1009:
149:
999:
256:
27:
275:) of a larger meter. Thus a beat is to a measure as a measure/hyperbeat is to a hypermeasure. Hypermeasures must be larger than a notated bar, perceived as a unit, consist of a pattern of strong and weak beats, and along with adjacent hypermeasures, which must be of the same length, create a sense of
239:
Bar lines began to be introduced into ensemble music in the late 16th century but continued to be used irregularly. Not until the mid-17th century were bar lines used in the modern style with every measure being the same length, and they began to be associated with time signatures.
137:
is a bar line which stretches only between staves of a score, not through each staff; this is a specialized notation used by editors of early music to help orient modern musicians when reading music which was originally written without bar lines.
122:) looks like the music end, but it has two dots, one above the other, indicating that the section of music that is before is to be repeated. The beginning of the repeated passage can be marked by a
141:
Lines extending only partway through the staff are rarely used, sometimes to help orient the reader in very long measures in complex time signatures, or as brief section divisions in
220:(an incomplete bar at the beginning of a piece of music), "bar 1" or "m. 1" is the following bar. Bars contained within first or second endings are numbered consecutively.
74:
Regular bar lines consist of a thin vertical line extending from the top line to the bottom line of the staff, sometimes also extending between staves in the case of a
126:; if this is absent, the repeat is understood to be from the beginning of the piece or movement. This begin-repeat sign, if appearing at the beginning of a
196:
The bar line is much, much more than a mere accent, and I don't believe that it can be simulated by an accent, at least not in my music.
130:, does not act as a bar line because no bar is before it; its only function is to indicate the beginning of the passage to be repeated.
1045:
442:
186:, the first note in the bar (known as the downbeat) is usually stressed slightly in relation to the other notes in the bar.
163:) have placed bar lines at different places in the different parts to indicate different stress patterns from part to part.
1069:
414:
389:
359:
338:
216:
The first metrically complete bar within a piece of music is called "bar 1" or "m. 1". When the piece begins with an
908:
93:
within a piece, or a bar line followed by a thicker bar line, indicating the end of a piece or movement. Note that
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1038:
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943:
807:
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913:
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1002:
873:
310:
259:
Hypermeter: 4 beat measure, 4 measure hypermeasure, and 4 hypermeasure verses. Hyperbeats in red.
1160:
552:
166:
If many consecutive bars contain only rests, they may be replaced by a single bar containing a
984:
848:
547:
243:
Modern editions of early music that was originally notated without bar lines sometimes use a
679:
477:
20:
8:
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467:
410:
385:
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334:
272:
1180:
1116:
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654:
527:
451:
35:
1200:
1145:
817:
812:
697:
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189:
236:
at all but were only section divisions, or in some cases marked off every beat.
1245:
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63:
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75:
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90:
55:
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822:
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532:
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114:
287:(New York: Norton, 1968), and is similar to the less formal notion of a
89:) consists of two single bar lines drawn close together, separating two
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1111:
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59:
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497:
354:. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice–Hall.
217:
167:
153:
384:, p.18-19 and "Glossary", p.329. New York: Oxford University Press.
148:
1094:
1023:
789:
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617:
592:
420:
1150:
764:
747:
722:
707:
692:
649:
492:
229:
170:, as shown. The number above shows the number of bars replaced.
159:
Some composers use dashed or dotted bar lines; others (including
271:
in which, generally, each regular measure is one beat (actually
1250:
1054:
779:
717:
644:
232:
music in the 15th and 16th centuries, didn't reflect a regular
201:
1235:
933:
639:
537:
517:
255:
142:
46:) is a segment of music bounded by vertical lines, known as
487:
350:
Winold, Allen (1975). "Rhythm in
Twentieth-Century Music",
267:, large-scale or high-level measure, or measure-group is a
26:
16:
Segment of time corresponding to a specific number of beats
109:, whether or not it marks the beginning of a new section.
105:. Typically, a double bar is used when followed by a new
371:
Harvard
Dictionary of Music, Second ed. (1972), "Barline"
204:
of beats within and between bars, within and between
78:or a family of instruments in an orchestral score.
58:The length of the bar, measured by the number of
1263:
1039:
436:
228:The earliest bar lines, used in keyboard and
54:), usually indicating one of more recurring
200:Bars and bar lines also indicate grouping:
1046:
1032:
998:
443:
429:
62:it contains, is normally indicated by the
382:Engaging Music: Essays in Music Analysis
254:
147:
25:
1264:
208:, and on higher levels such as meter.
1027:
424:
178:Whether the music contains a regular
69:
1053:
450:
407:Musical Form and Musical Performance
285:Musical Form and Musical Performance
173:
13:
399:
352:Aspects of Twentieth-Century Music
101:(i.e., measure), but to a type of
14:
1288:
211:
1008:
1007:
997:
250:
374:
365:
344:
323:
1:
316:
7:
808:History of music publishing
294:
10:
1293:
223:
18:
1065:
1013:Category:Musical notation
993:
957:
879:Numbered musical notation
831:
798:
678:
670:Scientific pitch notation
561:
458:
279:. The term was coined by
1176:Non-retrogradable rhythm
660:Helmholtz pitch notation
405:Cone, Edward T. (1968).
143:Gregorian chant notation
97:refers not to a type of
1003:List of musical symbols
874:Nashville Number System
380:Stein, Deborah (2005).
553:Transposing instrument
331:Learning to Read Music
329:Nickol, Peter (2008).
260:
198:
156:
31:
1070:Additive and divisive
258:
194:
151:
29:
1196:Prolation and tempus
21:Bar (disambiguation)
19:For other uses, see
899:Percussion notation
192:said of bar lines:
261:
157:
70:Types of bar lines
32:
30:Types of bar lines
1259:
1258:
1171:Metric modulation
1021:
1020:
965:Mensural notation
247:as a compromise.
174:Bars and stresses
124:begin-repeat sign
1284:
1277:Rhythm and meter
1272:Musical notation
1048:
1041:
1034:
1025:
1024:
1011:
1010:
1001:
1000:
864:Graphic notation
528:Rehearsal letter
452:Musical notation
445:
438:
431:
422:
421:
393:
378:
372:
369:
363:
348:
342:
327:
36:musical notation
1292:
1291:
1287:
1286:
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1283:
1282:
1281:
1262:
1261:
1260:
1255:
1146:Harmonic rhythm
1061:
1052:
1022:
1017:
989:
953:
827:
818:Music publisher
813:Music engraving
794:
674:
665:Letter notation
557:
454:
449:
402:
400:Further reading
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396:
379:
375:
370:
366:
349:
345:
328:
324:
319:
297:
253:
226:
214:
190:Igor Stravinsky
176:
120:repeat bar line
83:double bar line
72:
24:
17:
12:
11:
5:
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1279:
1274:
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1254:
1253:
1248:
1246:Time signature
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1238:
1233:
1228:
1223:
1218:
1213:
1208:
1203:
1198:
1193:
1188:
1183:
1181:Notes inégales
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835:
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583:
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567:
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559:
558:
556:
555:
550:
545:
543:Time signature
540:
535:
530:
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520:
515:
510:
505:
500:
495:
490:
485:
480:
475:
470:
464:
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448:
447:
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401:
398:
395:
394:
373:
364:
343:
321:
320:
318:
315:
314:
313:
308:
303:
301:Bar-line shift
296:
293:
281:Edward T. Cone
252:
249:
225:
222:
213:
212:Numbering bars
210:
175:
172:
71:
68:
64:time signature
15:
9:
6:
4:
3:
2:
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1239:
1237:
1234:
1232:
1229:
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1224:
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1219:
1217:
1214:
1212:
1211:Rhythmic mode
1209:
1207:
1204:
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1199:
1197:
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1182:
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1120:
1119:
1118:
1115:
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1103:
1102:
1101:
1098:
1096:
1093:
1091:
1090:Canter rhythm
1088:
1086:
1083:
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1068:
1067:
1064:
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1029:
1026:
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1006:
1004:
996:
995:
992:
986:
985:Transcription
983:
981:
980:Sight-reading
978:
976:
975:Perfect pitch
973:
971:
968:
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962:
960:
956:
950:
947:
945:
942:
940:
937:
935:
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927:
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922:
920:
917:
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909:Ancient Greek
907:
905:
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849:Chord diagram
847:
845:
842:
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839:Braille music
837:
836:
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832:Other systems
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824:
821:
819:
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569:
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563:Musical notes
560:
554:
551:
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548:Transposition
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544:
541:
539:
536:
534:
531:
529:
526:
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516:
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511:
509:
506:
504:
503:Key signature
501:
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416:
415:0-393-09767-6
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391:
390:0-19-517010-5
387:
383:
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361:
360:0-13-049346-5
357:
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339:1-84528-278-7
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139:
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131:
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110:
108:
107:key signature
104:
100:
96:
92:
88:
84:
79:
77:
67:
65:
61:
57:
53:
49:
45:
41:
37:
28:
22:
1128:
1079:
884:Klavarskribo
859:Figured bass
733:Appoggiatura
680:Articulation
482:
478:Abbreviation
406:
381:
376:
367:
351:
346:
330:
325:
306:Tala (music)
284:
265:hypermeasure
264:
262:
251:Hypermeasure
245:mensurstrich
242:
238:
227:
215:
202:rhythmically
199:
195:
188:
184:mixed meters
177:
165:
161:Hugo Distler
158:
152:Fifteen-bar
140:
135:mensurstrich
132:
123:
119:
113:
111:
102:
98:
94:
86:
82:
80:
73:
51:
47:
43:
39:
33:
1226:Syncopation
970:Music stand
844:Chord chart
823:Scorewriter
800:Sheet music
598:Dotted note
533:Repeat sign
508:Ledger line
269:metric unit
115:repeat sign
76:grand staff
60:note values
1266:Categories
1241:Time point
1191:Polyrhythm
1186:Note value
1156:Homorhythm
1122:Note value
1112:Cross-beat
944:Shakuhachi
919:Ekphonetic
904:Simplified
869:Lead sheet
743:Grace note
608:Note value
603:Grace note
571:Accidental
317:References
277:hypermeter
95:double bar
87:double bar
1216:Stop-time
1166:Isorhythm
1141:Half-time
1105:Count off
1075:Anacrusis
939:Swaralipi
929:Kunkunshi
889:Tablature
854:Eye music
738:Glissando
713:Fingering
498:Dal segno
333:, p.105.
273:hyperbeat
218:anacrusis
168:multirest
154:multirest
48:bar lines
1117:Duration
1100:Counting
1095:Colotomy
949:Znamenny
790:Tonguing
775:Staccato
728:Ornament
703:Dynamics
655:Interval
618:Notehead
593:Cue note
295:See also
103:bar line
91:sections
52:barlines
1201:Prosody
1151:Hemiola
958:Related
924:Gamelan
914:Chinese
894:Parsons
765:Portato
748:Mordent
723:Marcato
708:Fermata
698:Damping
693:Caesura
650:Tremolo
581:natural
493:Da capo
230:vihuela
224:History
206:phrases
44:measure
1251:Tuplet
1136:Groove
1055:Rhythm
780:Tenuto
718:Legato
688:Accent
645:Tuplet
413:
388:
358:
337:
289:phrase
56:beats.
1236:Tempo
1221:Swing
1206:Pulse
1130:Gatra
1059:meter
934:Neume
758:Trill
753:Slide
640:Tacet
630:Pitch
586:sharp
538:Tempo
523:Scale
518:Ossia
460:Staff
234:meter
180:meter
128:staff
118:(or,
1231:Tala
1161:Iqa'
1085:Beat
1057:and
770:Slur
635:Rest
623:stem
613:beam
576:flat
513:Mode
488:Clef
411:ISBN
386:ISBN
356:ISBN
335:ISBN
311:Wazn
85:(or
50:(or
42:(or
38:, a
1080:Bar
785:Tie
483:Bar
283:in
182:or
99:bar
40:bar
34:In
1268::
473:15
409:.
291:.
263:A
133:A
112:A
81:A
66:.
1047:e
1040:t
1033:v
468:8
444:e
437:t
430:v
417:.
392:.
362:.
341:.
145:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
