Chapter 9: More Time Signatures

Alternatives to 4/4 Time

Back in Chapter 3 we defined what a time signature was. So far we’ve been working with tunes in 4/4 time, which means that there are four quarter note beats per measure:

The top number of the time signature (4 in this case) indicates how many beats there are in the measure. These beats are where you would normally tap your foot! The bottom number indicates what rhythmic value is assigned to the beat (in this case, a quarter note).

So now it’s time to go beyond the confines of 4/4 time, and play some songs in other time signatures.

Introducing 3/4 Time

The next most common time signature after 4/4 time is 3/4 time, also referred to as waltz time (as the three-beats-per-measure rhythm is needed for waltzing). When we see the 3/4 time signature, we will count: 1, 2, 3, 1, 2, 3, etc. This may take some time to get used to after playing many songs in 4/4, but just remember to leave out that “4” when you count.

The waltz dance form first appeared in the late 18th century, and became very popular in the 19th century, mainly due to the Viennese composers Johann Strauss and Joseph Lanner. Perhaps the most famous waltz from this period is “The Blue Danube” by Strauss, written in 1867.

Note the top number (3) indicating there are three beats in each measure. Many traditional and folk tunes also use 3/4 time, as in the following example, “For He’s a Jolly Good Fellow,” which uses an extended F position in the right hand, with finger 2 moving to A in measure 9 in order for the pinkie to stretch up to D in the third line. In measure 14, the fingers will stretch again from 3 on B♭ down to finger 2 on G.

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Once you’ve practiced “For He’s a Jolly Good Fellow,” and you think you have all the fingerings learned, have a listen to track 21. Now play along with the recording, making sure the finger stretches don’t hold up the tempo.

Note the fermata sign, the bird’s eye-looking thing on the first D in measure 12. This indicates to hold the note longer than its normal value. A note under a fermata is a kind of resting place, where the beat stops. When you’re ready and satisfied that you’ve held it long enough, resume with the next note at the regular tempo.

When playing this song, count out each measure (1, 2, 3, 1, 2, 3, etc.) as needed. Notice that we are again starting with a pickup measure, containing only one beat. In 3/4 time, this would then fall on beat 3 (the last beat) of the measure (i.e., we would rest on beats 1 and 2).

On to another traditional tune in 3/4 time, now in the new key of D major. In Chapter 7 we saw that the key signature for D major was two sharps, F♯ and C♯ . So these notes need to be sharped whenever they occur. For this song, you can create a D Position in the right hand, with the thumb resting on the D above middle C, and your pinkie on the A. In your left hand, the pinkie should sit on the D below middle C and the thumb on the A below middle C. Make sure your third finger is on the black key of F♯ in both hands, as required by the key signature. We also need to extend this hand position to reach the note B, at the end of lines 1 and 3.

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Once you’ve had some time to practice “Lavender’s Blue,” listen to track 22, and then play along. Were you able to keep the song going while the hands changed from right to left and back to right? Playing with the recording may help you become aware of pauses you weren’t aware of when you played the song on your own. After you’ve played along with the recording a few times, try again without it.

Introducing 6/8 and 12/8 Time

So far we’ve been using time signatures with a “4” on the bottom, meaning that we are counting in quarter-note beats. Now this changes when we introduce the 6/8 and 12/8 time signatures:

In both cases, the eighth note “gets the beat,” i.e., we are now counting in eighth notes. In 6/8 time there are six eighth-note beats in each measure, and in 12/8 time there are twelve. So a measure of 12/8 time is equivalent to two measures of 6/8 time, and, in many cases, it’s a matter of opinion and preference whether to notate a tune in 6/8 or 12/8.

On to another traditional tune, this one in 6/8 time, and in the new key of B♭ major. In Chapter 7 we saw that the key signature for B♭ major was two flats, B♭ and E♭ . So these notes need to be flatted whenever they occur. Note that the range of the song goes from the F (above middle C) up to the D above (excluding the high F in measure 14, for now). So, even though we are in the key of B♭ , it would make sense to base the fingering on an F position in the right hand (with the thumb resting on F) and then extending the pinkie up to D as needed. In the last line we also have a thumb turn, so we can reach the F at the top of the staff.

You can count through this song using 1, 2, 3, 4, 5, 6 for each measure, but don’t forget that each beat now falls on an eighth note. For example, in measure 5, we would count 1, 2 on the first F, then 3 on the G, then 4, 5 on the A, then 6 on the last F.

Here’s a traditional song in 6/8 time, “Hail, Hail, the Gang’s All Here.” Listen to track 23 and first count along, without playing. Next, play along, using the fingering numbers provided.

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Although we have six eighth-note beats in each measure, in 6/8 time we can actually hear Words and Music by Ian Stanley, Roland Orzabal and Chris Hughes two per measure (landing on the 1st and 4th eighth notes). Similarly, in 12/8 time, big beats extras we can hear four big beats per measure (landing on the 1st, 4th, 7th and 10th eighth notes). When playing this example, try tapping your foot on all the eighth notes, then on the big beats (two per measure). Interesting, huh? In meters with an “8” on the bottom, the beat is essentially the dotted quarter note (equal to three eighth notes). When practicing a song in 6/8, first tap and count each eighth-note beat, slowly. As you get more comfortable, speed it up and begin to feel these “big beats” every three eighth notes or on each dotted All Rights Reserved International Copyright Secured Used by Permission quarters. This is actually how meters such as 6/8 and 12/8 are felt .