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A composite rhythm is the durations and patterns (rhythm) produced by amalgamating all sounding parts of a musical texture. In music of the common practice period, the composite rhythm usually confirms the meter, often in metric or even-note patterns identical to the pulse on a specific metric level.
In music, a tuplet (also irrational rhythm or groupings, artificial division or groupings, abnormal divisions, irregular rhythm, gruppetto, extra-metric groupings, or, rarely, contrametric rhythm) is "any rhythm that involves dividing the beat into a different number of equal subdivisions from that usually permitted by the time-signature (e.g., triplets, duplets, etc.)" [1] This is indicated ...
"The 'fastness' or 'slowness' of harmonic rhythm is not absolute, but relative," [6] [self-published source] and thus analysts compare the overall pace of harmonic rhythm from one piece to another, or the amount of variation of harmonic rhythm within a piece. For example, a key stylistic difference between Baroque music and Classical-period ...
The musical usage and historical origins of the clave are debated. This section presents examples from non-Cuban music, which some musicians hold to be representative of the clave. The most common claims, those of Brazilian and subsets of American popular music, are described below.
In music, syncopation is a variety of rhythms played together to make a piece of music, 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". [1]
In music, the terms additive and divisive are used to distinguish two types of both rhythm and meter: . A divisive (or, alternately, multiplicative) rhythm is a rhythm in which a larger period of time is divided into smaller rhythmic units or, conversely, some integer unit is regularly multiplied into larger, equal units.
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]
Examples of music written in free time include Erik Satie's Gnossienne No. 1, Charles Ives' Concord Sonata, and most of Kaikhosru Shapurji Sorabji's music. [1] Examples of contemporary songs in free time include "Hunting Bears" by Radiohead, the latter half of "21st Century Schizoid Man" by King Crimson. Today, free time music is still a ...