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Polyrhythm - Wikipedia https://en.wikipedia.

org/wiki/Polyrhythm

Polyrhythm
Polyrhythm is the simultaneous use of two or more conflicting
rhythms, that are not readily perceived as deriving from one
another, or as simple manifestations of the same meter.[2] The
rhythmic conflict may be the basis of an entire piece of music
(cross-rhythm), or a momentary disruption. Polyrhythms can be
distinguished from irrational rhythms, which can occur within the
context of a single part; polyrhythms require at least two rhythms
to be played concurrently, one of which is typically an irrational
rhythm.[3]
2:3 polyrhythm (cross rhythm) as
bounce inside oval

Contents
In western art music
Hemiola
Polyrhythm, not polymeter
Composite hemiola
Cross-rhythm
Sub-Saharan African music traditions Polyrhythm: Triplets over duplets in all four beats[1]
Comparing European and Sub- (  Play )
Saharan African meter
The generating principle
Adaptive instruments
Jazz
3:2 cross-rhythm
2:3 cross-rhythm
In popular music
Examples
See also
References
Further reading
External links

In western art music


In some European art music, polyrhythm periodically contradicts the prevailing meter. For example, in
3 and 2}:
Mozart’s Opera Don Giovanni, two orchestras are heard playing together in different metres (4 4

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0:00 MENU

Mozart Don Giovanni 2 dances


together

Mozart, Don Giovanni Dances from Act 1, Scene 5

3 time.
They are later joined by a third band, playing in 8

Polyrhythm is heard near the opening of Beethoven's Third Symphony. (See also syncopation.) It is a
particularly common feature of the music of Brahms. Writing about the Violin Sonata in G major, Op.78, Jan
Swafford (1997, p.   456) says “In the first movement Brahms plays elaborate games with the phrasing,
switching the stresses of the 6 meter back and forth between 3+3 and 2+2+2, or superimposing both in
4
violin and piano. These ideas gather at the climax at measure 235, with the layering of phrases making an
effect that perhaps during the 19th century only Brahms could have conceived."[4]

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0:00 MENU

Brahms Violin Sonata in G, 1, bars


235ff

Brahms Violin Sonata in G, 1, bars 235ff.

Hemiola
Concerning the use of a two-over-three (2:3) hemiola in Beethoven's Sixth String Quartet, Ernest Walker
3 time, but with a curiously persistent cross-rhythm that does its
states, "The vigorously effective Scherzo is in 4
6."[5]
best to persuade us that it is really in 8

0:00 MENU

Beethoven Scherzo from String


Quartet Op 18 No 6

Beethoven Scherzo from Op 18 No 6, violin and cello only.

Polyrhythm, not polymeter


3 and 6, suggests polymeter: triple meter combined with compound duple meter.
The illusion of simultaneous 4 8

Polymeter

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However, the two beat schemes interact within a metric hierarchy (a single meter). The triple beats are
primary and the duple beats are secondary; the duple beats are cross-beats within a triple beat scheme.

Two-over-three (2:3) written


within the proper metric
structure.

Composite hemiola
The four-note ostinato pattern of Mykola Leontovych's "Carol of the Bells" is the composite of the two-
against-three hemiola.

The signature repeating four-note motif is the composite of the


2:3 hemiola.  Play 

Another example of polyrhythm can be found in measures 64 and 65 of the first movement of Wolfgang
Amadeus Mozart's Twelfth Piano Sonata. Three evenly spaced sets of three attack-points span two measures.

0:00 MENU

Mozart piano sonata K332 excerpt

Mozart piano sonata K332 excerpt.

Cross-rhythm
Cross-rhythm refers to systemic polyrhythm. The New Harvard Dictionary of Music states that cross-rhythm
is: "A rhythm in which the regular pattern of accents of the prevailing meter is contradicted by a conflicting
pattern and not merely a momentary displacement that leaves the prevailing meter fundamentally
unchallenged" (1986: 216).[6] The physical basis of cross-rhythms can be described in terms of interference of
different periodicities.[7]

A simple example of a cross-rhythm is 3 evenly spaced notes against 2 (3:2), also known as a hemiola. Two
simple and common ways to express this pattern in standard western musical notation would be 3 quarter
notes over 2 dotted quarter notes within one bar of 6 time, quarter note triplets over 2 quarter notes within
8

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2 time. Other cross-rhythms are 4:3 (with 4 dotted eight notes over 3 quarter notes within a bar of
one bar of 4
3 time as an example in standard western musical notation), 5:2, 5:3, 5:4, etc.
4

There is a parallel between cross rhythms


and musical intervals: in an audible
frequency range, the 2:3 ratio produces the
musical interval of a perfect fifth, the 3:4 Representation of 4 beats parallel to 5 beats
ratio produces a perfect fourth, and the 4:5
ratio produces a major third. All these
interval ratios are found in the harmonic series.

Sub-Saharan African music traditions

Comparing European and Sub-Saharan African meter

In traditional European ("Western") rhythms, the most fundamental parts typically emphasize
the primary beats. By contrast, in rhythms of sub-Saharan African origin, the most fundamental
parts typically emphasize the secondary beats. This often causes the uninitiated ear to
misinterpret the secondary beats as the primary beats, and to hear the true primary beats as
cross-beats. In other words, the musical "background" and "foreground" may mistakenly be
heard and felt in reverse—Peñalosa (2009: 21).[8]

The generating principle


In Non-Saharan African music traditions, cross-rhythm is the generating principle; the meter is in a
permanent state of contradiction. Cross-rhythm was first explained as the basis of non-Saharan rhythm in
lectures by C.K. Ladzekpo and the writings of David Locke.

From the philosophical perspective of the African musician, cross-beats can symbolize the
challenging moments or emotional stress we all encounter. Playing cross-beats while fully
grounded in the main beats, prepares one for maintaining a life-purpose while dealing with
life's challenges. Many non-Saharan languages do not have a word for rhythm, or even music.
From the African viewpoint, the rhythms represent the very fabric of life itself; they are an
embodiment of the people, symbolizing interdependence in human relationships—Peñalosa
(2009: 21).[9]

At the center of a core of rhythmic traditions within which the composer conveys his ideas is the
technique of cross-rhythm. The technique of cross-rhythm is a simultaneous use of contrasting
rhythmic patterns within the same scheme of accents or meter... By the very nature of the
desired resultant rhythm, the main beat scheme cannot be separated from the secondary beat
scheme. It is the interplay of the two elements that produces the cross-rhythmic texture
—Ladzekpo (1995).[10]

Eugene Novotney observes: "The 3:2 relationship (and [its] permutations) is the foundation of most typical

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polyrhythmic textures found in West African musics."[11] 3:2 is the generative or theoretic form of non-
Saharan rhythmic principles. Victor Kofi Agawu succinctly states, "[The] resultant [3:2] rhythm holds the key
to understanding... there is no independence here, because 2 and 3 belong to a single Gestalt."[12]

Three-over-two cross-
rhythm.  Play 

The two beat schemes interact within the hierarchy of a single meter. The duple beats are primary and the
triple beats are secondary. The example below shows the African 3:2 cross-rhythm within its proper metric
structure.

African three-over-two cross-


rhythm written within the
standard western metric
scheme.

The music of African Xylophones such as the balafon and gyil is often based on cross-rhythm. In the following
example, a Ghanaian gyil sounds a 3:2-based ostinato melody. The left hand (lower notes) sounds the two
main beats, while the right hand (upper notes) sounds the three cross-beats.[13] The cross-beats are written as
quarter-notes for visual emphasis.

Ghanaian gyil sounds 3:2 cross-rhythm.  Play 

The following notated example is from the kushaura part of the traditional mbira piece "Nhema Mussasa".
The mbira is a lamellophone. The left hand plays the ostinato bass line while the right hand plays the upper
melody. The composite melody is an embellishment of the 3:2 cross-rhythm.[14]

Adaptive instruments
Sub-Saharan instruments are constructed in a variety of ways to generate polyrhythmic melodies. Some
instruments organize the pitches in a uniquely divided alternate array, not in the straight linear bass to treble
structure that is so common to many western instruments such as the piano, harp, or marimba.

Lamellophones including mbira, mbila, mbira huru, mbira njari, mbira nyunga, marimba, karimba, kalimba,
likembe, and okeme. This family of instruments are found in several forms indigenous to different regions of
Africa and most often have equal tonal ranges for right and left hands. The kalimba is a modern version of
these instruments originated by the pioneer ethnomusicologist Hugh Tracey in the early 20th century which
has over the years gained worldwide popularity.

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Chordophones, such as the West African kora,


and doussn'gouni, part of the harp-lute family
of instruments, also have this African
separated double tonal array
structure.Another instrument, the Marovany
from Madagascar is a double sided box zither
which also employs this divided tonal
structure.
Hugh Tracey Treble Kalimba
The Gravikord is a new American instrument
closely related to both the African kora and the
kalimba was created in the latter 20th century to also exploit this adaptive principle
in a modern electro-acoustic instrument.[15]
Signature Series
On these instruments, one hand of the musician is not primarily in the bass nor the
Gravikord
other primarily in the treble, but both hands can play freely across the entire tonal
range of the instrument. Also, the fingers of each hand can play separate
independent rhythmic patterns, and these can easily cross over each other from treble to bass and back,
either smoothly or with varying amounts of syncopation. This can all be done within the same tight tonal
range, without the left and right hand fingers ever physically encountering each other. These simple rhythms
will interact musically to produce complex cross rhythms including repeating on beat/off beat pattern shifts
that would be very difficult to create by any other means. This characteristically African structure allows often
simple playing techniques to combine with each other to produce polyrhythmic music.

Jazz

3:2 cross-rhythm
Polyrhythm is a staple of modern jazz. Although not as common, use of systemic cross-rhythm is also found
in jazz. In 1959, Mongo Santamaria recorded "Afro Blue," the first jazz standard built upon a typical African
6:4 cross-rhythm (two cycles of 3:2).[16] The song begins with the bass repeatedly playing 6 cross-beats per
each measure of 12
8 (6:4). The following example shows the original ostinato "Afro Blue" bass line. The slashed
noteheads indicate the main beats, where you would normally tap your foot to "keep time."

"Afro Blue" bass line, with main beats indicated by slashed


noteheads.

2:3 cross-rhythm
The famous jazz drummer Elvin Jones took the opposite approach, superimposing two cross-beats over every
3 jazz waltz (2:3). This swung 3 is perhaps the most common example of overt cross-rhythm in
measure of a 4 4
jazz.[17] In 1963 John Coltrane recorded "Afro Blue" with Elvin Jones on drums.[18][19] Coltrane reversed the
3 swing (2:3).
metric hierarchy of Santamaria's composition, performing it instead in 4

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In popular music
Nigerian percussion master Babatunde Olatunji arrived on the American music scene in 1959 with his album
Drums of Passion, which was a collection of traditional Nigerian music for percussion and chanting. The
album stayed on the charts for two years and had a profound impact on jazz and American popular music.
Trained in the Yoruba sakara style of drumming, Olatunji would have a major impact on Western popular
music. He went on to teach, collaborate and record with numerous jazz and rock artists, including Airto
Moreira, Carlos Santana and Mickey Hart of the Grateful Dead. Olatunji reached his greatest popularity
during the height of the Black Arts Movement of the 1960s and 1970s.

Afro-Cuban music makes extensive use of polyrhythms. Cuban Rumba uses 3-based and 2-based rhythms at
6, while the rest of the
the same time, for example, the lead drummer (playing the quinto) might play in 8
ensemble keeps playing 2. Afro-Cuban conguero, or conga player, Mongo Santamaría was another
2
percussionist whose polyrhythmic virtuosity helped transform both jazz and popular music. Santamaria fused
Afro-Latin rhythms with R&B and jazz as a bandleader in the 1950s, and was featured in the 1994 album
Buena Vista Social Club, which was the inspiration for the like-titled documentary released five years later.

Among the most sophisticated polyrhythmic music in the world is south Indian classical Carnatic music. A
kind of rhythmic solfege called konnakol is used as a tool to construct highly complex polyrhythms and to
divide each beat of a pulse into various subdivisions, with the emphasised beat shifting from beat cycle to beat
cycle.

Common polyrhythms found in jazz are 3:2, which manifests as the quarter-note triplet; 2:3, usually in the
form of dotted-quarter notes against quarter notes; 4:3, played as dotted-eighth notes against quarter notes
(this one demands some technical proficiency to perform accurately, and was not at all common in jazz before
3 time against 4, which along with 2:3 was
Tony Williams used it when playing with Miles Davis); and finally 4 4
used famously by Elvin Jones and McCoy Tyner playing with John Coltrane.

Frank Zappa, especially towards the end of his career, experimented with complex polyrhythms, such as 11:17,
and even nested polyrhythms (see "The Black Page" for an example). The metal bands Meshuggah,
Nothingface, Periphery, Threat Signal, Lamb of God, Textures and TesseracT also use polyrhythms in their
music. Contemporary progressive metal bands such as Mudvayne, Tool, Animals as Leaders, Between the
Buried and Me and Dream Theater also incorporate polyrhythms in their music, and polyrhythms have also
been increasingly heard in technical metal bands such as Ion Dissonance, The Dillinger Escape Plan,
Necrophagist, Candiria, The Contortionist and Textures. Much minimalist and totalist music makes extensive
use of polyrhythms. Henry Cowell and Conlon Nancarrow created music with yet more complex polytempo
and using irrational numbers like π:e.[20]

Peter Magadini's album Polyrhythm, with musicians Peter Magadini, George Duke, David Young, and Don
Menza, features different polyrhythmic themes on each of the six songs.

1. Doin’ Time and a Half: Has the polyrhythmic theme of 6 over 4.


2. Five For Barbara: Has the polyrhythmic theme of 5 over 4.
3. The Modulator: The beginning tempo modulates to two times faster and then modulates back to two
times slower.
4. Seventy Fourth Ave: Has the polyrhythmic theme of 7 over 4.
5. Samba de Rollins: Includes a drum solo based on 3 over 4.
3, has a continuous interlude of 2 over 3 and then 4 over 3.
6. Midnight Bolero: In 4
King Crimson used polyrhythms extensively in their 1981 album Discipline.[21] Above all Bill Bruford used

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polyrhythmic drumming throughout his career.

The band Queen used polyrhythm in their 1974 song "The March of the Black Queen" with 8 and 12 time
8 8
signatures.[22]

Nine Inch Nails front man Trent Reznor uses polyrhythm frequently. One notable appearance is in the song
"La Mer" from the album The Fragile. The piano holds a 3 riff while the drums and bass back it with a
4
standard 4 signature.
4

Talking Heads' Remain in Light used dense polyrhythms throughout the album, most notably on the song
"The Great Curve".[23]

Megadeth frequently tends to use polyrhythm in its drumming, notably from songs such as "Sleepwalker" or
the ending of "My Last Words", which are both played in 2:3.

Carbon Based Lifeforms have a song named "Polyrytmi", Finnish for "polyrhythm", on their album
Interloper. This song indeed does use polyrhythms in its melody.[24]

Japanese girl group Perfume made use of the technique in their single, appropriately titled "Polyrhythm",
5 , 6 in the vocals, common time (4
included on their second album Game. The bridge of the song incorporates 8 8 4
) and 32 in the drums.[25]

The Britney Spears single "Till the World Ends" (released March 2011) uses a 4:3 cross-rhythm in its hook.[26]

The outro of the song "Animals" from the album The 2nd Law by the band Muse uses 45 and 4
4 time signatures
for the guitar and drums respectively.

9 against 4 in the chorus.


The Aaliyah song "Quit Hatin" uses 8 4

The Japanese idol group 3776 makes use of polyrhythm in a number of their songs, most notably on their
2014 mini-album "Love Letter", which features five songs that all include several rhythmic references to the
number 3776. A secret track on the album has the group's leader, Ide Chiyono, explain some of the uses of
polyrhythm to the listener.

The National song "Fake Empire" uses a 4 over 3 polyrhythm.[27]

The Cars' song "Touch and Go" has a 45 rhythm in the drum and bass and a 4
4 rhythm in the keys and vocals.

Examples
The following is an example of a 3 against 2 polyrhythm, given in time unit box system (TUBS) notation; each
box represents a fixed unit of time; time progresses from the left of the diagram to the right. It is in bad form
to teach a student to play 3:2 polyrhythms as simply quarter note, eighth note, eighth note, quarter note. The
proper way is to establish sound bases for both the quarter-notes, and the triplet-quarters, and then to layer
them upon each other, forming multiple rhythms. Beats are indicated with an X; rests are indicated with a
blank.

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3 against 2 polyrhythm
2-beat
X   X   X   X   X   X   X   X   X   X   X   X  
rhythm

3-beat
X     X     X     X     X     X     X     X    
rhythm

A common memory aid to help with the 3 against 2 polyrhythm is that it has the same rhythm as the phrase
"not difficult"; the simultaneous beats occur on the word "not"; the second and third of the triple beat land on
"dif" and "cult", respectively. The second 2-beat lands on the "fi" in "difficult." Try saying "not difficult" over
and over in time with the sound file above. This will emphasize the "3 side" of the 3 against 2 feel. Now try
saying the phrase "not a problem", stressing the syllables "not" and "prob-". This will emphasize the "2 side"
of the 3 against 2 feel. More phrases with the same rhythm are "cold cup of tea", "four funny frogs", "come, if
you please".

Similar phrases for the 4 against 3 polyrhythm are "pass the golden butter"[1] or "pass the goddamn
butter"[28] and "what atrocious weather" (or "what a load of rubbish" in British English); the 4 against 3
polyrhythm is shown below.

4 against 3 polyrhythm
3-beat
X     X     X     X     X     X     X     X    
rhythm

4-beat
X       X       X       X       X       X      
rhythm

A 3 against 4 polyrhythm Polyrhythm 4 3


4 with 4 simultaneously
0:00 MENU (cross rhythm) as bounce inside
oval
Problems playing this file? See media help.

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As can be seen from above, the counting for polyrhythms is determined by the lowest common multiple, so if
one wishes to count 2 against 3, one needs to count a total of 6 beats, as lcm(2,3) = 6 (123456 and 123456).
However this is only useful for very simple polyrhythms, or for getting a feel for more complex ones, as the
total number of beats rises quickly. To count 4 against 5, for example, requires a total of 20 beats, and
counting thus slows the tempo considerably. However some players, such as classical Indian musicians, can
intuitively play high polyrhythms such as 7 against 8.

Polyrhythms are quite common in late Romantic Music and 20th century classical music. Works for keyboard
often set odd rhythms against one another in separate hands. A good example is in the soloist's cadenza in
Grieg's Concerto in A Minor; the left hand plays arpeggios of seven notes to a beat; the right hand plays an
ostinato of eight notes per beat while also playing the melody in octaves, which uses whole notes, dotted
eighth notes, and triplets. Other instances occur often in Rachmaninoff's Piano Concerto No. 2. The piano
arpeggios that constitute much of the soloist's material in the first movement often have anywhere from four
to eleven notes per beat. In the last movement, the piano's opening run, marked 'quasi glissando', fits 52
notes into the space of one measure, making for a glissando-like effect while keeping the mood of the music.
Other instances in this movement include a scale that juxtaposes ten notes in the right hand against four in
the left, and one of the main themes in the piano, which imposes an eighth-note melody on a triplet harmony.
Another example is the fluid 7:3 polyrhythm at the beginning of Charles Griffes' The White Peacock.

See also
Beat (acoustics) - another example of the same effect (mathematically), but with two continuous waves
rather than a hit of the instrument only at every peak and trough of either wave.
Cross-rhythm
Euclidean rhythm
Ewe music
Hemiola

References
1. Slenczynska (1976). Music At Your Fingertips: Advice For The Artist And Amateur On Playing The Piano,
p.43. ISBN 0-306-80034-9.
2. New Harvard Dictionary of Music (1986: 646). Cambridge, MA: Harvard University Press.
3. Novotney, Eugene D. (1998: 265). The Three Against Two Relationship as the Foundation of Timelines in
West African Musics Urbana, IL: University of Illinois. UnlockingClave.com.
http://www.unlockingclave.com/free-download-32-thesis.html
4. Swafford, J. (1997) Johannes Brahms, a biography. London, Macmillan.
5. Walker, Ernest (1905: 79) The Music of the Masters; Beethoven. New York: Brentano's Union Square.
6. New Harvard Dictionary of Music (1986: 216). Cambridge, MA: Harvard University Press.
7. Joseph Schillinger.1941. Theory of Rhythm. In: Joseph Schillinger. 1941. The Schillinger System of
Musical Composition, p. 4-12
8. Peñalosa, David (2009: 21).
9. Peñalosa, David (2009: 21) The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins.
Redway, CA: Bembe Inc. ISBN 1-886502-80-3.
10. Ladzekpo, C.K. (1995: webpage). "The Myth of Cross-Rhythm" (https://home.comcast.net
/~dzinyaladzekpo/Myth.html), Foundation Course in African Dance-Drumming.

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11. Novotney, Eugene D. (1998). The Three Against Two Relationship as the Foundation of Timelines in
West African Musics Urbana, IL: University of Illinois. UnlockingClave.com.
12. Agawu, Kofi (2003: 92). Representing African Music: Postcolonial Notes, Queries, Positions New York:
Routledge. ISBN 0-415-94390-6.
13. Peñalosa (2010). The Clave Matrix p. 22.
14. Peñalosa (2010). The Clave Matrix p. 35.
15. The Gravikord web site : http://www.gravikord.com/instrument.html#gravikord
16. "Afro Blue," Afro Roots (Mongo Santamaria) Prestige CD 24018-2 (1959).
3 swing. https://www.youtube.com/watch?v=OEAyWsTLrYY&
17. Conor Guilfoyle demonstrates 4
feature=related
18. "Afro Blue," Impressions (John Coltrane) Pablo CD (1963).
19. John Coltrane performs "Afro Blue" with Elvin Jones on drums. https://www.youtube.com
/watch?v=olOYynQ-_Hw
20. Thomas, Margaret. “Nancarrow's ‘Temporal Dissonance’: Issues of Tempo Proportions, Metric
Synchrony, and Rhythmic Strategies.” Intégral 14/15 (2000–2001): p. 138.
21. "Rock Meets Classical, Part 6: Analyzing Discipline - Art Rock Tendencies" (http://www.brutalprog.com
/artrocktendencies/article/rock-meets-classical-part-6-analyzing-discipline). Retrieved 22 February 2017.
22. LG. "Queen - Royal Legend" (http://queen.musichall.cz/index_en.php?s=sa&d=rhythm). Retrieved
22 February 2017.
23. Olwell, Greg. “BP Recommends: Talking Heads – ‘Talking Heads Brick’.” Bass Player 17:2 (Feb, 2006):
73.
24. marco1601 (25 July 2010). "Carbon Based Lifeforms - Interloper - 10 Polyrytmi"
(https://www.youtube.com/watch?v=9eyg3QydFhE). Retrieved 22 February 2017 – via YouTube.
25. http://musicbrainz.org/release-group/561396aa-eca7-339b-aef0-aaabb5003911.
26. Pellerin, Adrien (2011). Britney Spears is using Tuplets? http://adrienpellerin.tumblr.com
/post/6274133096/britney-spears-is-using-tuplets.
27. "The National's Bryce Dessner Explains The Four-Over-Three Polyrhythm Of "Fake Empire" "
(http://www.stereogum.com/1688121/the-nationals-bryce-dessner-explains-the-four-over-three-
polyrhythm-of-fake-empire/mp3s/). 20 June 2014. Retrieved 22 February 2017.
28. Sep 2007. Guitar World, p.102. Vol. 28, No. 9. ISSN 1045-6295.

Further reading
Peter Magadini (2001). The Musicians Guide to Polyrhythms. ISBN 978-0-63403-283-7. [Polyrhythm
reference book.]
Peter Magadini (1993). Polyrhythms For The Drumset. ISBN 978-0-89724-821-1. [Study in polymetric
independence for drummers.]

External links
Superimposed Subdivisions (Polyrhythm Hell) (http://onlinedrummer.com/pdf.php?Id=135) - An article by
Heikki Malmberg
C.K. Ladzekpo's Foundation Course in African Dance-Drumming (http://www.cnmat.berkeley.edu
/~ladzekpo/PrinciplesFr.html)
Novotney, Eugene D. (1998) The Three Against Two Relationship as the Foundation of Timelines in West
African Musics, PhD thesis. Urbana, IL: University of Illinois. (http://www.unlockingclave.com/)
African Music Encyclopedia: Babatunde Olatunji (http://africanmusic.org/artists/olatunji.html)
"Africano, the mother of groove," an article on polyrhythms and the African drumming tradition
(https://web.archive.org/web/20051216110124/http://www.lagbaja.com/africano.htm)

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Tempo Mental (https://web.archive.org/web/20041016215443/http://vai.com/LittleBlackDots


/tempomental.html)- Article by Steve Vai on Polyrhythms
Drums Database (http://www.drumsdatabase.com/drums-polyrhythms.htm)- More Polyrhythms
polyPulse (http://www.flexatone.net/athenaPolyPulse.html) An athenaCL netTool for on-line, web-based
MIDI polyrhythm generation
polygnome (http://sourceforge.net/projects/polygnome/) A polyrhythmic metronome application for
GNU/Linux
Polyrhythm experiments using Improvisor and AudioCubes (http://www.percussa.com/2011/06
/18/polyrhythm-experiments-using-audiocubes/)
polymath (http://www.panix.com/~jens/polymath.par) Another on-line, web-based MIDI polyrhythm
generation tool which uses symbolic input
Polyrhythm Lessons (http://www.wholenote.com/cgi-bin/page_view.pl?l=11432&p=1)- Information on
applying polyrhythms on the guitar
How many tuplets (http://t-tt-t-tt-sss.blogspot.com/2007/10/hom-many-tuplets.html)- Post on triplets and
duplets in West African music
Metronome for Rhythms and Multi-Beat Polyrhythms (http://bouncemetronome.com/audio/downloadable-
audio-clips/audio-clips-polyrhythms) Audio clips of many polyrhythms
How to Play Polyrhythms - Videos (http://www.bouncemetronome.com/videos-for-polyrhythms.htm) Video
clips of many polyrhythms like the ones used to illustrate this article
4 different time signatures Polymeter (https://www.youtube.com/watch?v=rG92aH3vYak) An example of
4 layer Time Signatures (2:4, 3:8, 5:16 & 7:8) played by Denny AJD simultaneously on a drumset.
Polyrhythms ...an Introduction Peter Magadini (https://www.youtube.com/watch?v=Zn7YtjO6Mqc) - as
seen on " YouTube "
Drum Solo with Metric Modulations - Peter Magadini (2006) from the Hal Leonard dvd "Jazz Drums"
(https://www.facebook.com/photo.php?v=10150135717521264&comment_id=10152621680461264&
offset=0&total_comments=21)
The 26 Official Polyrhythm Rudiments (2012) Modern Drummer Magazine (https://web.archive.org
/web/20150419050734/http://www.vicfirth.com/exchange/2013/07/10/the-official-26-polyrhythm-
rudiments-by-peter-magadini/) - Pete Magadini

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This page was last edited on 24 April 2018, at 05:14.

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