36

Hopefully these examples of 5/4:4/4 polymeter and 5:4 polyrhythm clears it up. Polymeter Here is a simple example of 5/4 over 4/4 polymeter notated in 4/4 time. Notice how voice A's meter is five beats (the accents illustrates the starts), while voice B's meter is four beats, and they are sort of modulating over each other. After 20 beats their accented ...


35

Polyrhythm. It's good thing to learn to do. 4 against 3 is nice, before that you should normally try 3 against 2. Normally it's hard to do at the start. I had to break it down, splitting the beats. For 3 against 2 you need to split the pattern into 6, for 4 against 3 into 12. I made two grids to show how: It takes a bit of practice but it is very good for ...


19

There is a common mnemonic for learning the 3:4 poly-rhythm. Apologies for the minor profanity, but it goes like so: Get two people, call them "3" and "4" and give them the following instructions: 3: You're watching a baseball game and your team is in the field, and you're hoping the outfielder can throw the ball to the first-baseman, so you repeat the ...


13

Where did you find this? It is notated extremely poorly and the division of the beats is not intuitive by looking at it. I am not surprised you are having trouble with it. I would, too, and I am an excellent sight reader. When I have difficulty seeing the rhythm between hands (which only happens when I am reading very slow Bach pieces written with loads of ...


9

It's a bit simpler than that. Syncopation is accenting the off beat, especially accenting in between beats. For example, "Superbad" or "Mother Popcorn" by James Brown. A single rhythm can be syncopated. It's just an unusual stress pattern. Polyrhythm is playing two rhythms at once. For instance, on the piano, playing straight eighth notes (quavers) on the ...


8

Do the math. Practice by tapping your hands on your legs. Start with 3 against 2. Move on to 4 against 3. You do this one by breaking it up into 12, so: | | | | . . . . . . . . . . . . | | | So, count the periods, tap the top bars with one hand, and the bottom bars with the other. Now, how do you do, say, 5 against 3? ...


8

Well, this is a fun math problem. If you clap n times for every m ticks of your clock, then this corresponds to 60*(n/m) beats per minute. It's not too hard to assemble a list of values between 30 bpm and 210 bpm using this principle. I've listed them below; exact multiples of 10 are in boldface. Values for m = 1: 60 bpm (1:1); 120 bpm (2:1); 180 bpm (...


8

Three against two is really easy for any experienced musician. If you were going to write seven against five, most people would have trouble playing it accurately.


7

Is “Polyrhythm” a melodic principle? Not specifically, but as melodies have rhythm, any rhythmic considerations can apply to melodies. What is a polyrhythmic melody? It could mean a couple of things: a melody that is set against parts with different rhythms in a polyrhythmic piece a melody that itself exhibits more than one identifiable rhythmic pulse ...


6

It appears that there is not consensus on how these polyrhythms should be played. I have not yet found anything on your (a) case, but have some information about your (b) case. The quotes are long, but I think seeing the author's reasoning is helpful. Johann Quantz, in his treatise On Playing the Flute, late 1700s, holds that dotted rhythms are non-literal ...


6

Polymeter: different voices/instruments that play different meters that de-synchronize themselves (a 9/8 piano part against a 4/4 drum part, or 7/8 on a 3/4. Polyrhythms: different subdivisions that fit in the same bar. The classic Christmas tune "Carol of the bells" is an example of 2 against 3. Traditional Cuban rumba, and lots of West African ...


6

Polyrhythms, especially more complex ones like this, make much more sense if you chart it out. Find the least common multiple. In this case, its 51. List out all numbers between 1 and 51. Circle every 17th number. Square every 3rd number. What you have left is a way to count any given polyrhythm. Obviously the larger your multiple, the harder it is to ...


6

This is a notorious question, and has been asked many times in the last 2 centuries - you are not alone! You're right in suggesting a polyrhythm - 4 against 3. The difficulty is to play it musically. If you play it exactly, I (personally) find the two notes are a bit too close for comfort, so I tend to overdot the top line a bit. It's also important to ...


5

Sorry about the delay. First thing, Samba is basically 4/4 or 2/4, I really can't remember any song with odd time signature. If you do, please let me know! I like listening to odd time signatures. The thing is, while being very "simple", Samba is also very complicated. As you noticed, you have a lot of different types of it. I'm not a Samba expert, but I ...


5

From my experience, the feel is the most difficult thing to get familiar with in music. It takes years and years of playing and listening the kind of music (it might not be so many years on some kind of musics). Since you want to learn, you might want to start with some more simple percussive rhythms. At first, it won't be the result you want right now, but ...


5

The way I approach polyrhythms is this: I break them down much as you do, in terms of their lowest common denominator, but I try to memorize the sound of the pattern right away and not rely on seeing it graphically. At UC we learned an example for two against three: "FARMS in BERkeley". I then practice it in many different ways- tapping the two parts with ...


5

I worry that your quoted source isn't the best; "meter is the rhythmic structure of the music" is not a very good definition. Here, for instance, is a better and more concise definition: Meter refers to the grouping of accented and unaccented beats into recurring patterns. (Steven Laitz's The Complete Musician) (Other books/authors, like Lerdahl/...


5

Bars 1 through 5 are identical rhythmically. I suggest just playing the 1st (or 3rd) bar over and over until you get it. then move to bar 2 (or 4). This will remove one thing to think about making it just a little bit easier. Secondly, forget tempo for a minute and just play the notes one 16th beat at a time as slowly as needed, even if it is not constant. ...


5

The late drum teacher Charles Dowd called this the Rhythm of Life. [I assumed this was in reference to a song utilizing this rhythm.] He taught it in the context of an Afro-Cuban-style pattern on drum set: The two top-line patterns are equivalent, but it is the bass drum (lower line) that names the underlying pulse. If one instead plays the 2nd pattern with ...


4

What is happening is that they change the interpretation of the rhythm of the repeating melodic figure. First you have a triplet or 12/8 feel, where each note of the melodic figure is interpreted as an eighth note (or eighth triplet, if you think in triplets). Here you have four beats before the pattern repeats. Then the same melodic figure (continuing at ...


4

Fantasie Impromptu contains polyrythms. A "Polyrythm"is the use of two different rythms playing together, and the Fantasie Impromptu also has a Polyrythm. The right hand plays semiquavers, while the left hand plays triplets. This piece is quite similar to both his Etude Op.25 No.1 and No.3. You can take one part of these two pieces and practice it. So ...


4

The first thing you should do is practice each hand separately and begin trying to feel the "pulse" of the half notes. Then I would try to split up the tempo. Notice that the time signature is written in cut time. Try to play it in 4/4 time (with a triplet per beat). Start at quarter note = 80 and make your way up to quarter note = 160 (your goal) so that ...


4

I am doing this piece, and have "finished" the piece within 5 months (1h/day) and am right now polishing it. This is how I attempt most pieces. Note that this post is not a "for dummies" guide. (Note 1 : Keep in mind that what makes this piece sound beautiful is that throughout the chaos of all the notes, there is an accented melody throughout the piece. ) ...


4

Sadly, I can't answer your question in whole. In fact, I would love to see a good, definite answer on this myself. But I think I can address at least some parts: Am I missing any special tuplets? As far as the rhythm alone is concerned, you're not. (And as far as I know.) BUT... Is there a difference between say, a sextuplet and two triplets, or a ten-...


4

The root of the question comes from the incorrect assumption that in Beethoven's time (and earlier) the notation for dotted rhythms was performed strictly according to the math. The math was certainly "strict" in the sense of showing the mathematically correct number of beats in the bar, but that was not necessarily how they were played. A single-dotted ...


3

As addition to the other answers, this is how I learned to play those polyrythms on the piano: Nr.1a You focus on the triplets in the left hand and start with only two 16th in the right hand: Nr.2a Then add the third 16th to the right hand: Nr.3 and finally with the whole set of four 16th: Another approach is starting with all 16th and build up the ...


3

I am just now wrapping up this piece, and have my recital in a month. I am not a professional musician by any means, and I have a day job, so I can only get a few hours of practice per week. I've always loved Chopin's Fantaisie Impromptu, but honestly thought I would never be able to play it. However, after asking my teacher about 18 months ago, he said ...


3

I had a teacher tell me to use "this is very easy". I would say that as I slowly played the section with the 4 against 3 rhythm. As you learn the notes and get used to the pattern eventually it should flow. I found a YouTube link with the rhythm. If you say this is very easy to it that should give you the idea. I went about ...


Only top voted, non community-wiki answers of a minimum length are eligible