Chapters in Development
Twentieth-Century Rhythmic Techniques
Samuel Brady
Key Takeaways
- Asymmetrical meters contain measures which are divided into unequal groupings of beats or divisions, creating an uneven metrical pulse.
- Ametric music may or may not have an explicit meter signature, and is not played or sung in a strict metrical style.
- In some cases, the meter written in the score may not be the meter that the listener perceives, which is an issue of perceived versus notated meter.
- Changing meter is a method of composition which incorporates any change of meter.
- Polymeter occurs when two or more meters are performed simultaneously.
- Metric modulation is a rhythmic technique that smooths out abrupt tempo changes by introducing subdivisions or groups of beats in the first tempo that match durations in the new tempo.
- Timeline notation is a contemporary metric technique that uses seconds as the measure of time, rather than traditional bar lines and meters.
- Feathered beaming is a gradual change in the speed of notes within a single beam.
- Ostinato is a repeated rhythmic or pitched musical idea.
Many composers in the twentieth century expanded the traditional rhythmic palette of music in order to explore new musical ideas. Below, nine less traditional rhythmic techniques are discussed.
Asymmetrical Meter
Music in asymmetrical meters contain measures which are divided into unequal groupings of beats or divisions, creating an uneven metrical pulse. Listen to , whose meter is [latex]\begin{smallmatrix}5\\8\end{smallmatrix}[/latex]. Notice the division of the two beats; one is grouped into three eighth notes, and the other into two eighth notes. This creates a feeling of a long pulse followed by a short pulse:
This song is found in the musical Sweeny Todd (1979) whose music is by Stephen Sondheim (1930–2021). The off-kilter feeling of the [latex]\begin{smallmatrix}5\\8\end{smallmatrix}[/latex] meter reinforces the anxious thought process of the singer; he is a servant, recommending his boss for a shave, and is hesitant to do so due to his bootlicking status.
Now listen to
, which is also in [latex]\begin{smallmatrix}5\\8\end{smallmatrix}[/latex] meter. Notice how the division of the two beats is grouped in the opposite manner of the last example, with the first beat divided into two eighth notes, and the second beat into three eighth notes:
The [latex]\begin{smallmatrix}5\\8\end{smallmatrix}[/latex] measures juxtapose the more metrically typical [latex]\begin{smallmatrix}3\\4\end{smallmatrix}[/latex] measures, creating a call and response texture between the woodwinds and brass. The character of the woodwinds is much more lively and playful as compared to the staunch and powerful brass.
There are other asymmetrical time signatures whose beat division unit is the eighth note, such as [latex]\begin{smallmatrix}7\\8\end{smallmatrix}[/latex], [latex]\begin{smallmatrix}11\\8\end{smallmatrix}[/latex], [latex]\begin{smallmatrix}13\\8\end{small