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Undecuple meter

From Wikipedia, the free encyclopedia
11
4
time signature at 60 BPM

Undecuple meter or undecuple time is a musical meter in which each measure is divided into 11 equally spaced beats, usually notated as either 11
4
or 11
8
. It is usually subdivided into groupings of two or three beats (for example, a grouping of the meter could be 2+2+2+2+3).

The meter remained largely unused until the 19th century, when Nikolai Rimsky-Korsakov used it in his operas The Snow Maiden and Sadko.

Because 11 is a prime number, undecuple meter is considered a complex time signature. It can be found in jazz, pop, and rock music.

In folk music

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Kopanitsa

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Kopanitsa is a form of Bulgarian folk music that utilizes certain forms of undecuple meter (typically 11
8
). The terms are also used to describe the folk dances that are frequently performed alongside the music.Typically, kopanitsa's usage of undecuple meter will divide the measure into groupings of 2+2+3+2+2. This usage is referred to as a pattern of quick-quick-slow-quick-quick.

Gankino horo

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Gankino horo (Bulgarian: Ганкино хоро, lit.'Ganka's dance') is a Bulgarian folk dance written in undecuple meter (either 11
8
or 11
16
) similar to kopanitsa or krivo horo.[citation needed] The name gankino appears to be most used in northern Bulgaria. The basic gankino horo is a three-measure dance using the step structure also common in the dances: dunavsko (danubian pravo), povarnoto (also known as devetorka in North Macedonia) and eleno mome.

The three measures comprise a seven-step grapevine.[clarification needed] The accompanying dance starts with the right foot to the right, and the left foot crosses in front, taking two measures. The third measure is a three-step grapevine to the left, with the left foot stepping left, the right foot crossing in the back, and the left foot stepping left again.

Usage in classical music

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17th century

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A rare example of undecuple meter in the 17th century is found in Claude Le Jeune's "Cygne je suis de candeur", notated in 11
4
.[1] Another example (also in 11
4
) is found in the John Bull piece In Nomine IX in the Fitzwilliam Virginal Book.[2]

19th century

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In his analysis of the rhythms found within the music of Ravel, French philosopher and musicologist Vladimir Jankélévitch notes in a surprised manner that Rimsky-Korsakov uses the 11
4
time signature in the final song of his opera The Snow Maiden, as well as the first song in his opera Sadko.[3] In the former piece—"Hymn to Yarilo"—the composer innovated by composing in a way that contrasted the meter's complex, unbalanced feeling with major chords and a majestic Allegro maestoso tempo.[4]

Excerpt from Rimsky-Korsakov's "Hymn to Yarilo", demonstrating the usage of 11
4

20th century

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Jean Cras's 1927 composition Suite en duo for flute and harp (or flute and piano) ends with an animated dance section in an 11
8
time signature.

Excerpt from Cras's Suite en duo

Characteristics

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Structure

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As a complex time signature, undecuple time is frequently subdivided into smaller groupings of two and three beats. In his book A Funky Thesaurus for the Rock Drummer, Charles Dowd notes that the time signature offers more combinations of groupings than smaller complex time signatures.[5] Undecuple time can be subdivided into nine unique groupings of two and three beats.[5]

Example subdivisions demonstrated in Dowd's work include groupings such as 2+2+2+3+2, 2+2+3+2+2, and 2+3+2+2+2.

Difficulty

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Due to its inherent uneven feeling, undecuple time can be a difficult meter to perform and conduct in. Conductor Nicolas Slonimsky once wrote in his autobiography Perfect Pitch: "I was used to compound measures like the one to 11
4
, in Rimski-Korsakov's opera, Sadko, which was an awkward obstacle for the choirs, and sometimes for the conductor. In fact, the students of the Conservatory had developed a little tune on eleven syllables to practice this section of the score, with very unrespectful lyrics towards the great master of Russian music, Rimsky-Korsakov is completely insane."[6]

List of compositions wholly or partially in undecuple meter

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11
4

11
8

See also

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References

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  1. ^ Verchaly, Andre (July 1953). "Claude Le Jeune, Airs (1608) Edited by D. P. Walker in Four Volumes, Vol. I, Part. I of the Premier Livre". Revue de musicologie. 35 (105/106): 105. doi:10.2307/927962. JSTOR 927962.
  2. ^ "In Nomine à 4, FVB 119 (Bull, John) - IMSLP". imslp.org.
  3. ^ Jankélévitch, Vladimir (1995). Ravel. Paris: Éditions du Seuil. ISBN 978-2-02-023490-0.
  4. ^ Rimski-Korsakov, Nikolaï Andreïvitch; Lischke, André (2008). Chronique de ma vie musicale. Paris: Fayard. ISBN 978-2-213-63546-0.
  5. ^ a b Dowd, Charles (2005-05-03). A Funky Thesaurus for the Rock Drummer: Features Afro-Cuban Rhythms & Odd-Meter Rock Beats for Drum Set. Alfred Music. ISBN 978-1-4574-3457-0.
  6. ^ Slonimsky, Nicolas (1988). Perfect pitch: a life story. Oxford: Oxford University Press. ISBN 0-19-315155-3.
  7. ^ "Ask YES – Friday 26th April 2013 – Chris Squire". Yesworld. 2013-04-29.
  8. ^ "Concertino, K035 (Stravinsky, Igor) - IMSLP". imslp.org.
  9. ^ "Concerto in E-flat major, K060 (Stravinsky, Igor) - IMSLP". imslp.org.
  10. ^ Dave Brubeck Deluxe Piano Album. San Francisco: Derry Music Co. 1965. pp. 22–28.
  11. ^ Poe, Randy; Gibbons, Billy F. (2006). Skydog: the Duane Allman story. San Francisco, CA: Backbeat Books. ISBN 978-0-87930-891-9.
  12. ^ "Devo: Daily Vault". dailyvault.com. Archived from the original on 14 August 2011.
  13. ^ ""St. Stephen/The Eleven," 'Live/Dead' (1969)". Rolling Stone Australia. 2020-08-06.
  14. ^ Primus Anthology: A thru N: For Guitar and Bass. New York: Cherry Lane Music. 2000. pp. 17–20. ISBN 1575601540.
  15. ^ Pedler, Dominic (2003). The songwriting secrets of The Beatles. London New York Paris Berlin: Omnibus Press. ISBN 978-0-7119-8167-6.
  16. ^ "14 Musical Works In The Most Unusual Time Signatures - CMUSE". web.archive.org. 2021-01-16. Archived from the original on 16 January 2021.
  17. ^ Boilen, Bob (22 March 2022). "New mix: Arcade Fire, Valerie June, the Smile, Andrew Bird, more". NPR.
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