Which best describes the meter in this excerpt?

Which best describes the meter in this excerpt?

Introduction to asymmetrical meters

The following segment is adapted with the publisher’s permission from Hunter Allen and Andrew Coggan, PhD’s Training and Racing with a Power Meter, 2nd Edition. The book can be found in bookstores, bike shops, and on the VeloPress.com website.
These days, you don’t need a trust fund to buy a power meter, and you don’t need a PhD to use one. Hunter Allen and Andy Coggan describe a clear way to profit from riding with a power meter in this adaptation from their book Training and Racing with a Power Meter, 2nd Edition: by monitoring improvements in fitness. Yeah, your power meter will tell you how physically fit you are, and it’s a lot simpler than you would imagine.
It was difficult for coaches and athletes to reliably monitor improvements in cycling fitness until the invention of the power meter. With the advent of the power meter, cyclists were able to track quantitative adjustments more effectively. You will see how much your peak 5-minute power or peak 60-minute power has changed, for example. You can really see the fruits of your labor with a few basic charts, as that little line on your graph continues to climb higher and higher. One of the advantages of this modern technology is that it is very exciting and inspiring to see these improvements. There’s no more speculating on whether or not you’re better. It’s a foregone conclusion. In your power-meter software, the number is right there. Unfortunately, the reverse can also be true, and riding badly can be incredibly depressing. Simply put, the truth can be painful at times! Even in this situation, it’s important to understand how and how much your health has deteriorated so you can make the necessary adjustments to your training schedule to get back on track.

Smetana: “the moldau” – national symphony orchestra | the

The length of notes and silence, or how long a musical sound or pause is kept, is an important aspect of performing, writing, and listening to music. Many of the chapters in this book are devoted to issues of pitch, such as scales, intervals, and chords. However, without a solid grasp of how these elements work over time, they lose a lot of their significance. Consider how the note durations of a well-known melody have been changed in the example below. Try to recognize the melody in its altered shape.
(Don’t worry if you don’t know what musical notation is! Close your eyes and listen to the audio file if you’ve never seen written music before. Then try listening again once you’ve opened your eyes. Many listeners find it easy to follow along with the score visually. As you hear each successive note in the video, scan the music from left to right, going from symbol to symbol.)
Most likely, the melody was new to you. The melody is practically unrecognizable, despite the fact that the pitches are the same and appear in the same sequence. The notes are restored to their original durations in the following example:

Gavin newsom, seminars about long-term thinking – excerpt

A piece of music’s meter is determined by how its rhythms are structured in a repeated sequence of strong and weak beats. This does not necessarily imply that the rhythms are repetitive, but it does clearly indicate a pulse pattern that is repeated. You tap your foot, clap your hands, dance, and so on in response to these pulses, the rhythm of the song.
A meter isn’t always present in music. Ancient music, such as Gregorian chants, new music, such as some experimental twentieth-century art music, and non-Western music, such as some native American flute music, which lack a strong, repetitive beat pattern. Other styles of music, such as traditional Western African drumming, can have incredibly complex meters that are difficult to decipher for a novice.
Most Western music, on the other hand, has basic, repetitive beat patterns. As a result, metering is a very effective way to arrange music. For example, common notation divides written music into small groups of beats known as measures or bars. The lines that separate each measure from the next aid the musician in keeping track of the rhythms when reading the music. A time signature is assigned to a piece (or part of a piece) that tells the performer how many beats to anticipate in each measure and what type of note should receive one beat.

Simple duple, triple and quadruple meter

A piece of music’s time signature, also known as meter signature, specifies how the beat is arranged by stating the number of beats per measure and the note type that designates one beat. Each beat is counted in order. Depending on what the top number in the time signature is, a musician can count 1, 2, 3, 4, and so on starting with the first beat. The top number in time signatures refers to the number of beats in each measure’s standard, repeated groupings of beats (see figure 2.1). Music has a sense of even flow or rhythm since it is composed of consistent groupings of beats or steps with the same number of beats. The music’s flow can sound erratic in music with more complicated mixed meters, where the time signature can vary from measure to measure. Beats can be stressed in a number of ways in music with an asymmetrical meter, such as 5/4. Later in this chapter, we’ll look at how to count asymmetrical meters.
To recap, a time signature specifies the number of beats in a measure as well as the type of note that receives one beat. Time signatures mimic fractions at the start of a piece of music because they have one number written above and below the middle line of the staff. 3/4 time isn’t called “three fourths” time because there isn’t even a line dividing the numbers. It’s known as “three four” time.