Polyrhythm: over in all four ( ()) Polyrhythm is the simultaneous use of two or more conflicting, that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic conflict may be the basis of an entire piece of music (), or a momentary disruption. Polyrhythms can be distinguished from, which can occur within the context of a single; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm. 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 's. (See also.) It is a particularly common feature of the music of. Writing about the, (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.' 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).
The physical basis of cross-rhythms can be described in terms of of different periodicities. A simple example of a cross-rhythm is 3 evenly spaced notes against 2 (3:2), also known as a. 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.
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The following notated example is from the part of the traditional piece 'Nhema Mussasa'. The mbira is a. 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. Adaptive instruments [ ] Sub-Saharan instruments are constructed in a variety of ways to generate polyrhythmic melodies.
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Some instruments organize the pitches in a uniquely divided alternate array, not in the straight linear to structure that is so common to many western instruments such as the,,. Signature Series, such as the West African, and doussn'gouni, part of the family of instruments, also have this African separated double tonal array structure.
[ ]Another instrument, the from Madagascar is a double sided box zither which also employs this divided tonal structure. The 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.
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. 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/ 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. Although not as common, use of systemic is also found in jazz. In 1959, recorded ', the first jazz standard built upon a typical African 6:4 cross-rhythm (two cycles of 3:2). 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 'Afro Blue' bass line. The cross noteheads indicate the main. 2:3 cross-rhythm [ ] The famous jazz drummer took the opposite approach, superimposing two cross-beats over every measure of a 3 4 jazz waltz (2:3).