The First Delphic Hymn, by Athenaeus, son of Athenaeus, is in the quintuple Cretic meter throughout. The two Delphic Hymns from the second century BC both provide examples. Rhythm in ancient Greek music was closely tied to poetic meter, and included what are understood today as quintuple patterns. Transcription of the opening of the First Delphic Hymn, by Athenaeus, son of Athenaeusīefore the 20th century, quintuple time was rare in European concert music, but is more commonly found in other cultures. The regular alternation of 5Ĥ in Bruce Hornsby's "The Tango King" (from the album Hot House), for example, results in an overall nonuple meter ( 5+4 = 9). Similarly, the presence of some bars with a 5Ĩ meter signature does not necessarily mean that the music is in quintuple meter overall. Ĩ time signature to be used for an irregular, or additive, metrical pattern, such as groupings of 3+3+3+2+2+2 eighth notes or, for example in the Hymn to the Sun and Hymn to Nemesis by Mesomedes of Crete, 2+2+2+2+2+3+2, which may alternatively be given the composite signature 8+7 In this case, the meter is sometimes characterized as "triple quintuple time". It may, for example, indicate a bar of triple meter in which each beat is subdivided into five parts. A time signature of 15Ĩ, however, does not necessarily mean the music is in a compound quintuple meter.
In simple quintuple meter, the 5 may be replaced as 2+3Ĩ for example.
Compound quintuple meter, with each of its five beats divided into three parts, can similarly be notated using a time signature of 15Ĩ, by writing triplets on each beat of a simple quintuple signature, or by regularly alternating meters such as 6Īnother notational variant involves compound meters, in which two or three numerals take the place of the expected numerator. Simple quintuple meter can be written in 5Ĩ time, but may also be notated by using regularly alternating bars of triple and duple meters, for example 2Ĥ.
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