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A rhyme scheme is the pattern of rhymes at the end of each line of a poem or song. It is usually referred to by using letters to indicate which lines rhyme; lines designated with the same letter all rhyme with each other. An example of the ABAB rhyming scheme, from "To Anthea, who may Command him Anything", by Robert Herrick:
Rhythm may also refer to visual presentation, as "timed movement through space" [5] and a common language of pattern unites rhythm with geometry. For example, architects often speak of the rhythm of a building, referring to patterns in the spacing of windows, columns, and other elements of the façade.
Isorhythm (from the Greek for "the same rhythm") is a musical technique using a repeating rhythmic pattern, called a talea, in at least one voice part throughout a composition. Taleae are typically applied to one or more melodic patterns of pitches or colores , which may be of the same or a different length from the talea .
Pérotin, "Alleluia nativitas", in the third rhythmic mode. In medieval music, the rhythmic modes were set patterns of long and short durations (or rhythms).The value of each note is not determined by the form of the written note (as is the case with more recent European musical notation), but rather by its position within a group of notes written as a single figure called a ligature, and by ...
Another straightforward 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
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 regular pattern set up by all the notes before them) of J.S. Bach's Brandenburg Concerto No. 3 in G major ...
The African rhythmic structure which generates the standard pattern is a divisive structure and not an additive one … the standard pattern represents a series of attack points that outline the onbeat three-against-two / offbeat three-against-two sequence, not a series of durational values".
However some metres have an overall rhythmic pattern to the line that cannot easily be described using feet. This occurs in Sanskrit poetry; see Vedic metre and Sanskrit metre. It also occurs in some Western metres, such as the hendecasyllable favoured by Catullus and Martial, which can be described as: x x — ∪ ∪ — ∪ — ∪ — —