Simple and Compound Meters
In music theory, meter refers to the rhythmic structure of a piece of music, or the pattern of strong and weak beats within a measure. Usually, we notice that there are many different ways you hear the pulses of music, or the "beat" of a piece. The largest structure (arguably) is the measure. Try listening to one of Chopin's waltzes. You might hear each measure as one "beat," with one strong downbeat and two weaker beats within that.
All the beats inside the measure are considered the beat, and it's another way to count the pulses in music. The number of beats in a measure depends on the time signature and the type of meter (simple vs. compound).
Simple meters are meters where most of the beats are divided into twos. A good heuristic is that if the bottom number on the time signature is 4, then it will be a simple meter. For simple meters, the top number of the time signature tells you how many beats there are per measure. For example, a time signature of 4/4 indicates that there are four beats per measure, and a quarter note receives one beat. A time signature of 3/4 indicates that there are three beats per measure, and a quarter note receives one beat.
Compound meters, on the other hand, are meters where beats mostly divide into threes. If you've ever played music in 6/8 time, you might notice that there are supposed to be 6 "beats" per measure according to the time signature, but really, it sounds like two big beats per measure, where each beat is divided up into three smaller beats. This is an example of compound meter.
Image via MusicNotes
Other examples are 9/8 time and 12/8 time. If you encounter a time signature where the bottom number is 8, it is probably a compound meter. However, this is again just a heuristic -- not a musical rule. For example, 3/8 time is a simple meter. This is because we need to identify three "layers" of the meter. If we think that 3/8 time is a compound meter, then the measure and beat are the same, which is no good.
In complex meters, the number of beats per measure is the top number of the time signature divided by 3. There are 2 beats in 6/8 time, 3 beats in 9/8 time, and so on. Each of the smaller beats are considered beat divisions. You will feel 6 beat divisions in 6/8 time, for example.
Simple meters can create a sense of stability and predictability, and they are often used in music that is meant to be danced to or that has a strong, driving beat. They are also commonly used in popular music, folk music, and other forms of music that have a strong sense of groove or pulse. Compound meters, on the other hand, can create a more complex, syncopated feel, and they are often used in music that has a more intricate or irregular rhythm.
The meter of a piece of music can have a significant impact on its overall feel and groove. Different meters can create different moods or sensations, and they can also affect how the music is played and how it sounds. In addition to the time signature, the meter of a piece of music can also be influenced by other rhythmic elements such as the tempo, or the speed at which the music is played, and the placement of accents, or emphasis on certain beats.
If you're unsure about the meter when you're hearing a piece, remember that meter is hierarchical: you can listen to the tempo to give you clues about the meter. Faster tempos, for example, probably have a faster meter, and it is likely that you are hearing beat divisions rather than actual beats.
Consider this very famous piece by Debussy. You will hear groups of three notes, which might cause you to think that the tempo is in 3/4. But, first, notice that on a broader level, there are three groups of three notes each that have strong and weaker beats. Next, notice that if you count the tempo of each of the groups of three notes, the tempo would be crazy fast! From this, we surmise that each group of three is just one beat, and the time signature is 9/8.
Rhythm vs. Beat Division
Notice that even if a piece is written in simple meter, there can still be beats that are subdivided into three, five, seven, etc. We saw this in Unit 1.2, where we learned about triplets. As a quick recap, a triplet is a musical notation that indicates that three notes are to be played in the time normally occupied by two notes of the same duration. In other words, each note in a triplet is played with a duration that is two-thirds of its normal value.
Triplets are often indicated by a "3" written above or below the group of notes that are to be played as a triplet. For example, if a group of quarter notes is written as a triplet, each note would be played with a duration of one-and-a-half beats, rather than two beats. Here's what a triplet looks like:
There are also quarter note triplets, which divide the length of two quarter notes into three sections. In the case of quarter note triplets, there will be a bracket above or below the notes to indicate that there should be three notes in the space of two beats.
Triplets can be written in any meter, and they can be used to create complex or syncopated rhythms. They are often used in jazz, blues, and other forms of music that have a more irregular or syncopated beat.
In addition to triplets, there are also other types of note values that can be written as groups of three notes, such as quintuplets (five notes in the time normally occupied by four) and septuplets (seven notes in the time normally occupied by four). These types of groupings are less common than triplets, but they can be used to create even more complex rhythms and time divisions.
The main idea to remember here is that the meter tells you the big picture. If most beats are divided up into twos but there are a few triplets here and there, then you are still in a simple meter. You should usually be able to feel the meter as consistent pulses or beats. There might be a few blips or changes in the meter during the piece, but go with the meter that you are feeling for the majority of the piece, and try not to overthink it!
Examples
Pieces in Simple Meters
Here are a few examples of piano pieces written in simple meters:
- "Twinkle, Twinkle, Little Star" is a children's song written in the time signature of 4/4. The song has a steady, straightforward beat, and it is often used as a teaching tool to help young musicians learn to count and keep a steady pulse.
- "The Entertainer" is a ragtime piano piece written by Scott Joplin in the time signature of 2/4. The piece has a lively, upbeat feel, and it is known for its catchy melody and strong sense of groove.
- "Moon River" is a popular song written by Henry Mancini in the time signature of 3/4. The piece has a slower, more contemplative feel, and it is often played as a solo piano piece.
- "Maple Leaf Rag" is a ragtime piano piece written by Scott Joplin in the time signature of 4/4. The piece has a lively, upbeat feel, and it is known for its catchy melodies and strong sense of groove.
I included some pieces in ragtime to show that simple meters are not always "simple." Ragtime music is a style of piano music that typically has a fast tempo and a strong sense of groove. It is characterized by its use of syncopated rhythms, which place the accent on the off-beats rather than the downbeats. The left hand of the piano typically plays a steady, repetitive bass pattern, while the right hand plays a more syncopated melody.
You probably won't be asked to figure out the time signatures of pieces in ragtime for the AP Music exam, but can you still feel the measures and the beats? Try clapping along.
🦜 Polly wants a progress check! Listen to Haydn's Cello Concerto in D Major. What time signature do you think there is?
Pieces in Compound Meters
Compound meters can create a more complex, syncopated feel, and they are often used in music that has a more intricate or irregular rhythm. Here are a few examples of music written in compound meter:
- "Linus and Lucy" is a jazz piano piece written by Vince Guaraldi in the time signature of 6/8. The piece has a lively, swinging feel, and it is often used as the theme music for the Peanuts television specials.
- Symphony No. 5 in C minor, Op. 67 by Ludwig van Beethoven is a symphony written in the time signature of 3/4. While the time signature of 3/4 is typically associated with simple meters, some theorists argue that it is still a compound meter. Beethoven uses the triplet figure extensively, dividing each beat into three smaller units and creating a more complex, syncopated feel. The first movement of the symphony, in particular, is known for its iconic opening theme, which features a series of triplet figures played by the strings. The use of triplets in the first movement helps to create a sense of tension and forward momentum, and it is an important element of the movement's overall structure and form.
Take a moment to think about the second example. Listen to the piece on YouTube. Do you notice a simple meter or a compound one? Music theory isn't always as clear cut as it seems! You can decide for yourself which type of meter you think is used, and as long as you have a decent argument to support your analysis, you are probably right.
Frequently Asked Questions
What's the difference between simple and compound beat division?
Simple vs. compound beat division just tells you how one beat is subdivided: in simple meter each beat divides into 2 equal parts; in compound meter each beat divides into 3 equal parts (CED RHY-1.B.2). Practical cues: - Notation: time signatures with top numbers 2, 3, or 4 are usually simple (e.g., 2/4, 3/4, 4/4). Top numbers 6, 9, or 12 are compound (e.g., 6/8, 9/8, 12/8) because they group into 2, 3, or 4 dotted-quarter beats respectively. - Beat value: in compound meter the beat is a dotted note (dotted quarter in 6/8), in simple it’s an undotted note (quarter in 4/4). - Accent pattern: simple gives primary accent on the downbeat and weaker secondary accents on subdivisions; compound yields a primary downbeat and a subsidiary accent every three subdivisions (triplet feel). On the AP exam you may be asked to identify beat division and meter in performed or notated music (RHY-1.B). For quick practice, check the Topic 1.6 study guide (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk) and hundreds of practice questions (https://library.fiveable.me/practice/music-theory).
How do I figure out if a song has simple or compound meter when I'm listening to it?
Listen for how each beat is subdivided and where the strong accents fall. If each beat naturally divides into two (count “1 & 2 &” or feel evenly spaced halves) it’s simple meter. If each beat divides into three (count “1 & a 2 & a” or feel a triplet lilt with a dotted-note pulse), it’s compound. A quick checklist: - Tap the main pulse. Try subdividing it: do you get two parts (simple) or three parts (compound)? - Listen for primary vs. secondary accents: compound often groups pulses in threes (strong–weak–weak). - Identify the beat unit: compound meters usually have a dotted-note beat (dotted-quarter = beat in 6/8, 9/8, 12/8). - Common examples: 4/4 = simple quadruple; 6/8 = compound duple (two dotted-quarter beats). On the AP exam you’ll need to describe beat division in performed music (RHY-1.B). Practice this by listening and tapping along—the Fiveable study guide on simple/compound beat division can help (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk). For more aural drills, check the Unit 1 overview (https://library.fiveable.me/music-theory/unit-1) and practice questions (https://library.fiveable.me/practice/music-theory).
I don't understand what "beat division" actually means - can someone explain it simply?
“Beat division” just means how each main beat is split into smaller equal parts. In the AP CED language, meter has three layers: measure, beat, and beat division. If each beat divides into two equal parts (like 4/4 or 2/2), that’s simple meter—subdivision = two (eighths from a quarter, for example). If each beat divides into three equal parts (like 6/8, 9/8, 12/8), that’s compound meter—subdivision = three (dotted-quarter beat → three eighths, or triplet feel). Listen for primary accents on the downbeat and secondary accents where beat groups land; in compound meters you’ll hear a 1–2–3 pulse per beat. On the AP exam you may need to identify simple vs. compound in a recording or score and notate subdivisions (CED RHY-1.B). For a short walkthrough and practice problems, see the Topic 1.6 study guide (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk) and thousands of practice questions (https://library.fiveable.me/practice/music-theory).
What are some good examples of songs that use compound meter?
Compound meter = beats divided into three (dotted-note beat). Good ways to hear it are folk dances, baroque gigues, and 12/8 blues/shuffle feels. Examples you can listen to and analyze: - Irish jigs (traditional tunes such as “The Kesh”): typically 6/8 (compound duple)—two dotted-quarter beats per measure. - Baroque gigue movements (e.g., many of Bach’s gigues): often in 12/8 or 6/8 (compound quadruple or duple). - 12/8 blues/shuffle recordings (classic R&B/jazz/blues): feel three subdivisions per beat, giving that rolling “shuffle” groove. On the AP exam you’ll be asked to describe beat division and meter type (RHY-1.B). Practice identifying the dotted-note beat, primary/secondary accents, and whether measures group 2, 3, or 4 compound beats. For refreshers and examples tied to Topic 1.6, check the Fiveable study guide (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk) and drill with 1000+ practice problems (https://library.fiveable.me/practice/music-theory).
How do I notate compound beat division correctly in my compositions?
Notating compound beat division correctly means two things: pick the right meter signature and show subdivisions that match the beat grouping. For compound meters the beat is a dotted value (beats divide into three). So use 6/8, 9/8, 12/8 where the dotted quarter equals one beat and each beat subdivides into three eighths—don’t write those as triplets. In simple meters (2/4, 3/4, 4/4) the beat divides into two (quarter → two eighths, etc.); use regular eighths or 16ths, and only mark triplets when you intentionally want three equal subdivisions across a simple beat. Beam notes to show beat-grouping (group eighths in threes for compound, in twos for simple), place primary accents on downbeats and secondary accents where appropriate, and keep barlines aligned with measures. This matches the AP CED RHY-1.B expectation to identify and notate beat division and meter type. For quick examples and practice, see the Topic 1.6 study guide (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk), the Unit 1 overview (https://library.fiveable.me/music-theory/unit-1), and lots of practice problems (https://library.fiveable.me/practice/music-theory).
Is 6/8 time signature simple or compound and why does it matter?
6/8 is a compound meter—specifically compound duple. The top number 6 tells you there are six eighth-note subdivisions per measure, but those group into two main beats of three eighths each (dotted quarter = beat). In compound meters the beat divides into three (CED RHY-1.B.2), so you’ll see primary accents on beats 1 and 4 (the downbeats) and secondary accents inside each group of three. Why it matters: identifying simple vs. compound tells you how to feel and notate the beat (dotted-note beat values and triplet vs. non-triplet subdivisions), how to segment melodies for dictation/sight-singing, and how accents fall in harmonic/rhythmic analysis on the AP exam (RHY-1.B). For a quick review, see the Topic 1.6 study guide on Fiveable (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk). For extra practice, try the unit problems (https://library.fiveable.me/practice/music-theory).
What's the easiest way to count compound beats when I'm performing?
Think of compound meter as groups of three subdivisions where the beat is a dotted note. The easiest performing trick: feel and tap the dotted beat, not the individual eighths. Subdivide by saying a three-count for each beat—“1-&-a, 2-&-a” (compound duple/quadruple) or “1-&-a” for each dotted beat—where the number is the downbeat, “&” the middle, “a” the end. Tap the dotted-quarter (or dotted-half in slow meters) once per beat, sing/count the three subdivisions quietly. That keeps primary accents on downbeats and secondary accents on the middle of each group, which matches RHY-1.B (beat division, compound meter) on the AP CED. Practice this on rhythms and scores until it’s automatic (see the Topic 1.6 study guide for examples: https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk). For more drills, try the practice set at https://library.fiveable.me/practice/music-theory.
I'm confused about the three pulse speeds - beat, beat division, and measure - how do they work together?
Think of meter as three stacked speeds that lock together: - Measure (the slowest) = the cycle that repeats (Bar line to bar line). The downbeat is its primary accent. - Beat (middle speed) = the pulse you tap your foot to inside the measure (e.g., quarter note in 4/4, dotted quarter in 6/8). Beats get primary and secondary accents that shape the phrase. - Beat division (fastest) = how each beat is subdivided (into 2s or 3s). If each beat divides into two equal parts it’s simple meter (simple duple/triple/quadruple). If each beat divides into three, it’s compound (compound duple/triple/quadruple)—you’ll usually see a dotted note as the beat (dotted quarter = beat in 6/8) or triplet subdivisions in simple meter. On the AP exam you’ll be asked to identify meter type and beat division in performed and notated music (RHY-1.B). For extra practice and a clear visual guide, check the Topic 1.6 study guide (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk) and try problems at (https://library.fiveable.me/practice/music-theory).
How can I tell if a piece uses simple or compound meter just by looking at the sheet music?
Look at the time signature and how beats are grouped. If each beat divides into two equal parts, it’s simple (beats = quarter note in 2/4, 3/4, 4/4); if each beat divides into three equal parts, it’s compound (common meters: 6/8, 9/8, 12/8, where the beat = dotted quarter). Quick checks: - Top number = 6, 9, or 12 usually means compound (beat = dotted quarter made of three eighths). - Look for dotted-note beat values (dotted quarter beats) or visible groups of three eighths/beams showing triple subdivision. - If you see triplet markings in a simple meter, that’s a subdivision, not compound meter. Also watch accent patterns: compound meters show primary downbeat every dotted-quarter and secondary accents within each group of three. This is exactly what RHY-1.B asks you to identify on the exam. For a short refresher, see the topic study guide (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk) and try problems at (https://library.fiveable.me/practice/music-theory).
What instruments or techniques work best for showing beat division in my performance portfolio?
Pick sounds that make the subdivision obvious. Percussion (snare, cajón, tambour, clave) and piano are the clearest: piano shows notation-level dotted values and triplets; percussion makes 2-vs-3 groupings physically obvious. For simple meter demonstrate even subdivisions (1 & 2 &) with two-note subdivisions (eighths) and clear primary accents on downbeats; for compound show dotted-quarter beats subdivided into three (triplet eighths) with the pulse on the dotted value and secondary accents on subdivisions. Layered parts help: a steady bass/drum on the beat + a higher voice playing subdivisions highlights beat, division, and measure (RHY-1.B.1-2). Record short excerpts in both simple duple/quadruple and compound duple/triple (show dotted values and triplet notation). For AP prep, include a piano or percussion recording since Section I.A and melodic dictation use a piano stimulus. More tips and examples are in the Topic 1.6 study guide (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk) and unit resources (https://library.fiveable.me/music-theory/unit-1). Practice problems: (https://library.fiveable.me/practice/music-theory).
Why does compound meter feel different from simple meter when I'm playing?
Compound meter feels different because the beat is grouped and subdivided differently. In simple meter each beat divides into two equal parts (simple duple/triple/quadruple), so accents line up on the downbeat and weaker beats in a predictable binary way. In compound meter the beat is a dotted value and divides into three equal parts (compound duple/triple/quadruple), so your primary accent is on the dotted-beat and secondary accents fall every third subdivision. That 3-part subdivision (triplet feel or dotted-quarter beat) creates a rolling, lilted pulse that makes phrases and syncopations land differently than in simple meter. On the AP exam you’ll need to identify beat, subdivision, and primary/secondary accents in performed and notated music (RHY-1.B, RHY-1.B.2). Practicing tapping the dotted-quarter beat in compound meters helps—see the Topic 1.6 study guide (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk) and drill more practice questions at (https://library.fiveable.me/practice/music-theory).
How do I compose a piece that clearly demonstrates compound beat division for my AP submission?
Pick a compound meter and make the beat explicitly a dotted-quarter pulse. Common choices: 6/8 (compound duple), 9/8 (compound triple), or 12/8 (compound quadruple). Notation tips: write the barlines and use dotted-quarter as the beat unit; show subdivisions as three eighths (or triplets if using a simple meter). Accent the primary downbeat (beat 1) and a weaker secondary beat (e.g., in 6/8, accents on 1 and 4) so listeners/readers feel the 3-way subdivision. Use accompaniment patterns that group notes in threes (arpeggiated eighths or a repeated 3-note ostinato) and sync melodic phrases to those dotted-quarter beats. Label the meter on your score and, in your submission write a short note describing “compound meter: beat = dotted quarter; beat division = three eighths” (this addresses RHY-1.B). For AP practice and examples, see the Topic 1.6 study guide (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk) and try problems at (https://library.fiveable.me/practice/music-theory).
What's the connection between time signatures and simple vs compound meters?
Think of the time signature as two clues: how beats are grouped in a measure (top number) and what note gets the beat (bottom number). For simple meters the beat divides into two—so common simple signatures have top numbers 2, 3, or 4 (simple duple, triple, quadruple) with beats like quarter notes that split into two eighths. Compound meters group beats so each beat is a dotted value that divides into three—look for top numbers divisible by 3 (6, 9, 12). In 6/8 the measure is compound duple: two dotted-quarter beats, each subdividing into three eighths. That subdivision determines primary (downbeat) and secondary accents—important for listening and notation tasks on the AP (RHY-1.B.1–2). You should be able to identify beat division in both performed and notated music on the exam. For a quick refresher, check the Topic 1.6 study guide (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk), the Unit 1 overview (https://library.fiveable.me/music-theory/unit-1), and practice lots of examples at (https://library.fiveable.me/practice/music-theory).
I keep getting confused between duple and compound - are they the same thing?
They’re related but not the same. “Duple/Triple/Quadruple” describes how beats are grouped per measure (beat grouping—2, 3, or 4 main beats). “Simple vs. compound” describes how each beat is divided: - Simple meter = each beat divides into two (e.g., 2/4 = simple duple; 3/4 = simple triple). - Compound meter = each beat divides into three (beat is a dotted value; e.g., 6/8 is compound duple because there are two dotted-quarter beats, each subdivided into three eighths). So “compound duple” = two beats per measure, each with triple subdivision (6/8); “simple duple” = two beats per measure with duple subdivision (2/4). On the AP exam you’ll be asked to identify beat division and meter type in both performed and notated music (CED RHY-1.B). For a quick refresher and examples, check the Topic 1.6 study guide (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk) and try practice problems (https://library.fiveable.me/practice/music-theory).
How do I analyze and write about beat division in my portfolio reflections?
When you write portfolio reflections on beat division, be specific and use AP terms (RHY-1.B). Say what the beat is, how it’s subdivided, and whether the meter is simple (beat → 2) or compound (beat → 3). Give the beat unit (quarter in 4/4, dotted quarter in 6/8), note the subdivision (eighths, triplets, dotted values), and point out primary vs. secondary accents (downbeat vs. subdivisions). Example sentence: “This passage is in compound duple (6/8): the dotted-quarter is the beat, subdivided into three eighths, producing a strong downbeat every two beats.” For performed music mention what you heard (accent pattern, feel); for notated music point to time signature and note-grouping. Tie it to the CED goal—describe beat division and meter type in performed and notated music (RHY-1.B). For quick review, see the Topic 1.6 study guide (https://library.fiveable.me/music-theory/unit-1/simple-compound-beat-division/study-guide/RvZtc5mmx03830UqARrk). For broader review or extra practice, use the unit page (https://library.fiveable.me/music-theory/unit-1) and practice problems (https://library.fiveable.me/practice/music-theory).