"Double time" and "Double-time" redirect here. For the jump rope documentary, see Doubletime. For other uses, see Double Time.
Basic time signatures: 4, also known as common time (); 2, also known as cut time or cut-common time (); etc.
In popular music, half-time is a type of meter and tempo that alters the rhythmic feel by essentially doubling the tempo resolution or metric division/level in comparison to common-time. Thus, two measures of 4 4 approximate a single measure of 8 8, while a single measure of 4/4 emulates 2/2. Half-time is not to be confused with alla breve or odd time. Though notes usually get the same value relative to the tempo, the way the beats are divided is altered. While much music typically has a backbeat on quarter note (crotchet) beats two and four, half time would increase the interval between backbeats to double, thus making it hit on beats three and seven, or the third beat of each measure (count out of an 8 beat measure (bar), common practice in half time):
Essentially, a half time 'groove' is one that expands one measure over the course of two. The length of each note is doubled while its frequency is halved.
Rhythm pattern characteristic of much popular music including rock (Play), quarter note (crotchet) or "regular" time: "bass drum on beats 1 and 3 and snare drum on beats 2 and 4 of the measure [bar]...add eighth notes [quavers] on the hi-hat".
Time signatures are defined by how they divide the measure. In "common" time, often considered 4 4, each level is divided in two. In a common-time rock drum pattern each measure (a whole note) is divided in two by the bass drum (half note), each half is divided in two by the snare drum (quarter note, collectively the bass and snare divide the measure into four), and each quarter note is divided in two by a ride pattern (eighth note). "Half"-time refers to halving this division (divide each measure into quarter notes with the ride pattern), while "double"-time refers to doubling this division (divide each measure into sixteenth notes with the ride pattern).
Half-time
Half time: notice the snare moves to beats 3 of measures (bars) one and two (beats 3 & 7) while the hi-hat plays only on the quarter notes (quavers). Note also, for example, that the quarter notes 'sound like' eighth notes in one giant measure.
A classic example is the half-time shuffle, a variation of a shuffle rhythm, which is used extensively in hip-hop and some blues music. Some of the variations of the basic groove are notoriously difficult to play on drum set. It is also a favorite in some pop and rock tunes. Some classic examples are the Purdie Shuffle by Bernard Purdie which appears in "Home At Last" and "Babylon Sisters", both of which are Steely Dan songs.[2] "Fool in the Rain" by Led Zeppelin uses a derivation of the Purdie Shuffle, and Jeff Porcaro of Toto created a hybridization of the Zeppelin and Purdie shuffles called the Rosanna shuffle for the track "Rosanna".[2]
Quarter note shuffle play"Basic half time shuffle" play.
In half time, the feel of notes are chopped in half, but the actual time value remains the same. For example, at the same tempo, 8th notes (quavers) would sound like 16ths (semiquavers). In the case of the half time shuffle, triplets sound like 16th note (semiquaver) triplets, etc. By preserving the tempo, the beat is stretched by a factor of 2.
Double-, common, and half- time offbeats at the same tempo. Playⓘ
Double-, common, and half- time offbeats at equivalent tempos. Playⓘ
In music and dance, double-time is a type of meter and tempo or rhythmic feel by essentially halving the tempo resolution or metric division/level. It is also associated with specific time signatures such as 2 2. Contrast with half time.
In jazz the term means using note values twice as fast as previously but without changing the pace of the chord progressions. It is often used during improvised solos.[5]
"Double time [is] doubling a rhythm pattern within its original bar structure.":[6]
1 2 3 4 1 2 3 4 1 2 3 4
Double-time: notice the snare moves to the "&" beats while the hi-hat begins to subdivide sixteenth notes (semiquavers).Play Note also, for example, that the eighth notes (quavers) 'sound like' quarter notes (crotchets) in two tiny measures (bars).
It may help to picture the way musicians count each metric level in 4/4:
quarter: 1 2 3 4 eighth: 1 & 2 & 3 & 4 & sixteenth: 1 e & a 2 e & a 3 e & a 4 e & a
↑ Mattingly, Rick (2006). All About Drums, p.44. Hal Leonard. ISBN1-4234-0818-7.
↑ Potter, Dee (2001). The Drummer's Guide to Shuffles, p.19. ISBN0-634-01098-0.
↑ Randel, Don Michael (2003). Harvard dictionary of music, fourth edition, p. 253. Cambridge, Massachusetts: The Belknap Press of Harvard University Press. ISBN0-674-01163-5.
↑ Gray, Acia (1998). The Souls of Your Feet: A Tap Dance Guidebook for Rhythm Explorers, p.?. ISBN0-9667445-0-0.
Rhythm generally means a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to several seconds ; to several minutes or hours, or, at the most extreme, even over many years.
A time signature is a convention in Western music notation that specifies how many note values of a particular type are contained in each measure (bar). The time signature indicates the meter of a musical movement.
In musical terminology, tempo, also known as beats per minute, is the speed or pace of a given composition. In classical music, tempo is typically indicated with an instruction at the start of a piece and is usually measured in beats per minute (BPM). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM.
A blast beat is a type of drum beat that originated in hardcore punk and grindcore, and is often associated with certain styles of extreme metal, namely black metal and death metal, and occasionally in metalcore. In Adam MacGregor's definition, "the blast-beat generally comprises a repeated, sixteenth-note figure played at a very fast tempo, and divided uniformly among the bass drum, snare, and ride, crash, or hi-hat cymbal." Blast beats have been described by PopMatters contributor Whitney Strub as, "maniacal percussive explosions, less about rhythm per se than sheer sonic violence".
"The 'original' or traditional blastbeat is a single-stroke roll played between your cymbal and snare, with your kick playing simultaneously with every cymbal hit."
In music, metre or meter refers to regularly recurring patterns and accents such as bars and beats. Unlike rhythm, metric onsets are not necessarily sounded, but are nevertheless implied by the performer and expected by the listener.
Polyrhythm is the simultaneous use of two or more rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic layers may be the basis of an entire piece of music (cross-rhythm), or a momentary section. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm. Concurrently in this context means within the same rhythmic cycle. The underlying pulse, whether explicit or implicit can be considered one of the concurrent rhythms. For example, the son clave is poly-rhythmic because its 3 section suggests a different meter from the pulse of the entire pattern.
In music and music theory, the beat is the basic unit of time, the pulse, of the mensural level. The beat is often defined as the rhythm listeners would tap their toes to when listening to a piece of music, or the numbers a musician counts while performing, though in practice this may be technically incorrect. In popular use, beat can refer to a variety of related concepts, including pulse, tempo, meter, specific rhythms, and groove.
In music, metric modulation is a change in pulse rate (tempo) and/or pulse grouping (subdivision) which is derived from a note value or grouping heard before the change. Examples of metric modulation may include changes in time signature across an unchanging tempo, but the concept applies more specifically to shifts from one time signature/tempo (metre) to another, wherein a note value from the first is made equivalent to a note value in the second, like a pivot or bridge. The term "modulation" invokes the analogous and more familiar term in analyses of tonal harmony, wherein a pitch or pitch interval serves as a bridge between two keys. In both terms, the pivoting value functions differently before and after the change, but sounds the same, and acts as an audible common element between them. Metric modulation was first described by Richard Franko Goldman while reviewing the Cello Sonata of Elliott Carter, who prefers to call it tempo modulation. Another synonymous term is proportional tempi.
A technique in which a rhythmic pattern is superposed on another, heterometrically, and then supersedes it and becomes the basic metre. Usually, such time signatures are mutually prime, e.g., 4 4 and 3 8, and so have no common divisors. Thus the change of the basic metre decisively alters the numerical content of the beat, but the minimal denominator remains constant in duration.
In music, a tuplet is "any rhythm that involves dividing the beat into a different number of equal subdivisions from that usually permitted by the time-signature " This is indicated by a number, or sometimes two indicating the fraction involved. The notes involved are also often grouped with a bracket or a slur.
In Western musical notation, a dotted note is a note with a small dot written after it. In modern practice, the first dot increases the duration of the basic note by half of its original value. This means that a dotted note is equivalent to writing the basic note tied to a note of half the value – for instance, a dotted half note is equivalent to a half note tied to a quarter note. Subsequent dots add progressively halved value, as shown in the example to the right.
Jeffrey Thomas Porcaro was an American drummer, songwriter, and record producer. He is best known for being the co-founder and drummer of the rock band Toto but is one of the most recorded session musicians in history, working on hundreds of albums and thousands of sessions. While already an established studio player in the 1970s, he came to prominence in the United States as the drummer on the Steely Dan album Katy Lied.
A drum beat or drum pattern is a rhythmic pattern, or repeated rhythm establishing the meter and groove through the pulse and subdivision, played on drum kits and other percussion instruments. As such a "beat" consists of multiple drum strokes occurring over multiple musical beats while the term "drum beat" may also refer to a single drum stroke which may occupy more or less time than the current pulse. Many drum beats define or are characteristic of specific music genres.
The country/western two-step, often called the Texas two-step or simply the two-step, is a country/western dance usually danced to country music in common time. "Traditional [Texas] two-step developed, my theory goes, because it is suited to fiddle and guitar music played two-four time with a firm beat [found in country music]. One-two, one-two, slide-shuffle. The two-step is related to the polka, the Texas waltz, and the jitterbug.
The Texas two-step is the same step known to ballroom dancers as the international fox-trot. Except for the one-step, which is just that, most Texas dances are variations of a two-step, also called a half-step, which is simply a step-close-step. The Texas two-step is generally done with two long steps and a step-close-step to two-four time. Speeded up, it's a shuffle or double shuffle, but still a two-step.
"Rosanna" is a song written by David Paich and performed by the American rock band Toto, the opening track and the first single from their 1982 album Toto IV. This song won the Grammy Award for Record of the Year at the 1983 ceremony. "Rosanna" was also nominated for the Song of the Year award. It is regarded for the half-time shuffle which drummer Jeff Porcaro developed for the song. The groove has become an important staple of drum repertoire and is commonly known as the "Rosanna shuffle".
Jazz drumming is the art of playing percussion in jazz styles ranging from 1910s-style Dixieland jazz to 1970s-era jazz fusion and 1980s-era Latin jazz. The techniques and instrumentation of this type of performance have evolved over several periods, influenced by jazz at large and the individual drummers within it. Stylistically, this aspect of performance was shaped by its starting place, New Orleans, as well as numerous other regions of the world, including other parts of the United States, the Caribbean, and Africa.
In music, the term swing has two main uses. Colloquially, it is used to describe the propulsive quality or "feel" of a rhythm, especially when the music prompts a visceral response such as foot-tapping or head-nodding. This sense can also be called "groove".
The Rosanna shuffle is the drum pattern from the Grammy Award winning Toto hit "Rosanna". It is known as a "half-time shuffle" and shows "definite jazz influence". It features ghost notes and is derived from the combination of what Jeff Porcaro, who plays on the song's recording, calls the "Bernard Purdie half time shuffle" and the "John Bonham beat" with the well-known Bo Diddley beat. The pattern is notoriously difficult.
In music, notably in jazz, a ghost note is a musical note with a rhythmic value, but no discernible pitch when played. In musical notation, this is represented by an "X" for a note head instead of an oval, or parentheses around the note head. It should not be confused with the X-shaped notation that raises a note to a double sharp.
In music, a cross-beat or cross-rhythm is a specific form of polyrhythm. The term cross rhythm was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980). It refers to a situation where the rhythmic conflict found in polyrhythms is the basis of an entire musical piece.
Linear drumming is a drum kit playing style in which no drum, cymbal, or other drum component hits simultaneously. Unlike other forms of time keeping and fills, there is no layering of parts. For example, if playing a cymbal, no other drum set voice, such as a snare or bass drum, would be hit at the same time. Various cymbal ostinatos and other stickings can be used, but are not required. Linear drumming does not refer to any specific function of playing; rather, it applies to grooves, rhythms, and embellishments designed to create musical phrases. The drum kit voices can be combined in any order. One common fill application uses the combination of double stroke rudiments and single stroke rudiments between the hands and feet in a succession of sixteenth notes or triplets.
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