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A durational pattern that synchronises with a pulse or pulses on the underlying metric level may be called a rhythmic unit. These may be classified as; metric—even patterns, such as steady eighth notes or pulses —intrametric—confirming patterns, such as dotted eighth - sixteenth note and swing patterns—contrametric—non-confirming, or syncopated patterns and extrametric—irregular patterns, such as tuplets.
A rhythmic gesture is any durational pattern that, in contrast to the rhythmic unit, does not occupy a period of time equivalent to a pulse or pulses on an underlying metric level. It may be described according to its beginning and ending or by the rhythmic units it contains. Beginnings on a strong pulse are thetic, a weak pulse, anacrustic and those beginning after a rest or tied-over note are called initial rest. Endings on a strong pulse are strong, a weak pulse, weak and those that end on a strong or weak upbeat are upbeat Winold , Alternation and repetition[ edit ] Rhythm is marked by the regulated succession of opposite elements, the dynamics of the strong and weak beat, the played beat and the inaudible but implied rest beat , the long and short note.
As well as perceiving rhythm we must be able to anticipate it. This depends on repetition of a pattern that is short enough to memorize. The alternation of the strong and weak beat is fundamental to the ancient language of poetry, dance and music.
The common poetic term "foot" refers, as in dance, to the lifting and tapping of the foot in time.
In a similar way musicians speak of an upbeat and a downbeat and of the "on" and "off" beat. These contrasts naturally facilitate a dual hierarchy of rhythm and depend on repeating patterns of duration, accent and rest forming a "pulse-group" that corresponds to the poetic foot.
Normally such pulse-groups are defined by taking the most accented beat as the first and counting the pulses until the next accent MacPherson , 5; Scholes b. A rhythm that accents another beat and de-emphasises the downbeat as established or assumed from the melody or from a preceding rhythm is called syncopated rhythm.
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Normally, even the most complex of meters may be broken down into a chain of duple and triple pulses MacPherson , 5; Scholes b either by addition or division. According to Pierre Boulez , beat structures beyond four, in western music, are "simply not natural" Slatkin n. Tempo and duration[ edit ] See main articles; Duration music , Tempo The tempo of the piece is the speed or frequency of the tactus, a measure of how quickly the beat flows.
A rhythmic unit is a durational pattern that has a period equivalent to a pulse or several pulses Winold , The duration of any such unit is inversely related to its tempo.
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Musical sound may be analyzed on five different time scales, which Moravscik has arranged in order of increasing duration Moravcsik , These, though rhythmic in nature, are not perceived as separate events but as continuous musical pitch.
Musical tempo is generally specified in the range 40 to beats per minute. This time-frame roughly corresponds to the human heart rate and to the duration of a single step, syllable or rhythmic gesture. Thus the temporal regularity of musical organisation includes the most elementary levels of musical form MacPherson , 3.
Curtis Roads Roads takes a wider view by distinguishing nine-time scales, this time in order of decreasing duration. The first two, the infinite and the supra musical, encompass natural periodicities of months, years, decades, centuries, and greater, while the last three, the sample and subsample, which take account of digital and electronic rates "too brief to be properly recorded or perceived", measured in millionths of seconds microseconds , and finally the infinitesimal or infinitely brief, are again in the extra-musical domain.
See main articles; Metre music , Bar music , Metre poetry Notation of a clave rhythm pattern: Each cell of the grid corresponds to a fixed duration of time with a resolution fine enough to capture the timing of the pattern, which may be counted as two bars of four beats in divisive metrical or symmetrical rhythm, each beat divided into two cells. The study of rhythm, stress, and pitch in speech is called prosody see also: Music inherited the term " meter or metre " from the terminology of poetry Scholes b ; Scholes c ; Latham The metric structure of music includes meter, tempo and all other rhythmic aspects that produce temporal regularity against which the foreground details or durational patterns of the music are projected Winold , The terminology of western music is notoriously imprecise in this area Scholes b.
MacPherson , 3 preferred to speak of "time" and "rhythmic shape", Imogen Holst Holst , 17 of "measured rhythm". Dance music has instantly recognizable patterns of beats built upon a characteristic tempo and measure.
The Imperial Society of Teachers of Dancing defines the tango, for example, as to be danced in 2 4 time at approximately 66 beats per minute. The basic slow step forwards or backwards, lasting for one beat, is called a "slow", so that a full "right—left" step is equal to one 2.