The Four Stroke Ruff 13- <span class="symbolA">+</span> Time 14- Latin American Beats 15- The Mambo 16- Rudiment No. 4<br> The Flam Tap 17- Introduction to Jazz and independence 18- Advanced Independence Studies 19- Jazz Fills Using The Swing Beat 20- Rock Beats Using Sixteenth Notes On The Hi-hat or Cymbal in <span class="symbolA">*</span> Time. 21- Disco Beats 22- Disco Beat Variations 23- LESSON FORTY-SIX 24- Rock Beats Using Sixteenth Note Triplets 25- Syncopated Rock Beats 26- Additional Beat Studies 27- Introduction Fills 28- Tuning 29- Groups 30- GLOSSARY OF MUSICAL TERMS 31- Drum Rudiments 32- Right and Left Hand Exercises 33- Quarter Notes and Rests 34- Eighth Notes 35- LESSON FOUR 36- Snare Drum Studies 37- Syncopation 38- <span class="symbolA">^</span> Time 39- Sixteenth Notes (Or Semi Quavers) 40- Exercises Around The Drums 41- Fills 42- Eighth And Sixteenth Note Combinations 43- Advanced Fills 44- Dotted Eighth And Sixteenth Notes 45- Rudiment No. 2<br> The Single Stroke Roll 46- Accents 47- Sixteenth Note 48- The Triplet 49- The Shuffle Rhythm 50- Quarter Note Cymbal Patterns 51- Rhythm Review 52- Dotted Eighth and Sixteenth Note Rock Beats 53- Sixteenth Note Rests 54- Dotted Notes 55- Rudiment No. 17<br> The Flam paradiddle-Diddle 56- Troubleshooting 57- Copying Beats And Fills From Recordings 58- Seating 59- Choosing The Drum Sticks 60- Practice Pads 61- Holding the Drum Sticks 62- Rudiments of Music

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