# Who can recognize different time signatures

## The beat

If the meter is weighted at regular intervals so that it becomes heavy and light beats, a measure is created. In one measure, a heavy beat is always followed by a light one. Depending on how many light beats there are between the heavy beats, different time signatures are created. The first beat in the beat is always a heavy blow. To recognize when a measure ends and a new one begins, hyphens are placed between the measures. These are called barlines. So that it is clear which time signature it is, the corresponding number is noted on the far left.

(You can march well in two-bar, so most marches are composed in this time signature.)

If the first of three strokes is difficult, one speaks of a three-stroke.

(This time signature is very lively. Each waltz is a dance in three time.)

The four-bar is so long that it is made up of two two-bar, whereby the first unit is felt to be heavier than the second. This means that the four-time measure has two emphases: one on the first and one on the third beat of each measure. The first center of gravity is heavier than that on the third stroke.

The previous examples assume that the piece of music begins with a heavy beat, like the sentence:

But there are also many pieces of music that start with a light beat, like the word:

Since the heavy beat is also the first that comes directly after the bar line, the light beat before it is the beat that comes directly before the bar line.
The piece of music therefore begins with the light beat before the first bar line. This is called a prelude.

The beat that comes before the first bar line is subtracted from the last bar of the piece of music so that this beat does not occur twice in the event of a repetition. A piece in four-time that has one beat as a prelude can only have three beats in the last bar.