Understanding Basic Music Theory - Catherine Schmidt-Jones [12]
Meters can also be classified as either simple or compound. In a simple meter, each beat is basically divided into halves. In compound meters, each beat is divided into thirds.
A borrowed division occurs whenever the basic meter of a piece is interrupted by some beats that sound like they are "borrowed" from a different meter. One of the most common examples of this is the use of triplets to add some compound meter to a piece that is mostly in a simple meter. (See Dots, Ties, and Borrowed Divisions to see what borrowed divisions look like in common notation.)
Recognizing Meters
To learn to recognize meter, remember that (in most Western music) the beats and the subdivisions of beats are all equal and even. So you are basically listening for a running, even pulse underlying the rhythms of the music. For example, if it makes sense to count along with the music "ONE-and-Two-and-ONE-and-Two-and" (with all the syllables very evenly spaced) then you probably have a simple duple meter. But if it's more comfortable to count "ONE-and-a-Two-and-a-ONE-and-a-Two-and-a", it's probably compound duple meter. (Make sure numbers always come on a pulse, and "one" always on the strongest pulse.)
This may take some practice if you're not used to it, but it can be useful practice for anyone who is learning about music. To help you get started, the figure below sums up the most-used meters. To help give you an idea of what each meter should feel like, here are some animations (with sound) of duple simple, duple compound, triple simple, triple compound, quadruple simple, and quadruple compound meters. You may also want to listen to some examples of music that is in simple duple, simple triple, simple quadruple, compound duple, and compound triple meters.
Figure 1.67. Meters
Remember that meter is not the same as time signature; the time signatures given here are just examples. For example, 2/2 and 2/8 are also simple duple meters.
Note
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Pickup Notes and Measures*
Pickup Measures
Normally, all the measures of a piece of music must have exactly the number of beats indicated in the time signature. The beats may be filled with any combination of notes or rests (with duration values also dictated by the time signature), but they must combine to make exactly the right number of beats. If a measure or group of measures has more or fewer beats, the time signature must change.
Figure 1.68.
Normally, a composer who wants to put more or fewer beats in a measure must change the time signature, as in this example from Mussorgsky's Boris Godunov.
There is one common exception to this rule. (There are also some less common exceptions not discussed here.) Often, a piece of music does not begin on the strongest downbeat. Instead, the strong beat that people like to count as "one" (the beginning of a measure), happens on the second or third note, or even later. In this case, the first measure may be a full measure that begins with some rests. But often the first measure is simply not a full measure. This shortened first measure is called a pickup measure.
If there is a pickup measure, the final measure of the piece should be shortened by the length of the pickup measure (although this rule is sometimes ignored in less formal written music). For example, if the meter of the piece has four beats, and the pickup measure has