Polyrhythm

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2:3 polyrhythm (cross rhythm) as bounce inside oval
Polyrhythm: Triplets over duplets in all four beats (
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Polyrhythm: Triplets over duplets in all four beats ( Loudspeaker.svg Play  )

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. [2] The rhythmic conflict may be the basis of an entire piece of music (cross-rhythm), or a momentary disruption. 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. [3]

Rhythm aspect of music

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.

Part (music) section of a musical composition

A part generally refers to a single strand or melody or harmony of music within a larger ensemble or a polyphonic musical composition. There are several senses in which the word is often used:

Contents

In western art music

In some European art music, polyrhythm periodically contradicts the prevailing meter. For example, in Mozart’s opera Don Giovanni , two orchestras are heard playing together in different metres (3
4
and 2
4
}:

<i>Don Giovanni</i> opera by Wolfgang Amadeus Mozart

Don Giovanni is an opera in two acts with music by Wolfgang Amadeus Mozart and Italian libretto by Lorenzo Da Ponte. It is based on the legends of Don Juan, a fictional libertine and seducer. It was premiered by the Prague Italian opera at the National Theater, now called the Estates Theatre, on 29 October 1787. Da Ponte's libretto was billed as a dramma giocoso, a common designation of its time that denotes a mixing of serious and comic action. Mozart entered the work into his catalogue as an opera buffa. Although sometimes classified as comic, it blends comedy, melodrama and supernatural elements.

Mozart Don Giovanni 2 dances together
Mozart, Don Giovanni Dances from Act 1, Scene 5 Mozart Don Giovanni 2 dances together.png
Mozart, Don Giovanni Dances from Act 1, Scene 5

They are later joined by a third band, playing in 3
8
time.

Polyrhythm is heard near the opening of Beethoven's Symphony No. 3. (See also syncopation.)

Symphony No. 3 (Beethoven) work by Ludwig van Beethoven

The Symphony No. 3 in E major, Op. 55, is a symphony in four movements by Ludwig van Beethoven. One of the composer's most celebrated works, the Eroica symphony is a large-scale composition that marked the beginning of Beethoven's creative middle-period.

In music, syncopation involves a variety of rhythms which are in some way unexpected, making part or all of a tune or piece of music off-beat. More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur". It is the correlation of at least two sets of time intervals.

It is a particularly common feature of the music of Brahms. Writing about the Violin Sonata in G major, Op. 78, Jan Swafford (1997, p. 456) says "In the first movement Brahms plays elaborate games with the phrasing, switching the stresses of the 6
4
meter back and forth between 3+3 and 2+2+2, or superimposing both in violin and piano. These ideas gather at the climax at measure 235, with the layering of phrases making an effect that perhaps during the 19th century only Brahms could have conceived." [4]

The Violin Sonata No. 1 in G major, Op. 78, "Regensonate", for violin and piano was composed by Johannes Brahms during the summers of 1878 and 1879 in Pörtschach am Wörthersee. It was first performed on 8 November 1879 in Bonn, by the husband and wife Robert Heckmann (violin) and Marie Heckmann-Hertig (piano).

Jan Swafford is an American composer and author. He earned his Bachelor of Arts magna cum laude from Harvard College and his M.M.A. and D.M.A. from the Yale School of Music. His teachers included Earl Kim at Harvard, Jacob Druckman at Yale, and Betsy Jolas at Tanglewood. He has written respected musical biographies of Charles Ives, Johannes Brahms, and Ludwig van Beethoven, as well as the introductory Vintage Guide to Classical Music.

Brahms Violin Sonata in G, 1, bars 235ff
Brahms Violin Sonata in G, 1, bars 235ff. Brahms Violin Sonata in G, 1, bars 235ff.png
Brahms Violin Sonata in G, 1, bars 235ff.

In “The Snow is Dancing” from his Children’s Corner suite, Debussy introduces a melody “on a static, repeated B-flat, cast in triplet-division cross rhythms which offset this stratum independently of the sixteenth notes comprising the two dancing-snowflake lines below it.” [5] "In this section great attention to the exactitude of rhythms is demanded by the polyrhythmic superposition of pedals, ostinato, and melody." [6]

Children's Corner, L. 113, is a 6-movement suite for solo piano by Claude Debussy. It was published by Durand in 1908, and was first performed by Harold Bauer in Paris on 18 December that year. In 1911, an orchestration by André Caplet was premiered and subsequently published. A typical performance of the suite lasts roughly 15 minutes.

In music, an ostinato[ostiˈnaːto] is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include both classical compositions such as Ravel's Boléro and the Carol of the Bells, and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from Peter Gunn (1959), The Verve's "Bitter Sweet Symphony" (1997), and April Ivy's "Be Ok" (1997).

Debussy, the Snow is Dancing, Bars 34–38
Debussy, the Snow is Dancing, Bars 34-38 Debussy, the Snow is Dancing, Bars 34-38.png
Debussy, the Snow is Dancing, Bars 34–38

Hemiola

Concerning the use of a two-over-three (2:3) hemiola in Beethoven's String Quartet No. 6, Ernest Walker states, "The vigorously effective Scherzo is in 3
4
time, but with a curiously persistent cross-rhythm that does its best to persuade us that it is really in 6
8
." [7]

In music, hemiola is the ratio 3:2. The equivalent Latin term is sesquialtera. In pitch, hemiola refers to the interval of a perfect fifth. In rhythm, hemiola refers to three beats of equal value in the time normally occupied by two beats.

The String Quartet No. 6 in B major, Op. 18, No. 6, was written between 1798 and 1800 by Ludwig van Beethoven and published in 1801, and dedicated to Joseph Franz von Lobkowitz.

A scherzo, in western classical music, is a short composition – sometimes a movement from a larger work such as a symphony or a sonata. The precise definition has varied over the years, but scherzo often refers to a movement that replaces the minuet as the third movement in a four-movement work, such as a symphony, sonata, or string quartet. The term can also refer to a fast-moving humorous composition that may or may not be part of a larger work.

Beethoven Scherzo from String Quartet Op 18 No 6
Beethoven Scherzo from Op 18 No 6, violin and cello only. Beethoven Scherzo from Op 18 No 6, violin and cello only.png
Beethoven Scherzo from Op 18 No 6, violin and cello only.

Polyrhythm, not polymeter

The illusion of simultaneous 3
4
and 6
8
, suggests polymeter: triple meter combined with compound duple meter.

Polyrhythm

However, the two beat schemes interact within a metric hierarchy (a single meter). The triple beats are primary and the duple beats are secondary; the duple beats are cross-beats within a triple beat scheme.

Polyrhythm

Composite hemiola

The four-note ostinato pattern of Mykola Leontovych's "Carol of the Bells" (the first measure below) is the composite of the two-against-three hemiola (the second measure).

Polyrhythm

Another example of polyrhythm can be found in measures 64 and 65 of the first movement of Mozart's Piano Sonata No. 12. Three evenly-spaced sets of three attack-points span two measures.

Polyrhythm

Cross-rhythm

Cross-rhythm refers to systemic polyrhythm. The New Harvard Dictionary of Music states that cross-rhythm is: "A rhythm in which the regular pattern of accents of the prevailing meter is contradicted by a conflicting pattern and not merely a momentary displacement that leaves the prevailing meter fundamentally unchallenged" (1986: 216). [8] The physical basis of cross-rhythms can be described in terms of interference of different periodicities. [9]

A simple example of a cross-rhythm is 3 evenly spaced notes against 2 (3:2), also known as a hemiola. Two simple and common ways to express this pattern in standard western musical notation would be 3 quarter notes over 2 dotted quarter notes within one bar of 6
8
time, quarter note triplets over 2 quarter notes within one bar of 2
4
time. Other cross-rhythms are 4:3 (with 4 dotted eight notes over 3 quarter notes within a bar of 3
4
time as an example in standard western musical notation), 5:2, 5:3, 5:4, etc.

Representation of 4 beats parallel to 5 beats Polyrhythm 4 ll 5.svg
Representation of 4 beats parallel to 5 beats

There is a parallel between cross rhythms and musical intervals: in an audible frequency range, the 2:3 ratio produces the musical interval of a perfect fifth, the 3:4 ratio produces a perfect fourth, and the 4:5 ratio produces a major third. All these interval ratios are found in the harmonic series. These are called harmonic polyrhythms.

Sub-Saharan African music traditions

Comparing European and Sub-Saharan African meter

In traditional European ("Western") rhythms, the most fundamental parts typically emphasize the primary beats. By contrast, in rhythms of sub-Saharan African origin, the most fundamental parts typically emphasize the secondary beats. This often causes the uninitiated ear to misinterpret the secondary beats as the primary beats, and to hear the true primary beats as cross-beats. In other words, the musical "background" and "foreground" may mistakenly be heard and felt in reverse—Peñalosa (2009: 21). [10]

The generating principle

In non-Saharan African music traditions, cross-rhythm is the generating principle; the meter is in a permanent state of contradiction. Cross-rhythm was first explained as the basis of non-Saharan rhythm in lectures by C.K. Ladzekpo and the writings of David Locke.

From the philosophical perspective of the African musician, cross-beats can symbolize the challenging moments or emotional stress we all encounter. Playing cross-beats while fully grounded in the main beats, prepares one for maintaining a life-purpose while dealing with life's challenges. Many non-Saharan languages do not have a word for rhythm, or even music. From the African viewpoint, the rhythms represent the very fabric of life itself; they are an embodiment of the people, symbolizing interdependence in human relationships—Peñalosa (2009: 21). [11]

At the center of a core of rhythmic traditions within which the composer conveys his ideas is the technique of cross-rhythm. The technique of cross-rhythm is a simultaneous use of contrasting rhythmic patterns within the same scheme of accents or meter... By the very nature of the desired resultant rhythm, the main beat scheme cannot be separated from the secondary beat scheme. It is the interplay of the two elements that produces the cross-rhythmic texture—Ladzekpo (1995). [12]

Eugene Novotney observes: "The 3:2 relationship (and [its] permutations) is the foundation of most typical polyrhythmic textures found in West African musics." [13] 3:2 is the generative or theoretic form of non-Saharan rhythmic principles. Victor Kofi Agawu succinctly states, "[The] resultant [3:2] rhythm holds the key to understanding... there is no independence here, because 2 and 3 belong to a single Gestalt." [14]

Polyrhythm

The two beat schemes interact within the hierarchy of a single meter. The duple beats are primary and the triple beats are secondary. The example below shows the African 3:2 cross-rhythm within its proper metric structure.

Polyrhythm

The music of African xylophones, such as the balafon and gyil, is often based on cross-rhythm. In the following example, a Ghanaian gyil sounds a 3:2-based ostinato melody. The left hand (lower notes) sounds the two main beats, while the right hand (upper notes) sounds the three cross-beats. [15] The cross-beats are written as quarter-notes for visual emphasis.

Polyrhythm

The following notated example is from the kushaura part of the traditional mbira piece "Nhema Mussasa". The mbira is a lamellophone. The left hand plays the ostinato bass line while the right hand plays the upper melody. The composite melody is an embellishment of the 3:2 cross-rhythm. [16]

Adaptive instruments

Sub-Saharan instruments are constructed in a variety of ways to generate polyrhythmic melodies. Some instruments organize the pitches in a uniquely divided alternate array, not in the straight linear bass to treble structure that is so common to many western instruments such as the piano, harp, or marimba.

Hugh Tracey Treble Kalimba TrebleKalimba.jpg
Hugh Tracey Treble Kalimba

Lamellophones including mbira, mbila, mbira huru, mbira njari, mbira nyunga, marimba, karimba, kalimba, likembe, and okeme. This family of instruments are found in several forms indigenous to different regions of Africa and most often have equal tonal ranges for right and left hands. The kalimba is a modern version of these instruments originated by the pioneer ethnomusicologist Hugh Tracey in the early 20th century which has over the years gained worldwide popularity.

Signature Series Gravikord Gravikord.JPG
Signature Series Gravikord

Chordophones, such as the West African kora, and doussn'gouni, part of the harp-lute family of instruments, also have this African separated double tonal array structure. [17] [ clarification needed ]Another instrument, the Marovany from Madagascar is a double sided box zither which also employs this divided tonal structure.

The Gravikord is a new American instrument closely related to both the African kora and the kalimba was created in the latter 20th century to also exploit this adaptive principle in a modern electro-acoustic instrument. [18]

On these instruments, one hand of the musician is not primarily in the bass nor the other primarily in the treble, but both hands can play freely across the entire tonal range of the instrument. Also, the fingers of each hand can play separate independent rhythmic patterns, and these can easily cross over each other from treble to bass and back, either smoothly or with varying amounts of syncopation. This can all be done within the same tight tonal range, without the left and right hand fingers ever physically encountering each other. These simple rhythms will interact musically to produce complex cross rhythms including repeating on beat/off beat pattern shifts that would be very difficult to create by any other means. This characteristically African structure allows often simple playing techniques to combine with each other to produce polyrhythmic music.

Jazz

3:2 cross-rhythm

Polyrhythm is a staple of modern jazz. Although not as common, use of systemic cross-rhythm is also found in jazz. In 1959, Mongo Santamaria recorded "Afro Blue", the first jazz standard built upon a typical African 6:4 cross-rhythm (two cycles of 3:2). [19] The song begins with the bass repeatedly playing 6 cross-beats per each measure of 12
8
(6:4). The following example shows the original ostinato "Afro Blue" bass line. The cross noteheads indicate the main beats.

Polyrhythm

2:3 cross-rhythm

The famous jazz drummer Elvin Jones took the opposite approach, superimposing two cross-beats over every measure of a 3
4
jazz waltz (2:3). This swung 3
4
is perhaps the most common example of overt cross-rhythm in jazz. [20] In 1963 John Coltrane recorded "Afro Blue" with Elvin Jones on drums. [21] [22] Coltrane reversed the metric hierarchy of Santamaria's composition, performing it instead in 3
4
swing (2:3).

Nigerian percussion master Babatunde Olatunji arrived on the American music scene in 1959 with his album Drums of Passion , which was a collection of traditional Nigerian music for percussion and chanting. The album stayed on the charts for two years and had a profound impact on jazz and American popular music.[ citation needed ] Trained in the Yoruba sakara style of drumming, Olatunji would have a major impact on Western popular music.[ citation needed ] He went on to teach, collaborate and record with numerous jazz and rock artists, including Airto Moreira, Carlos Santana and Mickey Hart of the Grateful Dead. Olatunji reached his greatest popularity during the height of the Black Arts Movement of the 1960s and 1970s.

Afro-Cuban music makes extensive use of polyrhythms. Cuban Rumba uses 3-based and 2-based rhythms at the same time, for example, the lead drummer (playing the quinto) might play in 6
8
, while the rest of the ensemble keeps playing 2
2
. Afro-Cuban conguero, or conga player, Mongo Santamaría was another percussionist whose polyrhythmic virtuosity helped transform both jazz and popular music. Santamaria fused Afro-Latin rhythms with R&B and jazz as a bandleader in the 1950s, and was featured in the 1994 album Buena Vista Social Club , which was the inspiration for the like-titled documentary released five years later.

Another form of polyrhythmic music is south Indian classical Carnatic music. A kind of rhythmic solfege called konnakol is used as a tool to construct highly complex polyrhythms and to divide each beat of a pulse into various subdivisions, with the emphasised beat shifting from beat cycle to beat cycle.

Common polyrhythms found in jazz are 3:2, which manifests as the quarter-note triplet; 2:3, usually in the form of dotted-quarter notes against quarter notes; 4:3, played as dotted-eighth notes against quarter notes (this one demands some technical proficiency to perform accurately, and was not at all common in jazz before Tony Williams used it when playing with Miles Davis); and finally 3
4
time against 4
4
, which along with 2:3 was used famously by Elvin Jones and McCoy Tyner playing with John Coltrane.

Frank Zappa, especially towards the end of his career, experimented with complex polyrhythms, such as 11:17, and even nested polyrhythms (see "The Black Page" for an example). The metal bands Meshuggah, Nothingface, Periphery, Threat Signal, Lamb of God, Textures and TesseracT also use polyrhythms in their music.[ citation needed ] Contemporary progressive metal bands such as Mudvayne, Tool, Animals as Leaders, Between the Buried and Me and Dream Theater also incorporate polyrhythms in their music, and polyrhythms have also been increasingly heard in technical metal bands such as Ion Dissonance, The Dillinger Escape Plan, Necrophagist, Candiria, The Contortionist and Textures.[ citation needed ] Much minimalist and totalist music makes extensive use of polyrhythms. Henry Cowell and Conlon Nancarrow created music with yet more complex polytempo and using irrational numbers like π:e. [23]

Peter Magadini's album Polyrhythm, with musicians Peter Magadini, George Duke, David Young, and Don Menza, features different polyrhythmic themes on each of the six songs.

  1. Doin’ Time and a Half: Has the polyrhythmic theme of 6 over 4.
  2. Five For Barbara: Has the polyrhythmic theme of 5 over 4.
  3. The Modulator: The beginning tempo modulates to two times faster and then modulates back to two times slower.
  4. Seventy Fourth Ave: Has the polyrhythmic theme of 7 over 4.
  5. Samba de Rollins: Includes a drum solo based on 3 over 4.
  6. Midnight Bolero: In 3
    4
    , has a continuous interlude of 2 over 3 and then 4 over 3.

King Crimson used polyrhythms extensively in their 1981 album Discipline. [24] Above all Bill Bruford used polyrhythmic drumming throughout his career.

The band Queen used polyrhythm in their 1974 song "The March of the Black Queen" with 8
8
and 12
8
time signatures. [25]

Nine Inch Nails front man Trent Reznor uses polyrhythm frequently. One notable appearance is in the song "La Mer" from the album The Fragile . The piano holds a 3
4
riff while the drums and bass back it with a standard 4
4
signature.[ citation needed ]

Talking Heads' Remain in Light used dense polyrhythms throughout the album, most notably on the song "The Great Curve". [26]

Megadeth frequently tends to use polyrhythm in its drumming, notably from songs such as "Sleepwalker" or the ending of "My Last Words", which are both played in 2:3.[ citation needed ]

Carbon Based Lifeforms have a song named "Polyrytmi", Finnish for "polyrhythm", on their album Interloper. This song indeed does use polyrhythms in its melody. [27] [ citation needed ]

Japanese girl group Perfume made use of the technique in their single, appropriately titled "Polyrhythm", included on their second album Game. The bridge of the song incorporates 5
8
, 6
8
in the vocals, common time (4
4
) and 3
2
in the drums. [28]

The Britney Spears single "Till the World Ends" (released March 2011) uses a 4:3 cross-rhythm in its hook. [29]

The outro of the song "Animals" from the album The 2nd Law by the band Muse uses 5
4
and 4
4
time signatures for the guitar and drums respectively.

The Aaliyah song "Quit Hatin" uses 9
8
against 4
4
in the chorus.

The Japanese idol group 3776 makes use of polyrhythm in a number of their songs, most notably on their 2014 mini-album "Love Letter", which features five songs that all include several rhythmic references to the number 3776. A secret track on the album has the group's leader, Ide Chiyono, explain some of the uses of polyrhythm to the listener.

The National song "Fake Empire" uses a 4 over 3 polyrhythm. [30]

The Cars' song "Touch and Go" has a 5
4
rhythm in the drum and bass and a 4
4
rhythm in the keys and vocals.

Harpist and pop folk musician Joanna Newsom is known for the use of polyrhythms on her albums The Milk-Eyed Mender and Ys . [31]

Examples

The following is an example of a 3 against 2 polyrhythm, given in time unit box system (TUBS) notation; each box represents a fixed unit of time; time progresses from the left of the diagram to the right. It is in bad form to teach a student to play 3:2 polyrhythms as simply quarter note, eighth note, eighth note, quarter note. The proper way is to establish sound bases for both the quarter-notes, and the triplet-quarters, and then to layer them upon each other, forming multiple rhythms. Beats are indicated with an X; rests are indicated with a blank.

3 against 2 polyrhythm
2-beat rhythmX X X X X X X X X X X X 
3-beat rhythmX  X  X  X  X  X  X  X  

A common memory aid to help with the 3 against 2 polyrhythm is that it has the same rhythm as the phrase "not difficult"; the simultaneous beats occur on the word "not"; the second and third of the triple beat land on "dif" and "cult", respectively. The second 2-beat lands on the "fi" in "difficult". Try saying "not difficult" over and over in time with the sound file above. This will emphasize the "3 side" of the 3 against 2 feel. Now try saying the phrase "not a problem", stressing the syllables "not" and "prob-". This will emphasize the "2 side" of the 3 against 2 feel. More phrases with the same rhythm are "cold cup of tea", "four funny frogs", "come, if you please".

Music cross-rhythm, cold cup of tea.PNG

Similar phrases for the 4 against 3 polyrhythm are "pass the golden butter" [1] or "pass the goddamn butter" [32] and "what atrocious weather" (or "what a load of rubbish" in British English); the 4 against 3 polyrhythm is shown below.

4 against 3 polyrhythm
3-beat rhythmX  X  X  X  X  X  X  X  
4-beat rhythmX   X   X   X   X   X   
Music cross-rhythm, what atrocious weather.PNG
Polyrhythm 4
4
with 3
4
simultaneously (cross rhythm) as bounce inside oval

As can be seen from above, the counting for polyrhythms is determined by the lowest common multiple, so if one wishes to count 2 against 3, one needs to count a total of 6 beats, as lcm(2,3) = 6 (123456 and 123456). However this is only useful for very simple polyrhythms, or for getting a feel for more complex ones, as the total number of beats rises quickly. To count 4 against 5, for example, requires a total of 20 beats, and counting thus slows the tempo considerably. However some players, such as classical Indian musicians, can intuitively play high polyrhythms such as 7 against 8.[ citation needed ]

Polyrhythms are quite common in late Romantic Music and 20th century classical music. Works for keyboard often set odd rhythms against one another in separate hands. A good example is in the soloist's cadenza in Grieg's Concerto in A Minor; the left hand plays arpeggios of seven notes to a beat; the right hand plays an ostinato of eight notes per beat while also playing the melody in octaves, which uses whole notes, dotted eighth notes, and triplets. Other instances occur often in Rachmaninoff's Piano Concerto No. 2.[ citation needed ] The piano arpeggios that constitute much of the soloist's material in the first movement often have anywhere from four to eleven notes per beat. In the last movement, the piano's opening run, marked 'quasi glissando', fits 52 notes into the space of one measure, making for a glissando-like effect while keeping the mood of the music. Other instances in this movement include a scale that juxtaposes ten notes in the right hand against four in the left, and one of the main themes in the piano, which imposes an eighth-note melody on a triplet harmony.

List of Basic Polyrhythms

First RhythmSecond RhythmLeast Common Multiple
236
2510
3412
2714
3515
2918
4520
3721
3824
4624
4728
5630
5735
4936
5840
6742
5945
6848
6954
7856
7963
71177
8972

See also

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Jazz drumming art of playing percussion, predominantly the drum set, in jazz styles

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 quality or impression or effect ("feel") of a changing pattern in a propulsive rhythm created by the musical interaction between the performers, especially when the music prompts a visceral response such as foot-tapping or head-nodding, which sense is called "groove". The term is also used more specifically, to refer to a technique that involves alternately lengthening and shortening the pulse-divisions in a rhythm.

Bell pattern

A bell pattern is a rhythmic pattern of striking a hand-held bell or other instrument of the idiophone family, to make it emit a sound at desired intervals. It is often a key pattern, in most cases it is a metal bell, such as an agogô, gankoqui, or cowbell, or a hollowed piece of wood, or wooden claves. In band music, bell patterns are also played on the metal shell of the timbales, and drum kit cymbals.

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 when the rhythmic conflict found in polyrhythms is the basis of an entire musical piece.

Rhythm in Sub-Saharan Africa

Sub-Saharan African music is characterised by a "strong rhythmic interest" that exhibits common characteristics in all regions of this vast territory, so that Arthur Morris Jones (1889–1980) has described the many local approaches as constituting one main system. C. K. Ladzekpo also affirms the profound homogeneity of approach. West African rhythmic techniques carried over the Atlantic were fundamental ingredients in various musical styles of the Americas: samba, forró, maracatu and coco in Brazil, Afro-Cuban music and Afro-American musical genres such as blues, jazz, rhythm & blues, funk, soul, reggae, hip hop, and rock and roll were thereby of immense importance in 20th century popular music [citation needed]. The drum is renowned throughout Africa.

Guajeo

A guajeo is a typical Cuban ostinato melody, most often consisting of arpeggiated chords in syncopated patterns. Some musicians only use the term guajeo for ostinato patterns played specifically by a tres, piano, an instrument of the violin family, or saxophones. Piano guajeos are one of the most recognizable elements of modern-day salsa. Piano guajeos are also known as montunos in North America, or tumbaos in the contemporary Cuban dance music timba.

Tresillo is a rhythmic pattern used in Latin American music. It is a more basic form of the rhythmic figure known as the habanera.

Quinto (drum)

The quinto is the smallest and highest pitched type of conga drum. It is used as the lead drum in Cuban rumba styles such as guaguancó, yambú, columbia and guarapachangueo, and it is also present in congas de comparsa. Quinto phrases are played in both triple-pulse and duple-pulse structures. In columbia, triple pulse is the primary structure and duple pulse is secondary. In yambú and guaguancó duple-pulse is primary and triple-pulse is secondary.

References

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  20. Conor Guilfoyle demonstrates 3
    4
    swing. https://www.youtube.com/watch?v=OEAyWsTLrYY
  21. "Afro Blue", Impressions (John Coltrane) Pablo CD (1963).
  22. John Coltrane performs "Afro Blue" with Elvin Jones on drums. https://www.youtube.com/watch?v=olOYynQ-_Hw
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Further reading

== External links ==http://www.youtube.com/watch?v=X6Mc7N27eos Polyrhythms[how they work] part1 Peter Magadini