Most people consider rhythm as something added to music in the same way that instrumentation may be added after a piece has been completed. There is some justification for this attitude. Our melody and harmony are written in the system of major and minor scales; and a mistake results in a "sour note"—a tone which is not only incorrect in this particular piece but is outside the key. A mistake in rhythm, however, results in some other rhythm, which cannot be detected unless one knows the piece. Correct rhythm does not appear to be as essential as correct pitch. But in the ears of the composer the rhythm may be the most vital element of the composition.

Rhythm cannot be arranged in a comprehensive system like harmony; nor would it be profitable to study the simple rhythms which cause us no difficulty. Instead we shall make some observations which will increase our sensitivity to fine differences in rhythm.

Our system of notation has restricted our rhythm to a series of twofold

divisions of the beat. Thus our whole note is divided into two half notes:

the half note is divided into two quarter notes:the

quarter note is divided into two eighth notes: and the eighth

note is divided into two sixteenth notes: A dot increases a note

by one half its own value, regardless of what that may be. Other elongations of the note are accomplished by tying one or more notes tog

$ether:  dJ, <JJ , dj J , etc.

Triplets

If we wish to use a threefold division of the beat we must use a triplet—

an exception to the rule:

Three notes are crowded in where only two belong. Con­sequently, with the exception of Brahms, few composers have used the threefold division as freely as they would in an unbiased system of notation.

Measures

We have had more latitude in the number of beats in a bar or measure, but even here a rigid regularity has been encouraged.

We have two beats to the measure:.

We have three beats to the measure.

We have four beats to the measure

We have six beats to the measure:

All the other meter signatures are used so rarely they would not add up to one per cent of the published music.

Signature

The meter signature—the "time signature"  —is placed at the beginning of a piece of music and at any point where the meter changes. The upper figure indicates the number of beats—or counts—in a measure; the lower figure indicates the kind of note which receives one beat. Thus our rigid system of notation tends to prevent flexibility and individuality in both meter and rhythm.

Simplification

The most frequent error of the ear in rhythm is simplification. Some rhythms we hear and execute with ease; others we get under favorable conditions but miss if our attention is other­wise occupied. Our stock of familiar rhythms grows easily, if we pay attention to new rhythms; but most ear players are satisfied to play all music with the few standard rhythms they have conquered, little realizing that they are missing the most fascinating characteristic of the composition.

Thus the Brahms Lullaby is often rendered in a straight, common waltz pattern, although the original rhythm is essential to the subtle beauty which Brahms has given the composition. Brahms wrote it thus:

melody accompany-             ment

It is carelessly rendered thus:

melody accompaniment

Indeed, it is often printed in this simplified manner, which may be justified in the interest of simplification but should be labeled "arranged by the editor" or "simplified version," for it is no longer Brahms. Such a simplification is seldom justified; the original rhythm is not difficult.

Count

Never worry about rhythm—unless you can't do it. Then there is no substitute for breaking it down, figuring it out, and counting the time. Even the best performers and com­posers must count sometimes.

But figuring and counting do not necessarily bring the desired result. Our muscles seem to be obstinate and refuse to execute the pattern which we understand intellectually. To overcome this do the rhythm with a pencil or by clapping the hands. If you go slowly enough, you can get it; then increase the tempo.

Subdivision

What we actually do when we learn a new complicated have trouble with
we break rhythm is to break it down into

familiar units. Thus, if we it down into single beats. The first beat is a quarter and causes no trouble. The second beat has the dot and two i6ths, . J J    ; it is the same as the familiar J J J • The third beat, J J J is equal to J J J . The fourth beat, J J. J , if too complicated, may be broken down into half beats, J    and J.   J, which becomes d J J • This may seem ridiculously simplified, but it is the only method that is sure to cure an obstinate passage.

Syncopation

Syncopation—placing the strong accent just after instead of on the main beat, where one regularly expects it—causes no end of trouble for some people. Others master it without any effort. If you are one of the former, you can gain the feeling of syncopation by walking around the room as you count, taking a step after each count but not on the count. Count loud and stamp your feet. Also try counting and clapping your hands after each beat but not on the beat. When you can execute a rhythm with any muscle of your body, you can easily transfer it to any other muscles—to the hands and fingers. Do it energetically, but relax. If one tightens his muscles, rhythm becomes very difficult.

Conducting

If you do not have a strong sense of rhythm, develop one by imaginary conducting. Turn on the radio or phonograph and go through the motions of conducting the music. This will make you feel the rhythm. The arrows in the following diagrams show the movements of the conductor's right hand. Use a snappy beat. Be sure that you get the correct rhythm— that the main accent comes on the main beat. The standard beats are as follows:

Most g  meter  moves so fast that beats are given only on the first and fourth count.
Rhythm is nothing but a pattern of beats; it is the same rhythm whether it be executed fast or slow.

The meter is a mechanical device for locating the rhythm. The rhythm catches the ear and is characteristic of the particular piece.

If rhythm still seems difficult for you, be consoled by the fact that it is much more difficult for the note reader. A person can play a rhythm much easier after hearing it than he can after seeing it on the silent page.

Power of Rhythm

Melody and rhythm cannot be separated; each is a part of the other. You can perform an interesting experiment to demonstrate the power of each if yOU will ask a grOUp of friends to raise their hands as soon as they recognize the composition which you perform. Then tap slowly the rhythm of Swanee River or any other tune containing a normal amount of rhythmic variety. When they have all recognized the tune, take a similar tune and play just the melody with absolutely no rhythm—no variation in time or accent. You will be astonished to find that they recognize a piece by its rhythm alone sooner than by its melody alone.

Remember that often you can arrange the rhythm your­self. When playing popular songs and folk tunes, vary the rhythm to suit your audience. A little syncopation will give life to many an old sentimental or slow-moving popular number. "Jazz it up!" Just ordinary afterbeat chords will add volume and power to an accompaniment when a big crowd is singing. Evenly repeated chords give a pulsating effect and produce a smooth feeling when used with a slow-moving melody. Variations in rhythm with succeeding verses relieve the monotony of the ordinary song. A tune can be made humorous or sedate, religious or profane, trivial or bom­bastic by rhythm alone.

On the following page is a familiar melody written in various rhythms. The spacing of the numbers will show you the rhythm, but the notation is supplied so that you may see how much more complex it is. The example is presented in the key of D flat—the key in which Dvorak uses it in his New World Symphony. It came originally from the Negroes, who used it in many rhythms. Perhaps you can work out some more rhythms, though the easiest ones are presented here. At the bottom of the page are the most common rhythms for the left hand accompaniment. You will be able to invent many others. Any of these accompaniment rhythms may be used with any of the melody rhythms, but some will fit better than others. See what combinations you like best.

Many people feel that rhythm is cheap and vulgar. The crude and obnoxious exaggeration of rhythm in much popular music without enough melodic substance to carry the strong rhythm has given it this bad reputation. The most powerful examples of rhythm, however, are found in

VARIOUS RHYTHMS,

 

WITH THE SAME TUNE

the works of the masters. Nevertheless, an excess of rhythm may become vulgar. Apply the rhythm with discretion; give as much attention to it as you do to the melody.

Thrill to the rhythm; you will learn it easily.

Pieces Requiring Rhythm – and Much Else

	original key
Wedding March from LOHENGRIN (WAGNER)	Bb
Wedding March from MIDSUMMER NIGHT’S        DREAM (MENDELSSOHN)	C
Overture to WILLIAM TELL (ROSSINI)
Largo from XERXES (HANDEL)	G
To the Evening Star from TANNHAUSER        (WAGNER)	G
Swan Song from LOHENGRIN (WAGNER)	A
Overture to POET AND PEASANT (SUPPE)	D
The Heavens Are Telling (HAYDN)	C
Sonata Facile (MOZART)	C
Coronation March from THE PROPHET        (MEYERBEER)	Eb
Preludes, OP. 28, NO. 4 (CHOPIN)	E minor
6	B minor
7	A
Waltzes, OP. 64, NO. 1 (CHOPIN)	Db
2	C# minor
Impromptu, NO. 2 (SCHUBERT)	Ab
Moment Musical, NO. 2 (SCHUBERT)	Ab
Movements from the Beethoven sonatas
Numbers from the Gilbert and Sullivan operas

WHAT TO DO Conduct an imaginary orchestra, either with or without recordings or radio. Tap the rhythm of any piece, however complicated, and sing the melody at the same time. Apply various rhythms to the pieces you know to get varying effects. Add syncopation to college songs, Negro spirituals, and popular numbers.

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