[MUSIC] Welcome back, we have several more topics to cover before we leave rhythm. So far, we have talked about subdividing beats according to the meter signature. If the top number of the meter signature is a multiple of two, other than six, we divide the beat into two. The beat in four four is usually the quarter note which subdivides into eighth notes grouped by two. This rhythm is four beats long with the dotted quarter note lasting for a beat and a half. This is what it sounds like, [SOUND]. If the top number is a multiple of three we divide the beat into threes. This rhythm is two beats long, the beat is the dotted quarter note, which divides into three eighth notes. It sounds like this, [SOUND]. But it's also possible to go against the given meter signature, dividing the beat into twos when we expect threes, or threes when we expect twos. Here we have a group of three notes that fits into one quarter note. It sounds like this, [SOUND]. And here we have two notes that fit within a beat that usually contains three notes. Sounds like this, [SOUND]. Such a rhythm in which the meter beat is divided into a subdivision other than what is called for by the meter signature is called a tuplet. The most common tuplet is when we divide a beat with duple subdivisions into three, which creates a triplet. We usually write the number three above the triplet to make it clear that we are sub-dividing into three, although you will sometimes see triplets written without the number. Subdividing a beat into two instead of three gives a duplet. For triplets, the note value used in the triplet is usually half the value of the note the triplet is fitting into. So a triplet that takes one quarter note is written as an eighth note triplet. [SOUND]. A triplet that fits in an 8th note is written as a 16th note triplet. [SOUND] A triplet that takes the time of a half note is written as a quarter note triplet. [SOUND]. It's even possible to have half note triplets, which would fit in the time of a whole note. This is most likely at a fast tempo, perhaps even in two two, in which the beats are half notes. So these are half notes, [SOUND]. Let's look at some triplets in real music. This is a famous example of five four meter. Five quarter notes in a measure, eighth notes group in pairs. The eighth note triplets fill the duration of one quarter. [MUSIC] More Tchaikovsky, this time in 12 8 time. 12 eighth notes in a measure, 4 groups of 3 eighth notes with the dotted quarter note as the beat. In the first two measures, we see the triple grouping of eighth notes. Sounds like this, [MUSIC] But Tchaikovsky turns all of the third measure into duple pairings, using duplet notation. Each duplet takes the time of one dotted quarter note beat. It sounds like this, [MUSIC] One final Tchaikovsky excerpt. Tchaikovsky used a lot of tuples. This is a nice one. It's the first thing you hear in the fourth symphony played fortissimo by the french horns and bassoons. It's in three four so the quarter note gets the beat with eighth notes grouped by twos. The first 2 triplets are 16th note triplets, which means they fit in the span of one 8th note. Notice how the beaming shows this. The last 2 triplets are 8th note triplets so they last 1 beat, that is 1 quarter note, but the triplets themselves get subdivided into a dotted 8th and a 16th note. It's exactly the same rhythm as it would be if it were written in six eight. So the rhythm would be in slow motion, [SOUND]. Here's how it sounds when led in by the eighth notes on the beat three of the previous measure. So, one and two and [SOUND]. Here's what it sounds like full speed played by my computer so that it's exactly precise. [MUSIC] This was a short lecture. We talked about subdivisions of the beat that are different from what the meter signature specifies called, in general, tuplets. The most common tuplets are triplets, but duplets also happen. Any metric level can have tuplets. Triplets are the most common. They can be 16th note, 8th note, quarter note, or even half note triplets. It's also possible to have subdivisions other than two or three. Another Tchaikovsky excerpt from the Sixth Symphony has a septuplet, seven notes in one beat. In the next lecture we'll finish up rhythm and meter when we look at syncopation, or displaced the accents. [MUSIC]
