1. Melodic, Harmonic, and Rhythmic Dictation
  2. Module 12: Changing Meter, Polyrhythm, and Asymmetric Meters

Module 12: Changing Meter, Polyrhythm, and Asymmetric Meters

Changing meter refers to meter changes that occur between measures with the same beat-note value, such as 3/4 to 4/4 or 6/8 to 9/8. The African American folk song “The Swallow” is an example of simple changing meter.

a. Changing Meter

Rhythm 12A-1

  1. Listen to the following rhythm. Note that it uses changing meter.
  2. Listen to the rhythm again. Determine the number of measures.
    3. 7
  3. Listen again. Determine the meters and notate them.
    4. Rhythm_12A-1B
  4. Listen again. Notate the rhythm.
    5. Rhythm_12A-1C

Rhythm 12A-2

  1. Listen to the following rhythm. Note that it uses changing meter.
  2. Listen to the rhythm again. Determine the number of measures.
    3. 10
  3. Listen again. Determine the meters and notate them.
    4. Rhythm_12A-2B
  4. Listen again. Notate the rhythm.
    5. Rhythm_12A-2C

Rhythm 12A-3

  1. Listen to the following rhythm. Note that it uses changing meter.
  2. Listen to the rhythm again. Determine the number of measures.
    3. 8
  3. Listen again. Determine the meters and notate them.
    4. Rhythm_12A-3B
  4. Listen again. Notate the rhythm.
    5. Rhythm_12A-3C

Rhythm 12A-4

  1. Listen to the following rhythm. Note that it uses changing meter.
  2. Listen to the rhythm again. Determine the number of measures.
    3. 6
  3. Listen again. Determine the meters and notate them.
    4. Rhythm_12A-4B
  4. Listen again. Notate the rhythm.
    5. Rhythm_12A-4C

b. Metric Modulation

Rhythm 12B-1

  1. Listen to the following rhythm. Note that it uses changing meter.
  2. Listen to the rhythm again. Determine the number of measures.
    3. 4
  3. Listen again. Determine the meters and how the metric modulation occurs.
    4. Rhythm_12B-1B
  4. Listen again. Notate the rhythm.
    5. Rhythm_12B-1C

Rhythm 12B-2

  1. Listen to the following rhythm. Note that it uses changing meter.
  2. Listen to the rhythm again. Determine the number of measures.
    3. 4
  3. Listen again. Determine the meters and how the metric modulation occurs.
    4. Rhythm_12B-2B
  4. Listen again. Notate the rhythm.
    5. Rhythm_12B-2A

Rhythm 12B-3

  1. Listen to the following rhythm. Note that it uses changing meter.
  2. Listen to the rhythm again. Determine the number of measures.
    3. 8
  3. Listen again. Determine the meters and how the metric modulation occurs.
    4. Rhythm_12B-3B
  4. Listen again. Notate the rhythm.
    5. Rhythm_12B-3C

Rhythm 12B-4

  1. Listen to the following rhythm. Note that it uses changing meter.
  2. Listen to the rhythm again. Determine the number of measures.
    3. 8
  3. Listen again. Determine the meters and how the metric modulation occurs.
    4. Rhythm_12B-4B
  4. Listen again. Notate the rhythm.
    5. Rhythm_12B-4C

Rhythm 12B-5

  1. Listen to the following rhythm. Note that it uses changing meter.
  2. Listen to the rhythm again. Determine the number of measures.
    3. 7
  3. Listen again. Determine the meters and how the metric modulation occurs.
    4. Rhythm_12B-5B
  4. Listen again. Notate the rhythm.
    5. Rhythm_12B-5C

c. Polyrhythms and Polymeters

Rhythm 12C-1

  1. Listen to the following rhythm.
  2. Name the time signature.
    3. 6/8
  3. Listen to the rhythm again. Determine the number of measures.
    4. 8
  4. Listen again. Notate only the rhythm.
    5. Rhythm_12C-1B

Rhythm 12C-2

  1. Listen to the following rhythm.
  2. Name the time signature.
    3. 3/4
  3. Listen to the rhythm again. Determine the number of measures.
    4. 8
  4. Listen again. Notate only the rhythm.
    5. Rhythm_12C-2B

d. Meters with Unequal Beats

Rhythm 12D-1

  1. Listen to the following rhythm.
  2. Name the time signature.
    3. 5/8 (3+2)
  3. Listen to the rhythm again. Determine the number of measures.
    4. 8
  4. Listen again. Notate only the rhythm.
    5. Rhythm_12D-1B

Rhythm 12D-2

  1. Listen to the following rhythm.
  2. Name the time signature.
    3. 7/8 (3+2+2)
  3. Listen to the rhythm again. Determine the number of measures.
    4. 7
  4. Listen again. Notate only the rhythm.
    5. Rhythm_12D-2B

Rhythm 12D-3

  1. Listen to the following rhythm.
  2. Name the time signature.
    3. 7/8 (2+2+3)
  3. Listen to the rhythm again. Determine the number of measures.
    4. 5
  4. Listen again. Notate only the rhythm.
    5. Rhythm_12D-3B

Rhythm 12D-4

  1. Listen to the following rhythm.
  2. Name the time signature.
    3. 8/8 (3+3+2)
  3. Listen to the rhythm again. Determine the number of measures.
    4. 4
  4. Listen again. Notate only the rhythm.
    5. Rhythm_12D-4B

Rhythm 12D-5

  1. Listen to the following rhythm.
  2. Name the time signature.
    3. 5/8 (2+3)
  3. Listen to the rhythm again. Determine the number of measures.
    4. 8
  4. Listen again. Notate only the rhythm.
    5. Rhythm_12D-5B
  1. Begin by taking a rhythmic dictation of your melody (see steps above). Figure out where things happen before you try to figure out what happens.
  2. Listen for and identify the tonic. If the melody modulates, listen for indications of each tonal area (usually you can listen for dominant sounds).
  3. Identify important scale degrees along the way by writing their numbers above the notes on your rhythmic dictation. Mark chromatic notes. These may include longer notes, notes on cadences, the first note, the last note, etc. Be sure to listen to pitches as scale degrees, using your scale degree patterns to verify what you think you hear.
  4. Listen for how the “important” scale degrees (from step 3 above) are approached and left. Listen also for groups of notes that form identifiable structures such as triads, seventh chords, etc.
  5. Once you have labeled your rhythm with scale degrees, transcribe this into standard notation on a staff.
  6. Double check your answer by singing what you have written and comparing it to what you remember.
  1. Begin by taking a rhythmic dictation for the melody as described above.
  2. Listen for repeating pitches or pitches that are close to known pitches, even if (especially if) they are separated by only a few pitches. Listen for embedded chromatic lines in the melody.
  3. Listen for characteristic intervals. For example, many melodies will use a particular interval repeatedly. Try to find all instances of that interval wherever it occurs.