Time signatures: what they are and why they’re cool February 8, 2016 No CommentThe time signature lives right at the beginning of every song. You know. That thing that looks like a fraction. As it turns out, there’s a lot to say about this thing. Check out the Wikipedia article. Or not. https://en.wikipedia.org/wiki/Meter_(music) What’s it for? In the simplest terms, the time signature tells you two things: how many beats are in a bar, and what those beats are worth By “worth”, I mean quarter-notes, eighth notes, sixteenth notes, etc. So a time signature of 4/4 means that there are 4 beats in the bar (the first number) and each beat is worth a quarter note (the second number). 3/8 means that there are three beats in the bar, and each beat is worth an eighth note. The second number The first number can be anything (though it doesn’t usually go above 11). The second number points to a note value. The possibilities for this number and what it corresponds to are: 1 – whole-note (rare) 2 – half-note 4 – quarter-note 8 – eighth-note 16 – sixteenth-note 32 – thirty-second-note (rare) Getting interesting But all that is just background. Time signatures get interesting when you realize that there’s more to life than 4/4 and ¾ These get the most use by far, but there’s a lot more to consider. I’ve defined the possibilities for the second number. You’ll notice they’re all multiples of two. Except for the whole note. The first number can combine twos and threes. This can produce crazy looking time signatures, but that’s not what makes a song interesting. What makes a song interesting, what creates its unique feel, is how you put the twos and threes together. 4/4 can get boring Let me explain. If you play in 4/4 all the time, it probably means you’re emphasizing the same beats every song.: the first beat and the third beat, or the second beat and the fourth beat. Now take a simple time signature like 5/4. 5/4 is a combination of two and three. It’s either 2 + 3, or 3 + 2. So what, you say? Strumming Well, strum a chord in 5/4 and emphasize beat 1 and beat 3. Now strum a chord and 5/4 and emphasize beat 1 and beat 4. Two completely different feels in one time signature. Possibilities. Lots. Imagine emphasizing beat 1 and beat 3 in the verse, and beat 1 and beat 4 in the chorus. Or 4/4 in the verse, and 5/4 in the chorus. Or maybe just use 5/4 in the bridge… The point is, with one simple time signature, a whole bunch of possibilities open up. Why not take advantage of that? songwriting, UncategorizedShare : Tweet ‹ Communicating with different time signatures Becoming a better rhythm player: triplets and strumming ›