Rythm

Rhythmic patterns can be classified into various types, often based on their structure and the music genre they belong to. Here are some common types:

Simple Rhythms: These are straightforward patterns, often found in pop, rock, and folk music.
Quarter Notes: Basic steady beats.
Eighth Notes: Faster beats, doubling the quarter note rhythm.
Sixteenth Notes: Even faster beats, commonly used in more complex patterns.
Compound Rhythms: These patterns involve subdivisions of beats, commonly found in jazz and classical music.
Triplets: Dividing a beat into three equal parts.
Quintuplets and Sextuplets: Dividing a beat into five or six equal parts, respectively.
Syncopated Rhythms: These patterns emphasize off-beats and create a sense of groove or tension, frequently used in jazz, funk, and Latin music.
Backbeat: Accents on the second and fourth beats in 4/4 time.
Off-beat: Accents on the weaker beats or between the main beats.
Polyrhythms: These involve multiple rhythmic patterns played simultaneously, common in African and Indian music.
3 against 2: A three-beat pattern played against a two-beat pattern.
5 against 4: A five-beat pattern played against a four-beat pattern.
Cross Rhythms: Similar to polyrhythms but typically involve more complex interactions between different rhythmic patterns.
Common in West African drumming and modern classical music.
Odd Meters: Rhythms based on time signatures that aren't the standard 4/4 or ¾.
5/4, ⅞, 11/8: Time signatures that create unique rhythmic feels.
Swing and Shuffle: Patterns where notes are played with a swing feel, common in jazz and blues.
Swing: Eighth notes are played in a long-short pattern.
Shuffle: Similar to swing but with a more pronounced long-short feel.
Drum Rudiments: Basic patterns used in drumming.
Paradiddles, Flams, Rolls: Fundamental drumming exercises that form the basis of more complex patterns.

Understanding and mastering these various rhythmic patterns can greatly enhance your musical versatility and creativity.

Rests Bar

Pulse, beat and measure

Unit and gesture 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; - Extrametric – irregular patterns, such as tuplets.

Alternation and repetition Rhythm is marked by the regulated succession of opposite elements: the dynamics of the strong and weak beat, Upbeat Downbeat Accent

Tempo and duration The tempo of the piece is the speed or frequency of the tactus, a measure of how quickly the beat flows.

Supershort: a single cycle of an audible wave, approximately 1⁄30–1⁄10,000 second (30–10,000 Hz or more than 1,800 bpm). These, though rhythmic in nature, are not perceived as separate events but as continuous musical pitch. Short: of the order of one second (1 Hz, 60 bpm, 10–100,000 audio cycles). Musical tempo is generally specified in the range 40 to 240 beats per minute. A continuous pulse cannot be perceived as a musical beat if it is faster than 8–10 per second (8–10 Hz, 480–600 bpm) or slower than 1 per 1.5–2 seconds (0.6–0.5 Hz, 40–30 bpm). Too fast a beat becomes a drone, too slow a succession of sounds seems unconnected.[34] This time frame roughly corresponds to the human heart rate and to the duration of a single step, syllable or rhythmic gesture. Medium: ≥ few seconds, this median durational level "defines rhythm in music"[33] as it allows the definition of a rhythmic unit, the arrangement of an entire sequence of accented, unaccented and silent or "rest" pulses into the cells of a measure that may give rise to the "briefest intelligible and self-existent musical unit",[15] a motif or figure. This may be further organized, by repetition and variation, into a definite phrase that may characterise an entire genre of music, dance or poetry and that may be regarded as the fundamental formal unit of music.[35] Long: ≥ many seconds or a minute, corresponding to a durational unit that "consists of musical phrases"[33]—which may make up a melody, a formal section, a poetic stanza or a characteristic sequence of dance moves and steps. Thus the temporal regularity of musical organisation includes the most elementary levels of musical form.[36] Very long: ≥ minutes or many hours, musical compositions or subdivisions of compositions

Curtis Roads[37] 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 orperceived", measured in millionths of seconds (microseconds), and finally the infinitesimal or infinitely brief, are again in the extra-musical domain. Roads' Macro level, encompassing "overall musical architecture or form" roughly corresponds to Moravcsik's "very long" division while his Meso level, the level of "divisions of form" including movements, sections, phrases taking seconds or minutes, is likewise similar to Moravcsik's "long" category. Roads' Sound object: "a basic unit of musical structure" and a generalization of note (Xenakis' mini structural time scale);

Rhythm–tempo interaction

This context-dependent perception of rhythm is explained by the principle of correlative perception, according to which data are perceived in the simplest way. From the viewpoint of Kolmogorov's complexity theory, this means such a representation of the data that minimizes the amount of memory. The example considered suggests two alternative representations of the same rhythm: as it is, and as the rhythm-tempo interaction – a two-level representation in terms of a generative rhythmic pattern and a "tempo curve". Table 1 displays these possibilities both with and without pitch,

Metric structure The study of rhythm, stress, and pitch in speech is called prosody (see also: prosody (music)): it is a topic in linguistics and poetics, where it means the number of lines in a verse, the number of syllables in each line and the arrangement of those syllables as long or short, accented or unaccented. Music inherited the term "meter or metre" from the terminology of poetr

Composite rhythm A composite rhythm is the durations and patterns (rhythm) produced by amalgamating all sounding parts of a musical texture. In music of the common practice period, the composite rhythm usually confirms the meter, often in metric or even-note patterns identical to the pulse on a specific metric level. White defines composite rhythm as, "the resultant overall rhythmic articulation among all the voices of a contrapuntal texture".[49] This concept was concurrently defined as "attack point rhythm"

Scale-chords-phrases

Phrases - gamakas - adjacent note - motifs - bar notes

such as hip hop music, the rhythmic delivery of the lyrics is one of the most important elements of the style.

Rhythm may also refer to visual presentation, as "timed movement through space" and a common language of pattern unites rhythm with geometry.

In Indian classical music, the Tala of a composition is the rhythmic pattern over which the whole piece is structured.

Western music In the 20^th century, composers like Igor Stravinsky, Béla Bartók, Philip Glass, and Steve Reich wrote more rhythmically complex music using odd meters, and techniques such as phasing and additive rhythm. At the same time, modernists such as Olivier Messiaen and his pupils used increased complexity to disrupt the sense of a regular beat, leading eventually to the widespread use of irrational rhythms in New Complexity.

Linguistics In linguistics, rhythm or isochrony is one of the three aspects of prosody, along with stress and intonation. Languages can be categorized according to whether they are syllable-timed, mora-timed, or stress-timed.

Narmour[55] describes three categories of prosodic rules that create rhythmic successions that are additive (same duration repeated), cumulative (short-long), or countercumulative (long-short). Cumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive rhythms are open-ended and repetitive. Richard Middleton points out this method cannot account for syncopation and suggests the concept of transformation.[56]