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Part 7: Folk Dance Fundamentals and Terminology

28 Rhythm and Meter

1. What is Meter?

Meter is the structured framework of time in music, defined by the recurring patterns of beats or pulses that create a rhythm. It organizes the beats into bars (also known as measures), typically grouping them in sets of two, three, or four beats each (although other groupings are also possible). Each measure has a set number of beats, and these beats are divided into regular intervals, creating a repetitive rhythmic pattern.

A time signature is an indication of the duration of beats paired with the number of those beats per bar. The number of beats is written to the left of the slash mark, and the duration of each of those beats is written to the right of the slash. Let’s take for example the fairly common time signature of 2/4. The “2” here means that there are two beats per bar and the “4” means that each of these beats are quarter notes. So, each bar in 2/4 has two quarter notes. Figure 28.1 shows some of the possible durations for notes, but from the dancer’s perspective, there are really only three different durations that are relevant: quarter notes, eighth notes, and sixteenth notes. An eighth note is half as long as a quarter note, and a sixteenth note is half as long again.

As dancers we have to distinguish between the time signature and the number of dancers beats. Take for example the fairly common meter found in the dances of the Balkans: 7/8. Musically, what this means that in each bar there are seven equally long eighth notes. However, for the dancer these beats are treated in groups. Each group bearing a pulse or emphasis. One version of 7/8 is the Lesnoto rhythm. This consists of one longer group of three eighth notes, followed by two shorter groups of two eighth notes each: (123)(45)(67). For the musician, there are seven equal pulses, but for the dancer there are only three beats: the long group and the two short ones. It’s common practice in dance notation to call the long groups “slow” (abbreviated as S) and the shorter groups “quick” (abbreviated as Q). So, the Lesnoto 7/8 is often notated as SQQ (slow-quick-quick). The exact way that the equal musical beats are combined into the dancers beats has to do with musical emphasis. There is an emphasis on the musician’s counts 1, 4 and 6 (123.45.67) marking the beginning of each of the dancer’s beats. Other possible combinations for 7/8 also exist. For example, it could be shifted so that there are two short dancers beats followed by the longer dancer’s beat (i.e.,  12.34.567, or QQS). What this means for you as a dancer is that the exact musical meter is often not critical. What’s important is how that meter maps onto the dancer’s beats. 7/8 doesn’t tell us whether the emphases are SQQ, QQS or even QSQ. Those dancers beats are the important things for performing actions. In the descriptions that follow, I will list not only the musical meter but also the more relevant dancer’s beats.

 

2. Complex vs Non-complex Meters

Non-complex meters are meters where every dancer’s beat in the bar is equal in duration.[1] For example, in 2/4 we have two equally long quarter notes as the dancer’s beats (QQ). The same is true in 3/4; here we have three equally long quarter notes (QQQ). The most common non-complex meters are 2/4, 3/4, 4/4, 6/8, 9/8, etc. We will look at examples of these below in section 3.

Each of those equally long beats can be emphasized or made stronger, but it doesn’t change the fact that the beat is still a quarter note. A typical emphasis in 3/4 makes the first count the downbeat, which is the emphasized beat (1.2.3). We call this meter the waltz rhythm.

The emphasis is what distinguishes 2/4 and 4/4. Two bars of 2/4 and one bar of 4/4 actually have the same number of quarter notes, but they have different emphases. In the two 2/4 sequences there are two equal emphasizes on the first and the third count (12)(12). In the 4/4 meter, the emphasis on the third count is weaker than that on the first count. In other words, there is a primary stress on count 1 and a secondary, weaker stress on count 3 of the 4/4 time (1234).

From the dancer’s perspective, the difference between 2/4 and 4/4 is rarely important, as they involve the same number of basic beats. However, sometimes it is helpful to understand the distinction. When I’m notating or describing a dance, I sometimes ignore the musical distinction between these two time signatures, simply because it’s easier to conceptualize the way the footwork comes together either in two beat sequences or four beat sequences. Again, this is the difference between musical meter and dancer’s beats.

One of the most interesting features of the international folk dance movement is that we do many dances that are in more complicated and complex meters. A complex meter is one where the dancer’s beats are not even or equal in duration. Many folk dance musicians use the Turkish word aksak to refer to these complex asymmetrical meters. We already talked about 7/8 where there are actually three dancer’s beats of unequal length. We saw that the  first beat in the Lesnoto meter was a group of three eighth notes, followed by two groups of two eighth notes each resulting in a slow-quick-quick (SQQ) rhythm for the dancer. The slow count is a third longer than the quick counts (123)(45)(67). There are many different complex meters, and the time signature often isn’t a great guide to knowing what the dancer’s beats are. Take for example 9/8 time. It can be broken up a bunch of different ways. In Irish dancing, a 9/8 is called a slip jig. The slip jig is actually non-complex, it has three equal three-count dancer’s beats (123)(456)(789) or SSS. This can be contrasted with the most common instantiation of 9/8 in Bulgarian music called the Dajčovo (Дайчово), where we actually have 4 dancer’s beats, with the last one being longer: (12)(34)(56)(789) or QQQS. A different, but related, version of 9/8 is found in Serbia and is called the Devetorka (Деветорка); this dancer’s rhythm is three groups of two eighth notes, followed by a single eighth note, followed by another group of two eighth notes (12)(34)(56)(7)(89) or SSSQS and yet another Bulgarian 9/8 is the Grânčarsko (Грънчарско), which shifts the long count to the second dancer’s beat  (12)(345)(67)(89) or QSQQ.

If complex meters weren’t complicated enough, it turns out that there are dance rhythms that are even more complicated. These are the mixed meters. Mixed meter dances use combinations of various sequences of bars of different meters. Take, for example, one of the most famous of these, found in the dances Jovino (Йовино) and Jove Male Mome. (Йове малай моме). The meter in these dances consists of alternating bars of 7/8 ((123)(45)(67) or SQQ) and 11/8 ((12)(34)(567)(89)(10,11) or QQSQQ). When these alternating bars come together, we get a total of 18/8 time. That works out for the dancer as SQQQQSQQ. It’s an amazingly fun rhythm to dance to once you master it. There are even more complicated mixed meters some adding up in total to time signatures like 57/16 time! In the next section, we look at many of the different dancer’s rhythms you’ll find.

 

3. Various Meters and Dancer’s Beats

In what follows, I have tried to compile as many different time signatures and dancer’s rhythms as I could, and where possible provide you with a link for a video or musical sample. This list is definitely not complete! Hopefully, however, it will provide you with a reference should you need one. The list is organized by the top number on the time signature, first in non-mixed meters and then by mixed meters. At the very end we talk about folk dances that are in no meter at all and are instead danced rubato.

3.1. Non-mixed meters

3.1.1.     2/4

Probably the simplest metrical type is 2/4. Many dances throughout the world are in this pattern. The 2/4 sequence can be made slightly more complex by breaking up some or all of the quarter notes in to eighth notes (often counted as “one and two and” counts).[2] When that happens the 2/4 rhythm can be split up into asymmetric dancer’s counts like SQQ or QQS, where the Q is an eighth note and the S is a quarter note.

Figure 28.1: Types of different 2/4 time
Type Musician’s beats Dancer’s beats Example
Type 1: (1)(2) SS March
Type 2: (1)(&)(2)(&) QQQQ Polka
Type 3: (1&)(2)(&) SQQ Valle
Type 4: (1)(&)(2&) QQS Salsa

Examples:

 

3.1.2.    3/4

Another very common metrical type found throughout Europe is 3/4. This is the time signature for two important dance styles: the waltz and the mazurka. Both the waltz and the mazurka have three equal dancer’s counts: (1)(2)(3) or SSS. They differ in which beat gets the emphasis. In the waltz, the stress is on the first count: 1 2 3. In the mazurka, the stress is on the second count: 123. But for our purposes they both involve 3 equal dancer’s beats.

As with 2/4, it’s possible to divide each of the three quarter notes into eighth notes or triplets. This device isn’t often used in folk dance unless the waltz is very slow. So, I’m not going to describe it in detail here.

However, there are occasions where the three beats are grouped asymmetrically into a complex rhythm. There are two versions of this: (12)(3) or SQ and (1)(23) or QS. Sometimes the dancer’s beats QS and SQ map more naturally onto a 5/8 or 7/8 time signature, as is common in Bulgarian music. But the 3/4 variants of the SQ and QS are found in a lot of Greek and Scandinavian music.

Figure 28.2: Types of different 3/4 time
Type Musician’s beats Dancer’s beats Example
Type 1: (1)(2)(3) SSS Waltz, Mazurka
Type 2: (12)(3) SQ Kleistos, Tsamikos, Rørospols
Type 3: (1)(23) QS Baïdushkino, Banda vals

 Examples:

 

3.1.3.  4/4 (Common time) and 2/2 (Cut time)

As noted above 2/4, 2/2 and 4/4 are often indistinguishable for dancers; they are really only distinguished by the levels of stress on the first and third beat. You’ll often find the same dance notated as 2/4 by one teacher and as 4/4 by another. So, for dancers, there really isn’t much difference. The same basic divisions found in 2/4 can be found in 4/4 too, except extended to 4 quarter notes instead of 2. There are also some more exotic sequences, found most commonly in Romanian dances.

Figure 28.3: Types of different 4/4 & 2/2 time
Type Musician’s beats Dancer’s beats Example
Type 1: (12)(34) or (1)(2) if 2/2 SS Zumpa Ondo
Type 2: (1)(2)(3)(4) SSSS Gavotte
Type 3: (1)(&)(2)(&)(3)(&)(4)(&) QQQQQQQ Ițele
Type 4: (12)(3)(4) SQQ Rumba
Type 5: (1)(2)(34) QQS Janino
Type 6 (1)(&)(2&)(3)(&)(4&) QQSQQS Reel
Type 7 (1)(&2)(&)(3&)(4&) QSQSS Ca la Brează
Type 8 (1&)(2)(&3)(&)(4&) SQSQS Sarit din Bogdan Voda

Examples:

 

3.1.4.  5/4, 5/8 and 5/16

Rhythms with five minor beats per bar are particularly characteristic of Macedonia and Bulgaria but are also found elsewhere. The most famous dance in 5/4 is the Pajduško (Пајдушко, Пайдушко), which is a “limping” dance with a quick-slow (QS) rhythm. Earlier, in the section on 3/4, we saw the Baiduškino (Μπαϊντούσκινο) from Greece which also had this QS cadence but with the different time signature. There are, of course, many different ways to break up a 5/4 complex meter. Here are a few:

Figure 28.4: Types of different 5/4 and 5/8 time
Type Musician’s beats Dancer’s beats Example
Type 1 (5/4): (1)(2)(3)(45) QQQQS Zagorisios
Type 2 (5/8): (12)(345) QS Pajduško
Type 3 (5/8): (123)(45) SQ Sárközi Karikázo
Type 4 (5/8): (12)(3)(45) SQS Khorumi

Examples

 

3.1.5. 6/4 and 6/8

6/8 is another common rhythm in European music. 6/4 is a variation of this found mainly in Armenian dances. One interesting property of 6/8 is that it is often treated as just two dancer’s beats, each consisting of three eighth notes. This happens in a wide variety of dance forms, from Scottish marches to Irish jigs and Bulgarian pravos. Like all the other time signatures, it can be broken up in a variety of ways. For example, in Anatolia and the Caucasus one common way to split it up is (12)(3)(4)(56) or SQQS. This very distinctive rhythm is a hall mark of music from that region.  Also interesting are the cases where this rhythm is broken up into more than two different durations of dancer beat. We have the slows (S) and quicks (Q) that we’ve already talked about, but we also have counts of an intermediate duration which we will call “mid” (M). In 6/8 we see these M counts in a dance step known as dveli (դվելի – also known as the “Armenian two-step” or the “Armenian shuffle”). The rhythm of this step is (12)(3)(456) or MQS.

A wee note is in order about type 2, which is the meter of the western European style of dance called a jig. Jigs are in 6/8 and consist of two groups of three beats with a musical emphasis on counts 1 and 3. This results in two major groups of beats per par. You can distinguish a jig from a reel (which is in 2/4) by whether you csn say “pineapple pineapple” in each beat of music or not. But if you look at most dance descriptions for footwork for jigs, you’ll see them notated with four evenly spaced dancer’s beats (i.e as 1 & 2 &), just like a reel. This is actually an approximation of how the four dancer’s beats are mapped onto the pineapple-pinapple rhythm. In fact, the dancer’s beats in a jig are not totally equal. Primary dancer’s counts (1, 2) are actually two musical beats long and the off beats (i.e. the “and”, (&), counts between them) that follow them are only one musical pulse long. So they technically have a SQSQ rhythm, where the & counts are shorter than the main beats. But this is typically obscured in most dance descriptions. I think this is because the sequence is typically so fast, that the distinction between the primary beats and the off beats isn’t really noticable except as a slight syncopation in the dancer’s movement.

Figure 28.5: Types of different 6/4 and 6/8 time
Type Musician’s beats Dancer’s beats Example
Type 1: (123)(456) SS Zonaradikos
Type 2: (12)(3)(45)(6) SQSQ (but often notated as 1&2&) Jig
Type 3 (usually 6/4): (12)(3)(4)(56) SQQS (see 10/8 below)
Type 4: (12)(3)(456) MQS Shuffle bar

Examples:

 

3.1.6.     7/8 & 7/16

We have already mentioned the Macedonian dance Lesnoto (Лесното), which is in 7/8 and is counted as (123)(45)(67) or SQQ. This rhythm is also found elsewhere in the Balkans as the Bulgarian Širto (Ширто) and the Greek Kalamatianos (Καλαματιανός). When played as 7/16 the SQQ pattern is known as Četvorno (Четворно) in Bulgaria. The opposite grouping of QQS (12)(34)(567) is also found in dances in the Balkans. In Bulgaria it’s known as a Râčenica (Ръченица); in Macedonia, it’s Cigančica (Циганчица); and in Romania, it’s called Geamparalele. Another dancer’s pattern in 7/8 is a QS rhythm found in the Greek dance Palia Baiduška (Παλια Μπαϊντούσka). We have also seen the QS cadence described above in 3/4 and 5/4. Another dancer’s pattern is the SSQS breakdown found in the Bulgarian Eleno Mome (Елено моме) and the Romanian Cerchezeasca. This is parsed out as (12)(34)(5)(67). Finally, we have one version of the Bulgarian Petrunino (Петрунино), which is (12)(3)(4)(5)(67) or SQQQS.[3]

Figure 28.6: Types of different 7/8 and 7/16 time
Type Musician’s beats Dancer’s beats Example
Type 1: (123)(45)(67) SQQ Lesnoto, Širto, Četvorno
Type 2: (12)(34)(567) QQS Cigančica, Râčenica
Type 3: (12)(34)(5)(67) SSQS Eleno Mome, Cerchezeasca
Type 4: (123)(4567) QS Palia Baiduska
Type 5: (12)(3)(4)(5)(67) SQQQS Petrunino

Examples:

 

3.1.7.    8/8

While you might think that 8/8 is just a variation on 4/4, this time signature is needed to explain certain complex/asymmetric patterns. One such pattern is (123)(12)(123), or SQS.[4] This is found in the Macedonian dance Teškoto (Тешкото), the Bulgarian dance Žensko Svatbarsko Horo (Женско Сватбарско Хоро) and the Romanian dance Învârtită.[5] A different arrangement of 8 is found in the Bulgarian dance Ljaskovsko (Љасковско), where the rhythm is MSQM or (12)(345)(6)(78).

Figure 28.7: Types of different 8/8  time
Type Musician’s beats Dancer’s beats Example
Type 1: (123)(45)(678) SQS Tešktoto, Žensko Svatbarsko, Învârtită
Type 2: (12)(345)(6)(78) MSQM Ljaskovsko

Examples:

 

3.1.8.     9/4, 9/8 and 9/16

9/8 rhythms are found throughout Europe. In Ireland, they take the form of slip jigs which are counted in three even dancer’s beats of three eighth notes: (123)(456)(789), or SSS. A different kind of 9/8 probably originated in Armenia as the Tamzara (Թամզարա), but is now found throughout the territories formerly occupied by the Ottoman Empire. In Bulgaria, it is is found in Kjuček (Кючек) and the Dajčovo (Дайчово). and in Greece and Turkey it’s found  in Karsilamas (Καρσιλαμας) and Karşılama respectively. This rhythm consists of three shorter pulses of two eighth notes each and then one longer note of three eighth notes: (12)(34)(56)(789), or QQQS. A close variant of this, splits off count 7 changing the emphases to SSSQS or (12)(34)(56)(7)(89). This is found in the dances of Serbia and Macedonia and is called Devetorka (Деветорка) We also have other dances from Macedonia with a QSQQ (12)(345)(67)(89),  rhythm, such as Devojče Devojče (Девојче Девојче). The Greek improvisational dance called Zeibekikos (Ζεϊμπέκικος), where the dancers channel eagles flying overhead is traditionally done in 9/4 counted as SSSQQQ, (12)(34)(56)(7)(8)(9) in its oldest traditional form. Aptalikos (Απτάλικος), from Greece Asia Minor, is the mirror image of the Zeibekikos with QQQSSS.

Figure 28.8: Types of different 9/4, 9/8 and 9/16 time
Type Musician’s beats Dancer’s beats Example
Type 1: (123)(456)(789) SSS Slip Jig
Type 2: (12)(34)(56)(7)(89) SSSQS Devetorka
Type 3: (12)(34)(56)(789) QQQS Tamzara, Dajčovo
Type 4: (12)(345)(67)(89) QSQQ Devojče Devojče
Type 5: (12)(34)(56)(7)(8)(9) SSSQQQ Zonaradikos
Type 6: (1)(2)(3)(45)(67)(89) QQQSSS Aptalikos

Examples

 

3.1.9. 10/8 & 10/16

10/8 and 10/16 are very common rhythms in the dances of Armenia, Turkey and the Kurdish people. The Jurjena version of the rhythm: (1,2,3)(4,5)(6,7)(8,9,10) or SQQS, is particularly characteristic of dances from this region. If you hear this cadence, you’re almost certainly dealing with a dance from Anatolia or the Caucasus. We already saw above that the same SQQS pattern of beats can be in 6/8 as (12)(3)(4)(56). There is no difference for the dancer between the 10/8 and 6/8 versions of this beat. Other divisions of 10/8 are also found. For example, the rhythm can consist of two equal pulses of five eighth or sixteenth notes each: (1,2,3,4,5)(6,7,8,9,10). A different combination can be used for the Armenian Shuffle/Two-step (Dveli), which consists of a M count of three eighth or sixteenth notes, followed by a Q count of two followed by a S count of five (123)(12)(12345), MQS.

Figure 28.9: Types of different 10/8 and 10/16 time
Type Musician’s beats Dancer’s beats Example
Type 1: (1,2,3)(4,5)(6,7)(8,9,10) SQQS Jurjena
Type 2: (1,2,3,4,5)(6,7,8,9,10) SS Hooshig Mooshig
Type 3: (1,2,3)(4,5)(6,7,8,9,10) MQS Dveli Step, Mom Bar

Examples:

 

3.1.10. 11/8 & 11/16

The Gankino (Ганкино) or Kopanica (Копаница) rhythm is very characteristic of Bulgarian dances. It consists of two dancer’s beats of two eighth notes, one of three, and then two more of just two or QQSQQ. In Macedonia, you find the Gankino meter, but you also find a SQQQQ version, in for example the dance Dafino Vino (Дафино вино). Other rhythms in 11 include SSSSQS in Neda Voda Nalivala (Неда вода наливала), which is a dance of the Pomak people of Bulgaria and SQS in the faster part of Boimitsa (Μπόϊμτσα) from Greek Macedonia.

Figure 28.10: Types of different 11/8 and 11/16 time
Type Musician’s beats Dancer’s beats Example
Type 1: (1,2)(3,4)(5,6,7)(8,9)(10,11) QQSQQ Kopanica, Gankino
Type 2: (1,2,3)(4,5)(6,7)(8,9)(10,11) SQQQQ Dafino Vino
Type 3: (1,2)(3,4)(5,6)(7,8)(9)(10,11) SSSSQS Neda Voda Nalivala
Type 4: (1,2,3,4)(5,6,7)(8,9,10,11) SQS Boimitsa (fast part)

Examples:

 

3.1.11.    12/8 & 12/16

There is a kind of Irish jig called a slide that is typically notated in 12/8 that has 4 groups of three eighth notes each. But dances in 12/8 are particularly prevalent in the Balkans, particularly in Macedonia. Throughout Macedonia there is a family of dances that go by a variety of names including Pušteno (Пуштено), Beranče (Беранче), and Levendikos (λεβεντικος). In these dances there is always a longer pulse followed by two shorter ones, followed by a longer one and then a shorter one. The most common variant of this is a 12/8 counted as SQQSQ or (123)(45)(67)(8,9,10)(11,12). This SQQSQ rhythm can be realized in other meters too (13/8, 15/8, with slightly different realizations of the various counts), but the 12/8 variation is the most common. Other 12/8s from the region include Dolgoto (Долгото) with a QQSQS pattern and its mirror image in Drenica (Дреница), which is SQSQQ. A little further afield in Romania, we find the dance Păhărelul which is SSQSQQQS.

Figure 28.11: Types of different 12/8 and 12/16 time
Type Musician’s beats Dancer’s beats Example
Type 1: (1,2,3)(4,5,6)(7,8,9)(10,11,12) SSSS Slide
Type 2: (1,2,3)(4,5)(6,7)(8,9,10)(11,12) SQQSQ Pušteno, Beranče, Levendikos
Type 3: (1,2)(3,4)(5,6,7)(8,9)(10,11,12) QQSQS Dolgoto
Type 4: (1,2)(3,4)(5)(6,7)(8)(9)(10)(11,12) SSQSQQQS Păhărelul
Type 5: (1,2,3)(4,5)(6,7,8)(9,10)(11,12) SQSQQ Drenica

Examples

 

3.1.12.    13/8 and 13/16

Unsurprisingly, Bulgaria and Macedonia are home to dances in 13. Postupano (Поступано) (QQQSQQ) and Žensko Krsteno (Женско Крстено – SQQQQQ) are from Macedonia and Krivo Sadovsko (Криво Садовско – QQQSQQ) and Bičak (Бичак – SQSQS[6]) are from Bulgaria.

Figure 28.12: Types of different 13/8 and 13/16 time
Type Musician’s beats Dancer’s beats Example
Type 1: (1,2,3)(4,5)(6,7)(8,9)(10,11)(12,13) SQQQQQ Žensko Krsteno
Type 2: (1,2)(3,4)(5,6)(7,8,9)(10,11)(12,13) QQQSQQ Postupano, Krivo Sadovsko
Type 3: (1,2,3)(4,5)(6,7,8)(9,10)(11,12,13) SQSQS Bičak

Examples

 

3.1.13.    15/16

The most characteristic dance in 15/16 time is Bučimiš (Бучимиш) from Bulgaria, which is 4 Qs, a S count, followed by two more Qs. 15 is also an alternative for the Beranče/Pušteno/Levendikos family discussed above in the section on 12/15. For this dance we get as SQQSM rhythm.

Figure 28.13: Types of different 15/16 time
Type Musician’s beats Dancer’s beats Example
Type 1: (1,2)(3,4)(5,6)(7,8)(9,10,11)(12,13)(14,15) QQQQSQQ Bučimiš
Type 2: (1,2,3,4)(5,6)(7,8)(9,10,11,12)(13,14,15) SQQSM Pušteno

Example:

https://www.youtube.com/watch?v=lX55IV3RNjg  (Bučimiš)

 

3.1.14.    16/16

16/16 is another alternative for Pušteno etc. In this case it’s counted as SQMSM or (1,2,3,4)(5,6)(7,8,9)(10,11,12,13)(14,15,16).

 

3.2. Mixed Meters

As discussed above in section 2, mixed meters are patterns of music and dance where you have a combination of bars in different meters. These are found mainly in the Balkans, but you also find instances in Armenia and Germany.

3.2.1.     Balkan and Armenian Mixed Meters

What follows are some of the many mixed meters of the Balkans and Armenia.

 

Figure 28.14: Mixed Meters
Example Mixed Meter Dancer’s beats
Elerinka 11/8 + 7/8 QQSQSS+SQQ
Jove Male Mome 7/8 + 11/8 SQQ+QQSQQ
Sandansko 9/8+13/8 QQQS+QQQSSQQ
Sedi Donka 7/16+11/16+7/16 SQQ+SQQQQ+SQQ
Šokec 5/8+5/8+5/8+5/8+7/8+7/8+7/8+7/8 QQQS+QQQS+QQQS+QQQS+QQQQQS+QQQQQS+QQQQQS+QQQQQS
Radi Le 13/8+9/8 QQQSQQ+QSQQ
Rodopsko Čukano 9/8+9/8+9/8+9/8+5/8+5/8+9/8+5/8+5/8+9/8 QQQS+QQQS+QQQS+QQQS+QS+QS+QQQS+QS+QS+QQQS

Examples:

 

The following mixed-metered dances have different mixed meters for different parts of the dance:

Figure 28.15: Mixed Meters in different parts of the dance
Example Part Mixed Meter Dancer’s beats
Martoonoo Kochari Part 1 8/8+6/8+6/8 MQMS+MQS+QMQM
Part 2 9/8+7/8 QQMMQM+SQM
Part 3 8/8+6/8+8/8 MQMS+MQQM+QMMQM
Dvašti Tristi Singing 9/8+9/8+5/8+5/8+9/8 QQQS+QQQS+QS+QS+QQQS
Instrumental 5/8+5/8+9/8 QS+QS+QQQS
Mari Mome Singing and second instrumental 9/16+9/16+5/16+5/16+9/16 QQQS+QQQS+QS+QS+QQQS
First instrumental 9/16+9/16+5/16+5/16+9/8+5/8+5/8+9/8 QQQS+QQQS+QS+QS+QQQS+QS+QS+QQQS
Tinka Instrumental 11/8 QQSQQ
Singing 7/16+6/16+7/16+7/16+7/16+7/16+7/16+7/16 QQS+QQQ+QQS+QQS+QQS+QQS+QQS+QQS
Krivo Ihtimansko Singing 13/16+13/16+13/16+8/16+8/16 QSSQS+QSSQS+QSSQS+QSS+QSS
Instrumental 1 8/16+9/16+8/16+8/16 QSS+QSQQ+QSS+QSS
Instrumental 2 8/16+5/16+8/16+8/16 QSS+QS+QSS+QSS

Examples

 

3.2.2.     Zwiefacher Mixed Meters

There is a particular style of couple dance done in Bavaria called the Zwiefacher.[7] These dances are done as a combination of waltz steps (in 3/4) and pivot steps (each of which takes a bar of 2/4). The exact patterns of Waltzes and Pivots are determined by the tune. Some of these are simple alternating patterns, such as two waltzes followed by two pivots (Alte Kath), some are incredibly complex patterns that are hard to memorize (see, for example, the pattern in Schelin Ober below).

The Zwiefachers have their own tradition for notating the rhythmic pattern and dance steps. Bars of 2/4 are marked with a P (for “pivot”) and bars of 3/4 are marked with W (for “waltz”). So, the sequence PW would stand for alternating bars of 2/4 and 3/4. When there is more than one bar of a particular time signature in a row, this is indicated with a subscript number after it. So, W2P2would mean two bars of 3/4 followed by 2 bars of 2/4. Even more complex sequences are grouped together with parentheses or square brackets, which themselves can be marked with subscripts. The notation (PW)3W indicates that the sequence is (PW)(PW)(PW)(W) or three repetitions of (PW) followed by an additional W.  Here is a sampling of some Zwiefacher patterns.

Figure 28.16: Zweifachers
Example Pattern
‘s Lauda (P2W2)4P32
44 Hühne und 1 Hahn (P2W2)2W Polka4 P2W3
Alte Kath W2P2
Aoanzigz Hendl PW
Bachmuhlert [(WP2)3W2]2(W4P4W2)2
Bayerischer Bauer (W2P2)2W4P2WP2W2
Boehmischer Wind  (PW)3W
Bohmischer Winde W2P4
Da Hupfate Vuagl W2P4
Deifi Du Dürrer (WP2)7W2
Der Finkler A: (WP2W2)2; B: (WP2)2W4; AABA
Der Wampertgust P4W2
Eichelober (P2W2)4(W4P2W2)2
Eisenkeilnest (P2W2)2(PW)2P2W2
Hans Sachs W2P2
Hopfenschnupfer (P2W2)2PW4(P3W2)2
Habervogl ((W2P4)3 W3)2 ((WP2)3 W2)2
Leit Leit Leit (P2W3)3P2W2
Nagelschmied W12(P2W2)1,2,3,4,3,2,1
Neun Dorfer (W2P3)3W2P2W
Neun Hauser
 (W2P3)3W3
Nudeli
 P2W2
Sauerlocker/Saulocker
 P4W2
Shellen-Neuner
 ((P4W2)2(P12W2)2
Schnieder
 ((P2W)2W)2(P2WP3W2)2
Schelin Ober [WP3WP2WP3WP]2 [PWPW2PW3P3W2] [PWPW2PW3P3WP]  [WP3WP2WP3WP]2 [PWPW2PW3P3WP]2
Schubkarn (W2P2)4P16
Sechs Löffel P6W2
Sechsundreisinger (W2P2)2W2P4(W2P2)2
Seidas Fuata
 (P2W2)4W4P2W2P2W2
Sommermichel
 (P4W2)2W4(P4W2)2(WP2)3W2
Suserl
 ((P2W)3W)2[(P2WP2)3WP2W2]2
Tauberer (W4P4W2)2(W12P4W2)2
Wintergrün W4(P2W2)2
Wirt Vo Stoa (WP2)2W2
Zwei Kapellan (P4W2)4/2(W2P4)4/2[(WP2)3W2]4/2
Zwei Vier Sechs (246) P2W2P4W2P6W2

This is just a small sampling, there are many other Zwiefacher patterns, see the list at https://www.folkdancing.com/Pages/seattle/Zwie-Name.html for more.

Examples

 

3.3. Folk dances without clear rhythm

Rubato is a musical term derived from the Italian word for “robbed.” It refers to a flexible approach to tempo, where the performer intentionally deviates from the strict, metronomic timing of a piece. In rubato, certain notes or phrases may be stretched, sped up, or slowed down. There are a bunch of dances from Kosovo, Albania, Greece and Macedonia that are best described as rubato. While there is sometimes an approximate meter, the dance is almost always accompanied by live music, typically a Tupan drum and a Zurna. The drummer watches the leader of the line very carefully and actually beats the drum based on what the dance leader is doing. The leader can stretch or shorten steps as the spirit takes them, the drummer just beats what they see the leader doing. Some examples of this kind of dance are the Kolloqoj dance cycle from Kosovo and T’s Anthias (Της Ανθίας) from Greek Macedonia and the first part of Boimitsa (Μπόϊμτσα).

Examples

4. Summary

This is by no means a complete compendium of the unique rhythms found in folk dancing. There are many more mixed meters than my short survey in section three would suggest. And there are possible patterns in the non-mixed meters that I have not explored. However, the ones I’ve shown here are a fairly representative sample that will serve most folk dancers. The richness of metrical and musical structure is one of the reasons that many dancers enjoy the hobby and performance of folk dance.

Further Reading

  1. In music theory, non-complex meters come in two types: simple and compound. The distinction isn’t relevant for folk dancers, so I’m going to avoid using that terminology here. In short simple meters are meters with a 2, 3, or 4 on the top (2/4, 3/4, 4/4 etc.) and compound meters have a 6, 9, 12 on top (6/8, 9/8, 12/8, etc.). We’ll just group these two kinds of meters under the label “non-complex” and avoid the terms “simple” and “compound” entirely. ↵
  2. Or even split into triplets (1, &, ah, 2, &, ah) etc. I’m not going go into this level of distinction here. ↵
  3. The same SQQQS rhythm can also be found connected to music in 12/16 and 14/16 time signatures counted as (1,2,3)(4,5)(6,7)(8,9)(10,11,12) and (1,2,3,4)(5,6)(7,8)(9,10)(11,12,13,14), respectively. ↵
  4. We also saw a 5/8 SQS in the Georgian dance Khorumi mentioned above. ↵
  5. Historically, most dance teachers have notated Învârtită in 7/8 with a SQQ rhythm. As far as I can tell this is simply wrong. The distinctive pulse in this dance clearly points to either an 8/16 SQS rhythm or a 9/16 (1234)(56)(789) pattern. ↵
  6. Bičak is sometimes notated as 14/8 (1234)(12)(123)(12)(123). ↵
  7. Sometimes spelled Zweifacher. ↵

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