Teori Musik 2 Page 51
B. Time Signature The third score has a compound time signature. A performer would be confused
– should the piece be in two or in three. If the piece is to be played ‘three in a bar’ then it should be notated in three, as it was in the first example.
We can list various time signatures as simple time signature or compound time signature.
Tabel 5. Tanda Birama
Beats per Bar
Simple Time
Signature Beat
Compound Time
Signature Beat
2 double
2 2
minim half note 6
4
dotted minim dotted half note 2
4
crotchet quarter note 6
8 dotted crotchet dotted quarter
note 2
8 quaver
eighth note 6
16 dotted quaver dotted eighth note
3 triple 3
2
minim half note 9
4
dotted minim dotted half note 3
4 crotchet
quarter note 9
8 dotted crotchet dotted quarter
note 3
8 quaver
eighth note 9
16 dotted quaver dotted eighth note
if a piece is so quick that the feeling is of one beat in a bar, then the triple meter usually 32 or 38 is compound i.e. may be divided into three
4 2
minim half note 12
4 dotted minim dotted half note
4 4
crotchet quarter note 12
8 dotted crotchet dotted quarter
note 4
8 quaver
eighth note 12
16
dotted quaver dotted eighth note
Anacrucis
Taken from poetry, the term anacrusis refers to one or two unstressed syllables at the beginning of a line that are unnecessary to the meter. In music, this is represented
by a short or incomplete bar at the beginning of a piece generally, but not always, matched by a short incomplete bar at the end so that the total number of beats in the
first and last incomplete bars equals a full bar. We give an example below - the first sounding beat is the weakest in a three beat bar, i.e. the third, while the second beat of
the piece is the first beat in the first full bar and is strong. Anacrusis is also called pick- up or up-beat.
Teori Musik 2 Page 52
Syncopation
The position of notes in a bar show their relative rhythmic strengths. However, occasionally, the rhythmic pattern wanted does not fit the rhythmic pattern shown by the
barring. One says that the rhythm is off the beat or syncopated. Examples of this are common in popular music including jazz, but it does occur in music of all ages. We have
given a good example of syncopation below. Note, in particular, the theme played by pianists right hand the upper line of the piano part. The theme is off the beat for much
of the time, i.e. it is syncopated. The effect is notated using ties. A crucial feature of syncopation is that there should be a strong sense of the beat off which the theme is
being played. This is provided by the percussion and bass guitar lines. There is a second type of syncopation, where the strong beat is replaced by a silence.
C. Triplet
In music, the term irrational rhythm is usually applied to a rhythm in which an
unusual number of beats is superimposed on the predominating tempo. More precisely, if n evenly-spaced beats are played in the time of m beats of the underlying tempo then
the rhythm is irrational if neither of n and m is divisible by the other. The use of the term “irrational” in this context is quite different to the mathematical use of the term: indeed,
rhythms of this sort are, in the mathematical sense, rational, as their are precisely defined by the ratio of beats played to beats in the underlying tempo.
One example is the triplet, used when in the context of a simple time signature one wants to subdivide a beat into three. The triplet notation lets you to do this.
Gambar 78. Triplet Other-lets
The division of notes into smaller notes using triplets and duplets can be extended to irrefular groups of even larger number, known collectively as tuplets or
gruppo irregolare Italian. Again there are ‘notational’ conventions for writing such
grouping and these are listed below. As with triplets the groupings can include rests and notes of different value. The ‘convention’ tells us the total time value of the group as
written and as played.
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