Macro and micro beats define meter and provide an ongoing grid through which all rhythm falls into place. Macro beats, the big beats, carry the most weight. Micro beats, the smaller beats, carry relatively less weight, yet more weight than divisions of micros. The appropriate distribution of weight on macro and micro beats can change performance—both in rehearsal and on stage—from mediocre to moving—literally.
Giving greater weight to macro beats is essential for musicality in performance. Triple meter is often violated by a lack of weight appropriation. Asking students to rehearse a song while moving macro and micro beats, with greater weight on macros, will not only make meter come alive, but it will make performance come alive.
A demonstration of the power of weight on macro beats in performance can be had in any rehearsal with any group of singers. A most dramatic demonstration took place during a workshop presentation for the 2005 national ACDA choral convention. 250 choral directors singing the triple meter, “Oh Star,” by Mary Ellen Pinzino, produced a gorgeous sound of trained voices, but without the momentum needed for quality performance. Asking 250 choral directors to move macro and micro beats while singing the song did improve their delivery. It was not, however, until asking for greater weight in movement on the macro beats, while singing the song and moving macro and micro beats, that the performance changed from a beautiful sound to an exciting performance.
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