HOUSEKEEPING

Tutorial sign-up sheet

ANTON KILLIN Fridays
CHRIS GENDALL Mondays

CMPO 101 TUTORIALS START THIS WEEK (next week for Chris)

TIME, RHYTHM, PULSE, METRE, LATTICE

Course notes
Please scribble on these extensively!

TODAYS TOPICS WHAT IS RHYTHM?

Rhythm = ARTICULATION of TIME
We tend to interpret rhythm INTEROCEPTIVELY
Conventional musical notation imposes a GRID (lattice)
on time, and a HIERARCHY of strong / weak beats
Music makes time audible, and its form and continuity
sensible It creates an image of time measured by the
motion of forms that seem to give it substance, yet a
substance that consists entirely of sound, so it is
transitoriness itself

We can choose to REINFORCE, SUBVERT or even SUSANNE LANGER, Feeling & Form (1953)
REJECT this grid/hierarchy through the rhythms we
write
MUSIC IS A TIME-BASED ART (TBA)
Introduction to MIDI Sequencing in Sibelius and Logic +
so it is crucial that we think about how our music articulates TIME
first minor assignment + major assignment brief

sic
d/mu fy,
soun d quanti r
WHAT IS RHYTHM? n e
nt of
leme erceive
an
y o f oth
e
a tl
nden
WHAT IS RHYTHM? A DEFINITION th a t
an p
we c l indepe rs
o ete
contr param
and

MUSIC IS A TIME-BASED ART (TBA) RHYTHM is the HORIZONTAL dimension in music

a MUSICAL PARAMETER that primarily contributes to the
so it is crucial that we think about how our music articulates TIME
ARTICULATION OF TIME through a perceived sequence of
SONIC EVENTS

As
sou ound,
nds or c
belo , that w ollectio
i.e. ng e n
som ing to perceiv of
ethin an
g th ev e as
at h ent
app
ens
!
WHAT IS RHYTHM? WHAT IS RHYTHM?
SPEECH & BODY SPEECH & BODY

We are (in)formed by human/biological rhythms Our emotional state typically relates to the SPEED and
REGULARITY of these rhythms
e.g. internal or bodily rhythms
When we listen to music, we tend to empathise
heartbeat, breath, walking, circadian cycles (sleep/wake)
interoceptively with the rhythmic and gestural material
e.g. speech/vocal rhythms

talking, yelling, sobbing, cooing

EXAMPLE
WHAT IS RHYTHM?
INTEROCEPTIVE EMPATHY p. 243 Course Notes

The primacy of interoceptive empathy is seen

throughout music terminology, esp. tempo markings, e.g.:
Andante = at a walking pace
Con fuoco, agitato (state of heightened excitement)
Grave, lacrimoso (slow, solemn, as if crying implies a bodily
response to grief )

We can also use interoceptive empathy directly

for example

BREATH MEDITATION,
CONTEMPLATION, THE WHAT IS RHYTHM?
SUBLIME BODY AND ENERGY

OR we can imply a non-human origin through motoric,

machine-like (repetitious) rhythms

OLIVIER MESSIAEN AUDIO EXAMPLE Machine Noises by MICHAEL NORRIS

Abyss of the Birds

from Quartet for the End of
Time
b b . b b . . . . . . b b .
5
.
n . n . # n # n b b . . b b . .
b . b . b . b .
n n . n n .
55
&

? . . . b . . . # . .
;
# . n n ;
. . b b . n
. . b . b . b .
.

. b b . n n . b b . b b . b b . b b .
b b . b b . n . b . b . b . n . n . n . n .
b . b n . b b n .
n n .
57
& n n

. . . .
? . # . . .
b . .
b b . . # . .
b . b . b .
. .

b b . b b . b b . b b . . . . . . . n .
n . n . n . n . # n # n .n
PERCEPTION OF RHYTHM PERCEPTION OF RHYTHM
OTHER PARAMETERS OTHER PARAMETERS

EXAMPLE
Music for 18 Instruments by STEVE REICH
FAST repetitive rhythms, but harmony changes very SLOWLY

Our experience of time is subjective & depends on rate of We hear a kind of static activity frozen motion
change of musical information non-organic metaphor (modern transport/urban environment)

SLOW rhythms = stasis = SLOW TIME [contemplation, release]

FAST rhythms = activity = FAST TIME [motion, goals, tension]

BUT if other musical parameters are changing slowly, we hear a kind

of static energy

LATTICE CONCEPTION OF RHYTHM

THE LATTICE CONCEPTION OF MUSIC THE NORMALIZING OF THE LATTICE

TREVOR WISHART
On Sonic Art (p. 88)
Polemical attack on Western scribe EXAMPLE whats wrong with this picture?
culture that venerates notation
[Time Signature dialog box from Sibelius music software]
Argues that time is a continuum, but
conventional Western notation A: Wheres the Free Time or unmetred button???
quantizes time onto a grid or lattice
Conventional musical notation and notation software forces and
normalizes a lattice conception of rhythm

This is so COMMONPLACE we
dont even notice it!

Trevor Wishart, On Sonic Art

LATTICE CONCEPTION OF RHYTHM LATTICE CONCEPTION OF RHYTHM

THE NORMALIZING OF THE LATTICE CHOICES
Sequencers too!

Wishart argues that we have a moral obligation to

transcend or reject the lattice conception

Whether or not you agree, you must acknowledge the

choice
We shall examine ways of transcending & rejecting the lattice next
week

For today, we will look at ways of writing interesting music while

staying within the lattice
 LATTICE CONCEPTION OF RHYTHM LATTICE CONCEPTION OF RHYTHM
THE LATTICE IN PRACTICE PULSE

In the lattice conception of rhythm, musical ONSETS

(attacks) are aligned (quantized) to a time grid Quantized, periodically repeating onsets form a PULSE
Can be very fast or extremely slow
TIME
and we can GROUP pulses in different ways into larger UNITS
through EMPHASIS/ACCENTUATION to form METRE

Two main ways of grouping pulses together

DIVISIVE and ADDITIVE RHYTHM

LATTICED RHYTHM LATTICED RHYTHM

DIVISIVE RHYTHM DIVISIVE RHYTHM

DIVISIVE RHYTHM = decreasing divisions of a long EXAMPLE Billie Jean by MICHAEL JACKSON
time-span into a symmetrical hierarchy of latticed
rhythmic durations
PIECE = INTRO [4 + 8] + A [12] + A [8] + B [8] + C [12] + A [12] +
PIECE divided into A [8] + B [8] + C [8] + C [12] + I [8] + C [4] + C [12] + OUTRO [2
repeated]
SECTIONS divided into
1 SECTION = 8 bars (4 x 2-bar segments) or 12 bars (6 x 2)
PHRASES divided into
1 BAR = 4 beats
BARS divided into
1 BEAT = 2 subdivisions [quavers]
BEATS divided into SUBDIVISIONS
NB: In 4/4 time, STRONG beats are on 1 & 3, WEAK beats on 2 & 4
Tends to result in simple, stable time signatures (e.g. 4/4) Bass tends to reinforce metre

LATTICED RHYTHM LATTICED RHYTHM

DIVISIVE RHYTHM ADDITIVE RHYTHM

ADDITIVE RHYTHM
EXAMPLE Volume Pig by GARETH FARR
bars & phrases are developed from varying multiples of a fundamental
p. 25 Course Notes unit (typically the semiquaver)

usually result in regularly changing, or odd time signatures (e.g. 2/8,

3/8, 5/8, 7/16)
NOTE
EXAMPLE Danse Sacrale from The Rite of Spring
Stability and drive created by METRICAL REINFORCEMENT at (1913) by IGOR STRAVINSKY
start
p. 54 Course Notes
Shifting placement of accents after semiquavers begin to destabilise
metre, creating RHYTHMIC TENSION
NOTE
becomes more interesting
Irregular bar lengths & downbeat rests in treble staff
 4
2 3 3
 5$   3 555$  3 555 
3 E5555  555 5555 !555 !55
G
 3 E5555 3
 E55
 E55 5 55 5 55 E! 555 LATTICED RHYTHM
 55 ADDITIVE RHYTHM
EE55  55 55  55 !! 55  55


 55 
3 


 5 

 3  
5 5 5
5

5
5
5 !
5 Not seen much in pop/jazz/rock genres, with perhaps the
4 3 3

5
5555 5555 EE5555  55555
2 3 3

 3 555$
 5 5  5 55 5 5     55  exception of Dave Brubeck, some IDM and some

G
 
E55 3 E5555 3 E5555  5555 555 !5555 E!!5555
 3 E5555 3 555


 5  alternative metal bands
5 
E 5  55 55  55 !! 55  55  55
5 
5
5

 3E 5 3    55 55 555 555

Many non-Western traditions feature additive rhythm
 55


 

 5 5 55
 
5 5 5 EXAMPLE Die Eier von Satan by TOOL

3+2+2+2
5
4



E
55
5
55555 55555 55555 E555 5! 5555
4 3 EXAMPLE Ratchenitsa by VARNA FOLK DANCE GROUP
$ $  
G  3 E5555 3 5555  3 E5555  555 5555 E!E555 !55   5 5 5
5 5
 5 55 5 E 55 E! 555
 E5555 5555 5555 2+2+3

5  55  55 55  55 !! 55  55 5  5 5 5 5  55 55 55
  5 5 

 5   55 55 55 55 55


5 5 5

LATTICED RHYTHM LATTICED RHYTHM

DEFINTION OF METRE METRE

IMPORTANT COMPOSITIONAL DECISION

The rhythms and accentuation patterns we write in our music can
METRE work with (reinforce) or work against (subvert) the metre

= PULSE organised into a repeating pattern of accentuation (e.g. Working against, or subverting the metre, creates a musical
strong beats and weak beats) friction or tension

In Western music strongest beat is usually beat 1 (not the case in other Tension is important to generate musical interest
cultures, e.g. gamelan music)
Music without tension is boring!
However, music with constant tension is also problematic!

LATTICED RHYTHM LATTICED RHYTHM

PULSE VS. METRE PULSE VS. METRE

PULSED BUT NOT METRICAL

Equal emphasis on all beats OR

Irregular emphasis
We can distinguish between PULSE and METRE
Musically interesting because it plays with our perceptions, stops the
We can write music that is clearly pulsed but not clearly metrical music from becoming too predictable builds musical tension
OR we can write music that is metrical but not clearly pulsed

METRICAL BUT NOT PULSED

Next week!
LATTICED RHYTHM LATTICED RHYTHM
PULSED BUT NOT METRICAL PULSE VS. METRE

EXAMPLE Schwarzer und Roter Tanz from Tutuguri

IV by WOLFGANG RIHM EXAMPLE Chin Hippy by SQUAREPUSHER
p. 27 Course Notes p. 32 Course Notes (NB: transcription error!)

NOTE
Col legno bass slaps have equal emphasis NOTE
Irregularity of string tremolo accents causes difficulty in metrical Metrical reinforcement/stability at opening
perception
From b. 9, this is undermined by accentuated irregular offbeats & fast
What is the expressive effect of col legno (bow slapped against tempo
fingerboard)?
Sense of pulse is very clear, but metre is difficult to locate
What is the musical effect of the strong pulse reinforcement?

LATTICED RHYTHM SYNCOPATION EXAMPLES

SYNCOPATION SYNCOPATION AT CROTCHET LEVEL

SYNCOPATION is the art of placing accents contrary to

the underlying metrical structure to create metrical
tension

We can syncopate on any rhythmic level (e.g. bar, beat, N  5 4 4 5 4 4 5 4

subdivision), with different effects









e.g. CROTCHET, QUAVER, SEMIQUAVER

N= 5 = 5 = 5 = 5 = 5 = 5 = 5 = 5

FOR EXAMPLE...





N  5 = 5 4 5 = 5 4 5 5








N  5 : 5 = 5 4 3 5: 5: 5 = 5 3 5: 5 5

5
N 4 4 5 4 4 5 4
SYNCOPATION EXAMPLES SYNCOPATION EXAMPLES
SYNCOPATION

AT
QUAVER LEVEL
SYNCOPATION AT SEMIQUAVER LEVEL









N  5 4 4 5 4 4 5 4

N= 5 = 5 = 5 = 5 = 5 = 5 = 5 = 5















N= 5 = 5 = 5 = 5 = 5 = 5 = 5 = 5
N  5 = 5 4 5 = 5 4 5 5









N  5 = 4 = 4

N  5 :
5 5 5 5 5
5 = 5 4 3 5: 5: 5 = 5 3 5: 5 5








N  5 : 5 = 5 4 3 5: 5: 5 = 5 3 5: 5 5
 LATTICED RHYTHM SYNCOPATION EXAMPLES
SYNCOPATION
ACCENTUATION SYNCOPATION

N 5 4 4 5 4 4 5 4









N = 5 = 5 = 5 = 5 = 5 = 5 = 5 = 5

Accentuation of weak-beat notes within a pulse stream

also counts as syncopation N 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

N 5555555555555555 5555555555555555

N 5 4 4 5 4 4 5 4

SYNCOPATION EXAMPLES LATTICED RHYTHM









N =ACCENTUATION
5 = 5 = 5 SYNCOPATION
= 5 = 5 = 5 = 5 = 5 SYNCOPATION

EXAMPLE Hoketus by LOUIS ANDRIESSEN
N 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
p. 32 Course Notes

5555555555555555 5555555555555555 NOTE

N
Syncopation at QUAVER level

Divides rhythm up between alternating instruments

Switches cleverly between on-beats and offbeats, and shifts metrical
units

LATTICED RHYTHM
SYNCOPATION TODAYS MAIN POINTS

EXAMPLE Spike by JOHN PSATHAS Rhythm = ARTICULATION of TIME

p. 29 Course Notes
We tend to interpret rhythm INTEROCEPTIVELY
NOTE (bodily)
From LETTER F, period of calm (to a degree) in the music Conventional musical notation imposes a GRID (lattice)
Marimba reinforces metre on time, and a HIERARCHY of strong / weak beats
Piano enters with semiquaver-level syncopation We can choose to REINFORCE, SUBVERT or REJECT
Notice building tension
this grid/hierarchy through the rhythms we write

Calm is broken at LETTER G Next week we will see how we can use advanced rhythmic
techniques to create more fluid and interesting rhythms
Funk-based rhythms (complex semiquaver-level syncopation)
FIRST MINOR ASSIGNMENT FIRST MINOR ASSIGNMENT

LESSON: The way that rhythmic tension varies over the
piece, through metrical reinforcement or subversion,
creates form/shape
Metrical reinforcement = stability/cadence
Metrical subversion = instability/forward motion
LESSON: Rhythmic density (the number of notes in a
beat) contributes to the overall energy (along with
dynamics)
YOUR ASSIGNMENT: Write a piece for 5 drums that
displays these lessons in practice
Music must be quantized to a semiquaver grid
That does not mean the music is a series of semiquavers!
You should vary these factors to create a form/shape:
Metrical reinforcement/stability
Metrical subversion/instability
Rhythmic density
The piece must be sequenced and presented on an audio
CD, not notated
Use Logic Express or Sibelius (or your own sequencer)

MAJOR ASSIGNMENT

Free choice, within limits

Must reflect the content of the courses somehow

Due at the end of term, but talk to your tutors about your
initial ideas