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-as of [21 MAY 2024]–
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*from greek ῥυθμός, rhythmos, “any regular recurring motion / symmetry”*
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-“rhythm” generally means a “movement marked by the regulated succession of ‘strong’ and ‘weak’ elements, or of ‘opposite’ or ‘different’ conditions”-
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(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’ (as with the riff in a rock music song); to several minutes or hours, or, at the most extreme, even over many years)
In the performance arts, rhythm is the timing of events on a human scale; of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language and poetry.
In some performing arts, such as hip hop music, the rhythmic delivery of the lyrics is one of the most important elements of the style.
Rhythm may also refer to visual presentation, as “timed movement through space” (Jirousek 1995) and a common language of pattern unites rhythm with geometry.
In recent years, rhythm and meter have become an important area of research among music scholars.
Recent work in these areas includes books by
Maury Yeston (1976),
Fred Lerdahl and Ray Jackendoff
(Lerdahl and Jackendoff 1983),
Jonathan Kramer,
Christopher Hasty (1997),
Godfried Toussaint (2005),
William Rothstein (1989),
Joel Lester (Lester 1986),
*guerino mazzola*
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(in thinking + destiny, ‘harold w. percival’ defined ‘rhythm’ as the ‘character’ + ‘meaning of thought’ expressed through the ‘measure’ (or ‘movement’) in ‘sound’ (or ‘form’), or by ‘written signs’ (or ‘words’))
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i started out as an amateur “beatboxer”…
(clicking my teeth to imaginary drum tracks as i sat in the classroom)
“straight”
“light / regular / heavy swing”
a jazz convention in which two notated eighths (quavers) are performed approximately as a triplet quarter note plus eighth note (triplet crotchet plus quaver)
triplet swing – swings two eighth notes (quavers) as an exact triplet quarter note plus eighth note (crotchet plus quaver)
Shuffle – a light sixteenth note (semiquaver) swing
Swung sixteenths – same as regular swing but swings sixteenth notes (semiquavers) rather than eighth notes (quavers)
Dotted eighths (quavers) – extreme swing
Notes inègales – triplet quarter note plus eighth note (crotchet plus quaver), similar to Triplet swing, for an effect used in some early music (although the conventions required for authentic notes inègales are more complex)
Light / Viennese waltz – shortens the first beat of the bar (to a lesser and greater degree respectively), for a characteristic waltz feel
Samba – a sixteenth note (semiquaver) feel, stressing the first and fourth beats
Rock / Pop – stresses the first and third beats of a 4/4 bar, lightens the stress on the second and fourth, and lightens further still on off-beats (rock more so than pop)
Reggae – a sixteenth note (semiquaver) pattern with a strong emphasis on the 3rd and 4th sixteenths
Funk – similar to Pop, but makes the second beat of the bar (in 4/4) slightly early.
1:1 = Eighth note / eighth note (straight eighths)
~3:2 = Long eighth note / short eighth note (light swing)
2:1 = Triplet quarter note / triplet eighth note (medium swing)
3:1 = Dotted eighth note / sixteenth note (hard swing)
“Shuffle” is a rhythmic form that more strictly adheres to these ratios…a swing rhythm allows for more variation.
notes inégales – French term for “unequal notes” (notes with equal written time values are performed at unequal variations, usually alternating between long and short)
Waltz – music in triple meter
Slow / Light / English waltz – 90 beats per minute
Viennese waltz – 180 beats per minute
Samba – the rhythmic groove of Brazil
2/4 time (eight 16th notes per measure)
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http://www.geocities.com/sd_au/samba/sambadrums.html
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“The first stroke ends up being accented, not because it needs to be, but because it’s the first and strongest hit of the stick against the skin.
The fourth stroke is the accented one, and this accent is amplified by playing this stroke ahead of time.
During the first initial strokes of the beat, the rhythm seems to slow down (like it was coming to a gradual stop) but the fourth stroke, by playing ahead of time, brings the tempo back up, pushing up the drive.
That’s what give the samba music a constant stop-now-go feel.
It doesn’t matter if the first stroke is dead on-time (in fact during a performance, the first beat seldom plays exactly on time, rather a bit earlier or late), neither it will make significant difference if the three initial strokes are slightly faster or slower (subtle variations in arm velocity and wrist strength don’t matter much).
As long as the first three strokes have that ‘bouncing’ feel, and the fourth stroke is played around the last 16th of the beat (accented, and a little ahead of time), it will sound like samba.”
Cross noteheads indicate notes of uncertain pitch, usually for unpitched percussion.
A cross half note can be written as a normal half note with a cross through it in avant garde notation, or as a diamond in drum set (kit) notation.
Diamond noteheads usually indicate notes that are fingered but not played, such as a string harmonic , or (in avant garde music) piano keys depressed silently.
For guitar harmonics, quarter notes (crotchets) and shorter notes are written with a black filled-in diamond.
Slashes indicate the rhythm of chords improvised to chord symbols in jazz, rock and commercial music.
Two types of slash are provided, one with a stem and one without.
These noteheads don’t play back, and don’t transpose.
They are usually written only on the middle line of the staff.
Headless notes indicate pure rhythms in contemporary music, either because a previous note or chord is being repeated, or because the pitch is indefinite or is improvised.
Headless whole-notes (semibreves) are hard to see.
Stemless notes are useful for arhythmic music such as plainchant.
Silent notes look exactly like normal noteheads, but they don’t play back, which can be useful in certain situations.
Cue-size noteheads are used to mix normal- and cue-sized noteheads within the same chord.
Noteheads with slashes through them are used for things like rim-shots in percussion notation.
The arrow down and arrow up noteheads, which are only suitable for notes with stems pointing up and down respectively, are used to denote unspecified extremely low or high notes.
These noteheads are drawn without ledger lines.
noteheads 16-23 are used for shape note music, also known as “sacred harp” music, formulated in an American song book by B.F. White and E.J. King in 1844.
(the technique is called “fasola” (i.e. fa – so – la, a kind of solmization), whereby differently-shaped noteheads are used for different degrees of the scale)
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the “boss loops machine” comes with an array of built-in “beats”
2/4
3/4
4/4
5/4
6/4
7/4
5/8
6/8
7/8
8/8
9/8
10/8
11/8
12/8
13/8
14/8
15/8
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*👨🔬🕵️♀️🙇♀️*SKETCHES*🙇♂️👩🔬🕵️♂️*
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💕💝💖💓🖤💙🖤💙🖤💙🖤❤️💚💛🧡❣️💞💔💘❣️🧡💛💚❤️🖤💜🖤💙🖤💙🖤💗💖💝💘
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*🌈✨ *TABLE OF CONTENTS* ✨🌷*
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🔥🔥🔥🔥🔥🔥*we won the war* 🔥🔥🔥🔥🔥🔥