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Above you have eighth-note triplets, and below you have quarter-note triplets. It's largely as simple as that. Keep in mind that a triplet is three notes within the time span of only two of those note …

I can't prove this, but it's possible it's an outgrowth of the military cadence tradition, where the drill sergeant calls out Left (pause) Left (pause) Left Right Left As I understand it, the t …

By subdividing "1 e & a," we can correctly play the dotted-eight/sixteenth rhythm of "1 e & a." …

As such, for the sake of notational clarity, you would likely want to show this rhythm as an eighth note tied into a half. …

Fred Lerdahl and Ray Jackendoff, A Generative Theory of Tonal Music: has a bit on rhythm, but this would be more skimmable, depending on what your goals are Justin London, Hearing in Time: addresses some … composers Carl Schachter, Unfoldings: three essays in here are republications of his work on meter/rhythm work within Schenkerian analysis. …

Actually, you're looking at time signatures of 2/4 and then 4/8. If you played it with a time signature with 4 in the denominator at 120bpm, it would be twice as fast as at 60bpm. In order for it to s …

Now we can look at the distinction between rhythm and meter. Whereas rhythm is a pattern of articulations, meter is the hierarchy of that pattern. … Nevertheless, you may want to check out: Brad Osborn's look at maximally even rhythm in Radiohead. Guy Capuzzo on rhythm in Meshuggah. Rick Cohn on beat-class sets in Reich. …

The left hand rhythm is just a (poorly notated) vamp of 1 e & a 2 e & a 3 e & a 4 e & a. … For joint rhythms like these, I think it's best to focus on the flow of the rhythm and then tweak the specifics later. Lastly, it looks like this is a transcription of a recorded piece. …

(Note: Someone just placed a possible duplicate vote, but I'll leave up in case it's helpful to anyone.) This is what we call a 4-against-3 polyrhythm. It's a relatively common one, so it's good to b …

At least in the US, this notation is very commonly used for counting rhythm. In fact, in my experience it's the most common method, but that's just based off of first-hand, anecdotal evidence. …

This, in addition to the opening E, results in the following rhythm: Hip Low E po (rest) pot B a E mus G♯ This is made even more difficult by the fact that the …

Whenever approaching difficult rhythms, I always recommend subdividing into smaller values. For this example, we can subdivide this into eighth notes. Assuming this is in 4/4 time, we have eight eigh …

It's also an instance of a "maximally even" rhythm, which means that, given a particular level of subdivision, the three articulations are as symmetrically spread apart from each other as possible ("maximally …

On and off beats really exist on a spectrum, and determining whether beats 2 and 4 are on or off is really a question of tempo. If the music is fast enough, we can start to feel the 4/4 time in (as w …

It's a multi-step process of: Ignore the triplet aspect of the rhythm and focus only on the note values themselves. … Our first step is to ignore the triplet aspect of this rhythm and focus on the eighth, two sixteenths, and the eighth. The total duration of these notes will be equal to three of some note value. …