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4 followed by a measure of 2 4, or the opposite: 2 4 then 3 4. Higher metres which are divisible by 2 or 3 are considered equivalent to groupings of duple or triple metre measures; thus, 6 4, for example, is rarely used because it is considered equivalent to two measures of 3 4. See: hypermetre and additive rhythm and divisive rhythm.
Polyrhythm: Triplets over duplets in all four beats [ 1 ] 2:3 polyrhythm (cross rhythm) as bounce inside oval. Polyrhythm (/ ˈpɒlirɪðəm /) 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 ]
A musical scale is a series of pitches in a distinct order. The concept of "mode" in Western music theory has three successive stages: in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, "mode" incorporates the idea of the diatonic scale, but differs from ...
Tresillo (/ trɛˈsiːjoʊ / tres-EE-yoh; Spanish pronunciation: [tɾeˈsiʎo]) is a rhythmic pattern (shown below) [1][2] used in Latin American music. It is a more basic form of the rhythmic figure known as the habanera. Tresillo is the most fundamental duple-pulse rhythmic cell in Cuban and other Latin American music.
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. This can be contrasted ...
"Here a rigid pattern of (3+2+2/4) bars is laid over a strictly recurring 23-beat tune (the bars being marked by a cello ostinato), so that their changing relationship is governed primarily by the pre-compositional scheme." [17] "The rhythmical current running through the music is what binds together these curious mosaic-like pieces." [18]
Some styles of music rely on frequent regular rhythmic cadences as a unifying feature of that style. [4] The example below shows a characteristic rhythmic cadence (i.e. many of the cadences in this piece share this rhythmic pattern) at the end of the first phrase (in particular the last two notes and the following rest, contrasted with the ...
The bell pattern (also known as a key pattern, [15] [16] guide pattern, [17] phrasing referent, [18] timeline, [19] or asymmetrical timeline [20]) is repeated throughout the entire piece, and is the principal unit of musical time and rhythmic structure by which all other elements are arranged. [21] [22] The period is often a single bar (four ...