{"id":20,"date":"2018-08-05T03:53:19","date_gmt":"2018-08-05T03:53:19","guid":{"rendered":"https:\/\/koshanin.com\/blog\/?p=20"},"modified":"2026-01-06T04:12:00","modified_gmt":"2026-01-06T04:12:00","slug":"odd-meters-and-time-signatures-in-music-part-2","status":"publish","type":"post","link":"https:\/\/koshanin.com\/blog\/2018\/08\/05\/odd-meters-and-time-signatures-in-music-part-2\/","title":{"rendered":"ODD METERS AND TIME SIGNATURES IN MUSIC &#8211; Part 2"},"content":{"rendered":"<p><span style=\"font-size: xx-large;\"><b>Part 2: <\/b><\/span><span style=\"font-size: xx-large;\"><b>Classification of O<\/b><\/span><span style=\"font-size: xx-large;\"><b>dd <\/b><\/span><span style=\"font-size: xx-large;\"><b>M<\/b><\/span><span style=\"font-size: xx-large;\"><b>eters<\/b><\/span><\/p>\n<p><i>(Previous essay: \u201cPart 1: <a href=\"http:\/\/koshanin.com\/blog\/2018\/07\/23\/odd-meters-and-time-signatures-in-music-part-1\/\" rel=\"noopener\">Introduction to Odd Meters<\/a>\u201d)<\/i><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Defining the term \u201c<i>odd meter<\/i>\u201d can be somewhat confusing because the word \u201c<i>odd<\/i>\u201d implies multiple meanings. Depending on the context, the word itself refers to a variety of different things and situations including: unusual, irregular, unexpected, eccentric, fantastic, bizarre etc. While some musicians often use the word \u201c<i>odd<\/i>\u201d to describe an irregular or uncommon time signature or meter, the correct term for all non-ordinary meters is \u201c<i>unusual meter<\/i>\u201d while \u201c<i>odd meter<\/i>\u201d refers specifically to meters with an odd number of beats. In other words, the time signature marking for an <i>odd meter<\/i> will always have an odd number for the upper numeral.<\/p>\n<p>&nbsp;<\/p>\n<p>All <i>odd meters<\/i> can be classified in two categories, depending on the pulse of music they create:<\/p>\n<p>&nbsp;<\/p>\n<p style=\"padding-left: 40px;\">&#8211; <i><b>Simple<\/b><\/i><i> or <\/i><i><b>Basic <\/b><\/i><i><b>O<\/b><\/i><i><b>dd <\/b><\/i><i><b>M<\/b><\/i><i><b>eters<\/b><\/i> which create an even, steady pulse in music: 3\/4, 5\/4, 7\/4 etc.<\/p>\n<p style=\"padding-left: 40px;\">&#8211; <i><b>Complex<\/b><\/i><i> or <\/i><i><b>Advanced <\/b><\/i><i><b>O<\/b><\/i><i><b>dd <\/b><\/i><i><b>M<\/b><\/i><i><b>eters<\/b><\/i> which create an uneven pulse in music: 5\/8, 7\/8, 11\/8, 13\/8, 15\/8 etc.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Here\u2019s an example of a <i>3\/4 simple odd meter<\/i>:<\/p>\n<p><iframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=553956947\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=459280146\/transparent=true\/\" seamless=\"\"><a href=\"http:\/\/koshanin.bandcamp.com\/album\/over-seven-seas\">Over Seven Seas by Koshanin<\/a><\/iframe><\/p>\n<p>(\u201c<a href=\"https:\/\/koshanin.bandcamp.com\/track\/dream-walking\" rel=\"noopener\"><i><b>Dream Walking<\/b><\/i><\/a>\u201d from my solo piano album \u201c<a href=\"https:\/\/koshanin.bandcamp.com\/album\/over-seven-seas\" rel=\"noopener\"><i><b>Over Seen Seas<\/b><\/i><\/a>\u201d)<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>and an example for a <i>7\/8 complex odd meter <\/i><i>(3+2+2 variation)<\/i>:<\/p>\n<p><iframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=553956947\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=1301070787\/transparent=true\/\" seamless=\"\"><a href=\"http:\/\/koshanin.bandcamp.com\/album\/over-seven-seas\">Over Seven Seas by Koshanin<\/a><\/iframe><\/p>\n<p>(\u201c<a href=\"https:\/\/koshanin.bandcamp.com\/track\/gusta-mi-magla-padnala\" rel=\"noopener\"><i><b>Gusta mi magla padnala<\/b><\/i><\/a>\u201c from my solo piano album \u201c<a href=\"https:\/\/koshanin.bandcamp.com\/album\/over-seven-seas\" rel=\"noopener\"><i><b>Over Seven Seas<\/b><\/i><\/a>\u201d)<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>I should note here that what I refer to as \u201c<i><b>complex <\/b><\/i><i><b>or advanced <\/b><\/i><i><b>odd meters<\/b><\/i>\u201d is classified in formal Western music theory as a part of \u201c<i><b>additive meters<\/b><\/i>\u201d or \u201c<i><b>additive time signatures<\/b><\/i>\u201d &#8211; a group encompassing both odd and even meters.<\/p>\n<p>&nbsp;<\/p>\n<p>An exception to the classification above is a 9\/8 meter which falls in either category, depending on its actual subdivision:<\/p>\n<p>&nbsp;<\/p>\n<p style=\"padding-left: 40px;\">(3 + 3 + 3) = <i><b>simple<\/b><\/i><i> odd meter<\/i><\/p>\n<p style=\"padding-left: 40px;\">(2 + 2 + 2 + 3) or (3 + 2 + 2 + 2) = <i><b>complex<\/b><\/i><i> odd meters<\/i><\/p>\n<p>&nbsp;<\/p>\n<p>Other, much less common, exceptions include 15\/8 and 21\/8 meters. All of these three exceptions are actually classified in music theory as \u201c<i><b>compound <\/b><\/i><i><b>meters<\/b><\/i>\u201d which are the meters whose upper numeral in their time signature is either 3 or a multiple of number 3 such as in: 3\/8, 6\/8, 9\/8, 12\/8, 15\/8 etc. Obviously, as the term \u201c<i>compound meters<\/i>\u201d encompasses both even and odd meters, we would need to establish a separate group of \u201c<i><b>compound odd meters<\/b><\/i>\u201d that would include all our crossover exceptions (9\/8, 15\/8, 21\/8), with two subgroups:<\/p>\n<p>&nbsp;<\/p>\n<p style=\"padding-left: 40px;\"><i><b>&#8211; Simple Compound Odd Meters:<\/b><\/i><\/p>\n<p style=\"padding-left: 80px;\">9\/8 (3+3+3)<\/p>\n<p style=\"padding-left: 80px;\">15\/8 (3+3+3+3+3)<\/p>\n<p style=\"padding-left: 40px;\"><i><b> &#8211; Complex Compound Odd Meters:<\/b><\/i><\/p>\n<p style=\"padding-left: 80px;\">9\/8 (2+2+2+3 or 3+2+2+2 etc.)<\/p>\n<p style=\"padding-left: 80px;\">15\/8 (3+4+4+4 or 4+4+4+3 etc.)<\/p>\n<p>&nbsp;<\/p>\n<p>We can conclude that <i><b>complex<\/b><\/i><i><b> odd meters<\/b><\/i> contain both even and odd numbered <i>beat segments<\/i> (internal groupings of 2 or 3 beats). The placement of the odd-numbered segment within a meter determines the actual \u201c<i>feel<\/i>\u201d of the meter, as it can be placed at the beginning, in the middle, at the end, or anywhere within the meter. When this extended 3-beat segment is placed in the middle of a meter it constitutes a \u201c<i><b>S<\/b><\/i><i><b>ymmetric <\/b><\/i><i><b>Complex <\/b><\/i><i><b>O<\/b><\/i><i><b>dd <\/b><\/i><i><b>M<\/b><\/i><i><b>eter<\/b><\/i>\u201d, otherwise all other placements form the \u201c<i><b>Asymmetric <\/b><\/i><i><b>Complex <\/b><\/i><i><b>O<\/b><\/i><i><b>dd <\/b><\/i><i><b>M<\/b><\/i><i><b>eters<\/b><\/i>\u201d.<\/p>\n<p>&nbsp;<\/p>\n<p>Here\u2019s a list of common odd meter subdivisions, with the extended 3-beat segments shown in bold:<\/p>\n<p>&nbsp;<\/p>\n<p style=\"padding-left: 40px;\">&#8211; 7\/8 meter subdivision variations:<\/p>\n<p style=\"padding-left: 80px;\">2 + 2 + <u><b>3<\/b><\/u><\/p>\n<p style=\"padding-left: 80px;\"><b> <\/b><u><b>3<\/b><\/u> + 2 + 2<\/p>\n<p style=\"padding-left: 40px;\">&#8211; 9\/8 meter subdivision variations:<\/p>\n<p style=\"padding-left: 80px;\">2 + 2 + 2 + <u><b>3<\/b><\/u><\/p>\n<p style=\"padding-left: 80px;\"><b> <\/b><u><b>3<\/b><\/u> + 2 + 2 + 2<\/p>\n<p style=\"padding-left: 80px;\">or:<\/p>\n<p style=\"padding-left: 80px;\">3 + 3 + 3 (<i>simple odd meter<\/i>)<\/p>\n<p style=\"padding-left: 40px;\">&#8211; 11\/8 meter subdivision variations:<\/p>\n<p style=\"padding-left: 80px;\"><b> <\/b><u><b>3<\/b><\/u> + 2 + 2 + 2 + 2<\/p>\n<p style=\"padding-left: 80px;\">2 + 2 + <u><b>3<\/b><\/u> + 2 + 2<\/p>\n<p style=\"padding-left: 80px;\">2 + 2 + 2 + 2 + <u><b>3<\/b><\/u><\/p>\n<p style=\"padding-left: 40px;\">&#8211; 13\/8 meter subdivision variations:<\/p>\n<p style=\"padding-left: 80px;\"><b> <\/b><u><b>3<\/b><\/u> + 2 + 2 + 2 + 2 + 2<\/p>\n<p style=\"padding-left: 80px;\">2 + 2 + 2 + <u><b>3<\/b><\/u> + 2 + 2<\/p>\n<p style=\"padding-left: 80px;\">2 + 2 + <u><b>3<\/b><\/u> + 2 + 2 + 2<\/p>\n<p style=\"padding-left: 40px;\">&#8211; 15\/8 meter subdivision variations:<\/p>\n<p style=\"padding-left: 80px;\"><b> <\/b><u><b>3<\/b><\/u> + 2 + 2 + 2 + 2 + 2 + 2<\/p>\n<p style=\"padding-left: 80px;\">2 + 2 + 2 + 2 + 2 + 2 + <u><b>3<\/b><\/u><\/p>\n<p style=\"padding-left: 80px;\"><b> <\/b>or<\/p>\n<p style=\"padding-left: 80px;\">3+3+3+3+3 (<i>simple odd meter<\/i>)<\/p>\n<p>&nbsp;<\/p>\n<p>Obviously, not all possible variations are commonly used in music. In case of a 7\/8 meter, the extended 3-beat segment is placed either at the beginning or at the end of the meter and rarely in the middle. The most likely reason for this is that, when placed in the middle of the meter, a single preceding 2-beat segment would feel as a short \u201cpick up\u201d or a leftover from the previous bar, and our inner ear would eventually \u201cregroup\u201d the meter and recognize the 3-beat segment as the beginning of a meter. In other words, our inner rhythmic ear will naturally convert the 2 + 3 + 2 meter into 3 + 2 + 2 meter.<\/p>\n<p>&nbsp;<\/p>\n<p>It looks like the prerequisite to a musically pleasing and comfortable placement of a 3-note segment is a set of at least two preceding 2-beat segments. The common placement of the 3-beat segments in the middle of meters 11\/8 and 13\/8 further support this theory. With these longer odd meters the 3-beat segments, when placed in the middle of a meter, are placed almost exclusively after at least two preceding 2-beat segments.<\/p>\n<p>&nbsp;<\/p>\n<p>Every rule implies its own exceptions and the same goes for my \u201c<i>3-note segment placement<\/i>\u201d theory. Some examples of such exceptions can be found in a couple of Bulgarian folk dances which are based on 7\/8 (2+<u><b>3<\/b><\/u>+2) and on 9\/8 (2+<u><b>3<\/b><\/u>+2+2) such as in \u201c<i>Grancharsko horo<\/i>\u201d (<span lang=\"bg-BG\"><i>\u0413\u0440\u044a\u043d\u0447\u0430\u0440\u0441\u043a\u043e \u0445opo<\/i><\/span><span lang=\"bg-BG\">)<\/span>.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-size: x-large;\"><i><b>CONCLUSION:<\/b><\/i><\/span><\/p>\n<p>&nbsp;<\/p>\n<p><i>1.<\/i><\/p>\n<p><i><b>O<\/b><b>dd <\/b><b>M<\/b><b>eters<\/b> are meters with an odd number of beats and are classified in two main categories, depending on the pulse of music they create:<\/i><\/p>\n<p>&nbsp;<\/p>\n<p style=\"padding-left: 40px;\"><i> &#8211; <b>Simple<\/b> or <b>Basic <\/b><b>O<\/b><b>dd <\/b><b>M<\/b><b>eters<\/b> &#8211; create an even, steady pulse<\/i><\/p>\n<p style=\"padding-left: 80px;\"><i> examples: 3\/4, 5\/4, 7\/4 etc.<\/i><\/p>\n<p style=\"padding-left: 40px;\"><i>&#8211; <b>Complex<\/b> or <b>Advanced <\/b><b>O<\/b><b>dd <\/b><b>M<\/b><b>eters<\/b> &#8211; create an uneven pulse in music<\/i><\/p>\n<p style=\"padding-left: 80px;\"><i> examples: 5\/8, 7\/8, 11\/8, 13\/8, 15\/8 etc.<\/i><\/p>\n<p>&nbsp;<\/p>\n<p><i>2.<\/i><\/p>\n<p><i><b>Compound Odd Meters<\/b> are meters whose number of beats (upper numeral in their time signature) is an odd multiple of number 3 and they can be Simple or Complex meters depending on their subdivision:<\/i><\/p>\n<p>&nbsp;<\/p>\n<p style=\"padding-left: 40px;\"><i><b>&#8211; Simple <\/b><b>C<\/b><b>ompound <\/b><b>O<\/b><b>dd <\/b><b>M<\/b><b>eter<\/b><b>s<\/b><\/i><\/p>\n<p style=\"padding-left: 80px;\"><i><b> <\/b>examples: 9\/8 (3+3+3), 15\/8 (3+3+3+3+3)<\/i><\/p>\n<p style=\"padding-left: 40px;\"><i><b>&#8211; Complex <\/b><b>C<\/b><b>ompound <\/b><b>O<\/b><b>dd <\/b><b>M<\/b><b>eters<\/b><\/i><\/p>\n<p style=\"padding-left: 80px;\"><i> examples: 9\/8 (2+2+2+3 or 3+2+2+2 etc.), 15\/8 (3+4+4+4 or 4+4+4+3 etc.)<\/i><\/p>\n<p>&nbsp;<\/p>\n<p><i>3.<\/i><\/p>\n<p><i>Depending on the 3-beat segment placement, <b>Complex Odd Meters<\/b> can be:<\/i><\/p>\n<p>&nbsp;<\/p>\n<p style=\"padding-left: 40px;\"><i>&#8211; <b>S<\/b><b>ymmetric <\/b><b>Complex <\/b><b>O<\/b><b>dd <\/b><b>M<\/b><b>eter<\/b> (3-beat segment placed in the middle of a meter)<\/i><\/p>\n<p style=\"padding-left: 80px;\"><i> example: 11\/8 (2+2+3+2+2)<\/i><\/p>\n<p style=\"padding-left: 40px;\"><i>&#8211; <b>As<\/b><b>ymmetric <\/b><b>Complex <\/b><b>O<\/b><b>dd <\/b><b>M<\/b><b>eters<\/b> (3-beat segment placed anywhere, except in the middle)<\/i><\/p>\n<p style=\"padding-left: 80px;\"><i> example: 11\/8 (3+2+2+2+2)<\/i><\/p>\n<p>&nbsp;<\/p>\n<p><i>4.<\/i><\/p>\n<p><i>Finally, if we wanted to complicate this classification even further, we could establish two more distinct subgroups for the <b>Complex Compound Odd Meters<\/b>, based on their 3-beat segment placement:<\/i><\/p>\n<p>&nbsp;<\/p>\n<p style=\"padding-left: 40px;\"><i> &#8211; <b>Symmetric Complex Compound <\/b><b>Odd <\/b><b>Meters<\/b> (3-beat segment placed in the middle of a meter)<\/i><\/p>\n<p style=\"padding-left: 80px;\"><i> example: 15\/8 (2+2+2+3+2+2+2)<\/i><\/p>\n<p style=\"padding-left: 40px;\"><i> &#8211; <b>Asymmetric Complex Compound <\/b><b>Odd <\/b><b>Meters<\/b> (3-beat segment placed anywhere, except in the middle)<\/i><\/p>\n<p style=\"padding-left: 80px;\"><i> example: 15\/8 (3+2+2+2+2+2+2) which is the same as (3+4+4+4)<\/i><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><i>(Next: \u201c<a href=\"https:\/\/koshanin.com\/blog\/2018\/08\/22\/odd-meters-and-time-signatures-in-music-part-3\/\" rel=\"noopener\">Part 3: Identifying Odd Meters<\/a>\u201d)<\/i><\/p>\n<p>&nbsp;<\/p>\n<p><em>* * * * * * * * * * * * * * * * * * * * * * * *<br \/>\nIf you enjoyed this essay please show your support and Subscribe to my <a href=\"https:\/\/www.youtube.com\/@koshanin\" target=\"_blank\" rel=\"noopener\">YouTube Channel<\/a>, follow my <a href=\"https:\/\/www.facebook.com\/Koshanin\" target=\"_blank\" rel=\"noopener\">FaceBook Page<\/a> or visit my <a href=\"https:\/\/koshanin.bandcamp.com\/\" target=\"_blank\" rel=\"noopener\">Online Store<\/a> for music downloads, CDs albums, sheet music and more. Thank you!<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><em>Copyright 2018 Koshanin. All rights reserved. Any copying, reproduction, or use, in part or full, without prior consent of the author is prohibited.<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Part 2: Classification of Odd Meters (Previous essay: \u201cPart 1: Introduction to Odd Meters\u201d) &nbsp; &nbsp; Defining the term \u201codd meter\u201d can be somewhat confusing because the word \u201codd\u201d implies multiple meanings. Depending on the context, the word itself refers to a variety of different things and situations including: unusual, irregular, unexpected, eccentric, fantastic, bizarre&hellip; <a class=\"more-link\" href=\"https:\/\/koshanin.com\/blog\/2018\/08\/05\/odd-meters-and-time-signatures-in-music-part-2\/\">Continue reading <span class=\"screen-reader-text\">ODD METERS AND TIME SIGNATURES IN MUSIC &#8211; Part 2<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-20","post","type-post","status-publish","format-standard","hentry","category-music-theory","entry"],"_links":{"self":[{"href":"https:\/\/koshanin.com\/blog\/wp-json\/wp\/v2\/posts\/20","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/koshanin.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/koshanin.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/koshanin.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/koshanin.com\/blog\/wp-json\/wp\/v2\/comments?post=20"}],"version-history":[{"count":13,"href":"https:\/\/koshanin.com\/blog\/wp-json\/wp\/v2\/posts\/20\/revisions"}],"predecessor-version":[{"id":277,"href":"https:\/\/koshanin.com\/blog\/wp-json\/wp\/v2\/posts\/20\/revisions\/277"}],"wp:attachment":[{"href":"https:\/\/koshanin.com\/blog\/wp-json\/wp\/v2\/media?parent=20"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/koshanin.com\/blog\/wp-json\/wp\/v2\/categories?post=20"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/koshanin.com\/blog\/wp-json\/wp\/v2\/tags?post=20"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}