Learning Objectives
- Define asymmetric meters as meters involving irregular combinations of twos and threes.
- Examine the most common asymmetric meters (quintuple and septuple meter).
- Learn about mixed meter.
Meter Types X: Irregular and Mixed Meter
Irregular Meter
The third category of meter, introduced briefly in the first lesson of this section, is called irregular meter or asymmetric meter, since it involves irregular combinations of twos and threes. Irregular meters are found in the folk music of many Central European and some Asian countries. They were also increasingly used by composers during the 20th century as interest in folk music grew. However, they are far less common that simple and compound meters.
The most common irregular meters are quintuple meter (with five beats per measure) and septuple meter (with seven beats per measure). These combine duple and triple meters in various patterns. Quintuple meter can feature either a 2+3 or a 3+2 beat pattern. Septuple meter can feature a 2+2+3, a 2+3+2, or a 3+2+2 pattern. Beaming patterns and the placement of accents (>) usually help musicians to determine which pattern is present in any given musical situation.
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Time Signatures
The top number in an irregular time signature is always greater than four, but never six (6), nine (9), or twelve (12). Five-four, five-eight, seven-four, and seven-eight are typical irregular meters.
Five-eight meter
Five-eight is probably the most frequently found of the irregular meters. It can be grouped in a pattern of 2+3 eighth notes or 3+2 eighth notes. The following example from Béla Bartók's (1881-1945) Bulgarian Dance illustrates five-eight meter. Notice that the beaming of eighth notes in the top staff suggests a 3+2 beat pattern. However, the durations played in the bottom staff alternatively suggest a 2+3 pattern (a quarter note followed by a dotted-quarter note). Click on the score to hear the music played. What pattern do you hear—3+2 or 2+3?
Seven-eight meter
Seven-eight meter can be grouped into twos and threes in various ways. In his Piano Sonata No. 7 in B-flat Major, Russian composer Sergei Prokofiev groups his seven-eight meter in the pattern 2+3+2 (this is indicated after the Precipitato expression marking). Since there are no measures filled only with eighth notes in this opening passage, there is no clear beaming pattern to help us identify this grouping. The last two eighth notes in each measure are always beamed together, however, supporting the 2+3+2 grouping that Prokofiev indicates. Click on the score or the audio link below to see if you can detect this grouping. (Good luck!)
Composer: Sergei Prokofiev
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"Piano Sonata No. 7 in B-Flat Major, Op. 83: III. Precipitato"
Mixed Meter
In pieces with mixed meter the time signature changes frequently—sometimes every measure. In mixed meter there is no consistent beat or beat pattern.
The following passage from Béla Bartók's (1881-1945) Concerto for Orchestra illustrates the use of mixed meter, including both simple meters (3/4 and 2/4) and irregular meters (5/8 and 7/8).
Take a moment now to review what you have learned about simple, compound, and irregular meters (and their time signatures) for the quiz that follows this lesson.