{"id":888,"date":"2024-06-10T13:15:44","date_gmt":"2024-06-10T17:15:44","guid":{"rendered":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/?post_type=chapter&p=888"},"modified":"2024-07-25T14:01:46","modified_gmt":"2024-07-25T18:01:46","slug":"time-signature-part2","status":"publish","type":"chapter","link":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/chapter\/time-signature-part2\/","title":{"raw":"Time Signature Part 2","rendered":"Time Signature Part 2"},"content":{"raw":"In addition to 4\/4 time, there are many other common time signatures. Here are some examples.<\/a><\/a><\/a><\/a>\r\n
[caption id=\"attachment_1004\" align=\"aligncenter\" width=\"694\"]\"Figure Figure 16.1\u00a0 3\/4 is commonly found in many styles of music and is a defining characteristic of waltzes. The 3 quarter notes in the first bar clearly show the 3 beats. [Image description \u2013 See Appendix C Figure 16.1<\/a>][\/caption]<\/figure>\r\n
<\/figure>\r\n
[caption id=\"attachment_910\" align=\"aligncenter\" width=\"671\"]\"Figure Figure 16.2\u00a0 6\/8 time signature is commonly found in jigs and other styles of music. The 6 eighth notes in the first measure show the 6 beats. [Image description \u2013 See Appendix C Figure 16.2<\/a>][\/caption]
<\/figcaption>[caption id=\"attachment_911\" align=\"aligncenter\" width=\"1024\"]\"Figure Figure 16.3\u00a0 2\/2, also referred to as cut time, can be shown using numbers (as it is show in the first bar), or as a C with a vertical line (as shown in the 3rd bar). [Image description \u2013 See Appendix C Figure 16.3<\/a>][\/caption]<\/figure>\r\n
[caption id=\"attachment_912\" align=\"aligncenter\" width=\"1024\"]\"Figure Figure 16.4\u00a0 4\/4 is also referred to as common time, which can be shown with a C (as demonstrated in the 3rd bar). [Image description \u2013 See Appendix C Figure 16.4<\/a>][\/caption]<\/figure>","rendered":"

In addition to 4\/4 time, there are many other common time signatures. Here are some examples.<\/a><\/a><\/a><\/a><\/p>\n

\n
\"Figure
Figure 16.1\u00a0 3\/4 is commonly found in many styles of music and is a defining characteristic of waltzes. The 3 quarter notes in the first bar clearly show the 3 beats. [Image description \u2013 See Appendix C Figure 16.1<\/a>]<\/figcaption><\/figure>\n<\/figure>\n
<\/figure>\n
\n
\"Figure
Figure 16.2\u00a0 6\/8 time signature is commonly found in jigs and other styles of music. The 6 eighth notes in the first measure show the 6 beats. [Image description \u2013 See Appendix C Figure 16.2<\/a>]<\/figcaption><\/figure>
<\/figcaption>
\"Figure
Figure 16.3\u00a0 2\/2, also referred to as cut time, can be shown using numbers (as it is show in the first bar), or as a C with a vertical line (as shown in the 3rd bar). [Image description \u2013 See Appendix C Figure 16.3<\/a>]<\/figcaption><\/figure>\n<\/figure>\n
\n
\"Figure
Figure 16.4\u00a0 4\/4 is also referred to as common time, which can be shown with a C (as demonstrated in the 3rd bar). [Image description \u2013 See Appendix C Figure 16.4<\/a>]<\/figcaption><\/figure>\n<\/figure>\n","protected":false},"author":41,"menu_order":3,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-888","chapter","type-chapter","status-publish","hentry"],"part":31,"_links":{"self":[{"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/chapters\/888","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/wp\/v2\/users\/41"}],"version-history":[{"count":19,"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/chapters\/888\/revisions"}],"predecessor-version":[{"id":1445,"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/chapters\/888\/revisions\/1445"}],"part":[{"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/parts\/31"}],"metadata":[{"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/chapters\/888\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/wp\/v2\/media?parent=888"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/pressbooks\/v2\/chapter-type?post=888"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/wp\/v2\/contributor?post=888"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/wp-json\/wp\/v2\/license?post=888"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}