8 Compound Meter Beat Patterns

Listen to the first 15-20 seconds of the following selections to determine whether the music is in a simple or compound meter. Suggestion: Start first by tapping the steady beat, then try to divide evenly into two or three pieces. Listen in particular to the background accompaniment. Identify elements that suggest simple or compound meter such as rhythmic structure, feeling, strong vs. weak beats, etc.

Defining Simple and Compound Meters

Understanding the Components of Simple Meter

Simple meter is defined as a time signature that divides the beat into two pieces.  The first division of the beat is considered the “strong” or “accented” beat while the second division is the “weak” or “unaccented” beat. As noted in Chapter 2, the top number of a time signature in a simple meter indicates how many beats are in the measure, with the bottom number corresponding to what kind of note represents the beat.

Duple, Triple, and Quadruple Simple Meters

Simple meters are classified into three categories which correspond to the number of groupings in the measure: duple, triple, and quadruple. For example, a simple triple meter would be 3/4 time signature: “simple” due to the beats being divided into two pieces, and “triple”  because each pair are coupled to make three groups. Therefore, a simple duple meter would have two groups and a simple quadruple meter would have four. Below is a table with examples of simple meters:

Understanding the Components of Compound Meters

Compound meters, such as 6/8 or 12/4,  divide the beat into three parts instead of two. The first part of the beat is strong, or “accented”, and the latter two parts are weak, “unaccented.”

As with simple meters, compound meters can be duple, triple, or quadruple. See the table below which contains examples of compound meters:

Conducting Compound Meters

Defining “Fast” and “Slow” Conducting Pattern Shapes

Depending on the tempo of the song or work, the conductor will decide whether to use a “fast” or  “slow” conducting pattern shape. The “fast” pattern will show the overall beat structure as the tempo would be too brisk to show each individual division. Generally, tempos that exceed Andante would use the “fast” pattern shape.  Conversely, tempos that are slower than Andante,  such as Largo or Grave should use the “slow” pattern shapes. The reason for using the “slow” pattern shapes is that the ensemble will need more beat clarification. Therefore, you may be required to show the ensemble each division of the beat. For example, if a piece of music is in 9/8 and marked Largo, instead of conducting the three dotted-quarter notes (which shows the overall beat structure), you would conduct a pattern that has nine parts, showing each eighth note. The difference between the fast and slow beat patterns  is based on the overall beat structure, or the “feeling.” Keep in mind that, as the conductor, you are at liberty to use the patterns that best meet the needs of your ensemble.

When using a “fast” conducting pattern shape, the conductor will utilize the two, three, and four pattern shapes from Chapter 2 of this text. Therefore, you will conduct the overall beat structure. Example: When conducting a “fast” 6/8, you will use a two-pattern shape as the overall beat structure is a dotted-quarter note. Each measure will contain two dotted-quarter notes as a compound duple time signature. In a “slow” pattern shape, the conductor is showing each division of the beat. Remember, in compound meters, the bottom number in the time signature indicates the type of note that divides the beat. Therefore, a “slow” pattern shape for 6/8 would show six beats to show each eighth note.

Conducting “Fast” Pattern Shapes

The following table presents the time signatures and the appropriate “fast” pattern shape. These conducting shapes are familiar to you as they are the same when conducting in 2/4, 3/4, and 4/4. The difference is that you are now conducting the overall beat structure which contains three subdivisions of the beat. Additionally, conducting in compound meters carries more bounce, or air, between each beat. As noted earlier in this chapter, the first part of the beat is strong followed by two weaker pieces; therefore, the conductor should emphasize the arrival point more greatly than when traveling between gestures.

Conducting “Slow” Pattern Shapes

When using “slow” pattern shapes, be reminded that you are conducting the division of each beat. In music, the composer may denote the tempo for the specific division, such as 60 beats per minute (bpm), with the following graphic:

While there may be extra divisions of the beat to conduct, the shape will resemble the four-pattern. When learning shapes in 6, 9, and 12, be sure to take note of the direction of travel and where each piece is placed within the total pattern shape. In each pattern, the rebound of beat one moves away from the next big beat. For example, in 6/8,

About the author

name: George Shannon II

institution: Belmont University

Dr. George Shannon II is an Assistant Professor of Music Education and Athletic Band Director at Belmont University. In this role, he teaches Basic Conducting, Brass and Middle School Methods courses, conducts the Concert Band and directs the Bruin Blast Pep Band. Prior to this role, Dr. Shannon served as a band director and in school leadership at the secondary level. He earned a Ph.D. In Music Education from the University of South Florida, having studied conducting with Matthew McCutchen (wind band) and William Wiedrich (orchestral), a Master of Education in Educational Leadership from National-Louis University, and a Bachelor of Music Education degree from Florida State University, studying conducting with Patrick Dunnigan and Richard Clary. Dr. Shannon is currently a member of the Nashville African American Wind Symphony in the euphonium section.