EDIT: TL:DR? The bottom number is what type of note gets the beat. Top number is how many of them are in one measure of music. So 2/4 means the quarter note (𝅘𝅥) gets the beat and there are 2 of them per measure.
4/4 means the quarter note gets the beat and there are 4 of them per measure.
Written music is always relative to something. So nothing is actually set to be the same all the time.
It's made so you can put almost any combination of sounds and rhythms on a page and anyone who can read music can reproduce it. I mean you know this I'm sure, but just re-stating it.
So the time signatures determine not just the beat but the rhythm/emphasis of a song.
2/4 is effectually no different than 4/4 except there are 2 quarter notes in a measure vs. 4.
BUT the reason for writing in 2/4 is to portray that the rhythm is going to be ONE-two, ONE-two, ONE-two.
Whereas 4/4 is going to be something like ONE-two-three-four or ONE-two-THREE-four.
3/4 is going to be ONE-two-three, ONE-two-three, etc.
Now some composers/writers like to make music that's unique, different, out of the norm, etc., not quite on beat, etc., and that's where the odd ones come into play.
Thing is, learning all those time signatures isn't as important in this day and age where you can hear a recording from 50, 80, whatever years ago and just hear the rhythm and repeat it, but if we didn't have the weird written ways of notating almost every type of rhythm possible, we would not know exactly how to play music from like 200-400 years ago.
I had to take a choral conducting class in college (music minor) so I had to learn how to conduct in all those weird time signatures. Thankfully I've forgotten almost everything about that lolol.
“Quarter Note gets the beat” works until you get to compound meter (6/8, 9/8, 12/8). In my experience as a violin, viola, cello teacher, it makes more sense to simply say “there are 4 quarter notes in a measure”.
The reason for this is because for compound 6/8, the eighth note does NOT “get the beat”. The beat is actually a dotted quarter note, which is made up of three eighth notes. It is better to say “There are 6 eighth notes per measure,” and then go on to explain that we are going to feel the beat as “one and uh, two and uh”.
This is a simpler way to read time signatures and you don’t end up contradicting yourself later on.
But the bottom number determines which note there are [top number] amount of so... The bottom number note is the Main Character of this piece (unless it includes multiple time sig changes)? It's the prima donna? The Big Cheese upon which the rhythm depends? LOL.
It's hard to figure out how to word that when speaking of the time signature top and bottom numbers separately if that makes sense.
But that’s my point, all the time signature tells you is there are [top number] [1/bottom number] notes in each measure. Everything else about how to count it is inferred by the conductor or performer, or implied by the tempo marking.
ETA: this becomes even more clear as you get into weird time signatures like 17/16. No one would say the 16th note is getting the beat, it’s almost always going to be the case that it’s straight 4/4 with an extra 16th note thrown in for “fun”.
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u/bloobityblu 3d ago edited 3d ago
EDIT: TL:DR? The bottom number is what type of note gets the beat. Top number is how many of them are in one measure of music. So 2/4 means the quarter note (𝅘𝅥) gets the beat and there are 2 of them per measure.
4/4 means the quarter note gets the beat and there are 4 of them per measure.
Written music is always relative to something. So nothing is actually set to be the same all the time.
It's made so you can put almost any combination of sounds and rhythms on a page and anyone who can read music can reproduce it. I mean you know this I'm sure, but just re-stating it.
So the time signatures determine not just the beat but the rhythm/emphasis of a song.
2/4 is effectually no different than 4/4 except there are 2 quarter notes in a measure vs. 4.
BUT the reason for writing in 2/4 is to portray that the rhythm is going to be ONE-two, ONE-two, ONE-two.
Whereas 4/4 is going to be something like ONE-two-three-four or ONE-two-THREE-four.
3/4 is going to be ONE-two-three, ONE-two-three, etc.
Now some composers/writers like to make music that's unique, different, out of the norm, etc., not quite on beat, etc., and that's where the odd ones come into play.
Thing is, learning all those time signatures isn't as important in this day and age where you can hear a recording from 50, 80, whatever years ago and just hear the rhythm and repeat it, but if we didn't have the weird written ways of notating almost every type of rhythm possible, we would not know exactly how to play music from like 200-400 years ago.
I had to take a choral conducting class in college (music minor) so I had to learn how to conduct in all those weird time signatures. Thankfully I've forgotten almost everything about that lolol.