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181:(the equivalent Latin term is sesquialtera) can also be considered as one straight measure in three with one long chord and one short chord and a syncope in the measure thereafter, with one short chord and one long chord. Usually, the last chord in a hemiola is a (bi-)dominant, and as such a strong harmony on a weak beat, hence a syncope.
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In the example below, for the first two measures an unsyncopated rhythm is shown in the first measure. The third measure has a syncopated rhythm in which the first and fourth beat are provided as expected, but the accent occurs unexpectedly in between the second and third beats, creating a familiar
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Technically, "syncopation occurs when a temporary displacement of the regular metrical accent occurs, causing the emphasis to shift from a strong accent to a weak accent". "Syncopation is very simply, a deliberate disruption of the two- or three-beat stress pattern, most often by stressing an
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778:(2005, p. 37) describes the Hornpipe as “possibly the most memorable movement in the collection, combining instrumental brilliance and rhythmic vitality… Woven amongst the running quavers are the insistent off-beat syncopations that symbolise confidence for Handel.” Bach's
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1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & Repeated trochee: ¯ ˘ ¯ ˘ I can't get no – o
Backbeat trans.: ¯ ˘ ¯ ˘
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to
Narmour's prosodic rules which create rhythmic successions in order to explain or generate syncopations. "The syncopated pattern is heard 'with reference to', 'in light of', as a remapping of, its partner." He gives examples of various types of syncopation: Latin,
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114:. More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur". It is the correlation of at least two sets of time intervals.
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However, whether it is a placed rest or an accented note, any point in a piece of music that changes the listener's sense of the downbeat is a point of syncopation because it shifts where the strong and weak accents are built.
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For the following example, there are two points of syncopation where the third beats are sustained from the second beats. In the same way, the first beat of the second bar is sustained from the fourth beat of the first bar.
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Symphony No. 3 exemplifies powerfully the uses of syncopation in a piece in triple time. After producing a pattern of three beats to a bar at the outset, Beethoven disrupts it through syncopation in a number of ways:
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Note how in the sound bite, the piano's notes do not happen at the same time as the drum beat that simply keeps a regular rhythm. In contrast, a standard-rhythm piece would have the notes occur
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says: "the syncopations of this passage are of a kind which is almost a
Gabrieli fingerprint, and they are typical of a general liveliness of rhythm common to Venetian music". The composer
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and count it as "1-and-2-and-3-and-4-and". In general, emphasizing the "and" would be considered the off-beat (syncopated), whereas having the emphasis on the numbers is on-beat.
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681:, with many cross-rhythms... as in the famous Agincourt carol 'Deo gratias Anglia'. As in other music of the period, the emphasis is not on harmony, but on melody and rhythm."
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Syncopation has been an important element of
European musical composition since at least the Middle Ages. Many Italian and French compositions of the music of the 14th-century
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used syncopated rhythms as an inherent part of their compositions. One of the best-known examples of syncopation in music from the
Baroque era was the "Hornpipe" from
651:, "he 15th-century carol repertory is one of the most substantial monuments of English medieval music... The early carols are rhythmically straightforward, in modern
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Though syncopation may be very complex, dense or complex-looking rhythms often contain no syncopation. The following rhythm, though dense, stresses the regular
121:. According to music producer Rick Snoman, "All dance music makes use of syncopation, and it's often a vital element that helps tie the whole track together".
549:(¯ ˘ ¯ ˘). A backbeat transformation is applied to "I" and "can't", and then a before-the-beat transformation is applied to "can't" and "no".
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692:(1557–1612), exploited syncopation for both their secular madrigals and instrumental pieces and also in their choral sacred works, such as the motet
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This demonstrates how each syncopated pattern may be heard as a remapping, "with reference to" or "in light of", an unsyncopated pattern.
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Playing a note ever so slightly before, or after, a beat is another form of syncopation because this produces an unexpected accent:
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features striking deviations from the established rhythmic norm in its first and third movements. According to
Malcolm Boyd, each
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This "long sequence of syncopated sforzandi" recurs later during the development section of this movement, in a passage that
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describes here how "the first violins, entering immediately after the C sharp, are made palpably to totter for two bars".
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get no – o Before-the-beat: ¯ ˘ ¯ ˘ I
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used syncopation to create variety especially in their symphonies. The beginning movement of
Beethoven's
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time, thus anticipating the third and first beats. This pattern is known commonly as the Afro-Cuban bass
934:(3) By inserting silences (rests) at points where a listener might expect strong beats, in the words of
545:" is a good example of syncopation. It is derived here from its theoretic unsyncopated form, a repeated
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describes as "a rhythmic pattern that rides roughshod over the properties of a normal three-in-a bar".
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subject is expressed... with the accent thrown on to the second of the two minims (now staccato)":
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to the third movement as "remarkable... for the way the rhythm of the initial phrase of the
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Different crowds will "clap along" at concerts either on 1 and 3 or on 2 and 4, as above.
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played together to make a piece of music, making part or all of a tune or piece of music
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for 18th- and early-19th-century music and is the usual conclusion of any section.
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Peter Manuel (Autumn–Winter 1985). "The anticipated bass in Cuban popular music".
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Beethoven, Symphony No.3, first movement, bars 123–131, first violin part
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Beethoven, Symphony No. 3, first movement, bars 23–37, first violin part
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The refrain "Deo
Gratias" from the 15th-century anonymous English "
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The stress can shift by less than a whole beat, so it occurs on an
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Bach
Brandenburg Concerto No. 4 ending bars of the first movement
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Beyond
Schenkerism: the Need for Alternatives in Music Analysis
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The accent may be shifted from the first to the second beat in
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Bach Brandenburg Concerto No. 4 ending bars of first movement
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1231:. Philadelphia: Open University Press. pp. 212–213.
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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Bach Brandenburg Concerto No. 4 coda to the 3rd movement
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Bach Brandenburg Concerto No. 4 coda to the 3rd movement
1128:
Progressive Steps to Syncopation for the Modern Drummer
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Beethoven, Symphony No. 3, first movement, bars 123–131
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Syncopation is used in many musical styles, especially
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Beethoven, Symphony No. 3, beginning of first movement
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Handel: Water Music and Music for the Royal Fireworks
915:
Beethoven, Symphony No. 3, first movement, bars 23–37
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Beethoven Symphony No. 3, beginning of first movement
505:(and the third to fourth in quadruple), creating the
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Seyer, Philip; Allan B. Novick; Paul Harmon (1997).
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section of the first movement, "is clinched with an
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created in the 1990s, utilizing syncopated rhythms.
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1991:
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1097:Dance Music Manual: Toys, Tools, and Techniques
622:" is also characterised by lively syncopation:
170:measure. The latter occurs frequently in tonal
374:tone that comes syncopated shortly before the
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124:Syncopation can also occur when a strong
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1080:"Rhythm of Prose" (Introductory Outline)
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611:Giovanni da Firenze, Appress' un fiume.
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596:use syncopation, as in of the following
63:String Quartet in A major, Op. 18, No. 5
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1387:. Oxford University Press. p. 658.
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1992:
1305:. Oxford University Press. p. 93.
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1159:Day, Holly; Pilhofer, Michael (2007).
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194:, or a note that is not on the beat."
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19:For other uses of the same name, see
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1437:
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1125:
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1078:Patterson, William Morrison (1917).
1385:The Oxford History of Western Music
666:time; later the basic rhythm is in
365:
13:
1447:
1325:Conversations with Igor Stravinsky
600:by Giovanni da Firenze. (See also
483:Backbeat transformation of simple
155:is played at the fourth beat of a
136:is played on the second beat of a
14:
2031:
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1421:Beethoven and his Nine Symphonies
407:
1405:. London: Heinemann. p. 75.
1403:The Nine Symphonies of Beethoven
1101:. Taylor & Francis. p.
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343:It can be helpful to think of a
1440:Bach: The Brandenburg Concertos
1409:
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415:suggests adding the concept of
1480:Syncopation in dance and music
1423:. London: Novello. p. 61.
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707:Gabrieli Domine Dominus noster
1:
1615:Electroacoustic improvisation
1442:. Cambridge University Press.
1342:. Cambridge University Press.
1338:Hogwood, Christopher (2005).
1034:
641:Agincourt carol – Deo gratias
633:Agincourt carol – Deo gratias
197:
1327:. London: Faber. p. 91.
1227:Middleton, Richard (2002) .
1082:. Columbia University Press.
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128:is simultaneous with a weak
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21:Syncopation (disambiguation)
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1188:Latin American Music Review
1054:National Symphony Orchestra
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439:Latin equivalent of simple
10:
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780:Brandenburg Concerto No. 4
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1163:. Wiley. pp. 58–60.
65:, 3rd movement, mm. 24–25
1904:Non-retrogradable rhythm
1161:Music Theory For Dummies
458:"Latin rhythm" known as
1278:Encyclopædia Britannica
1048:Hoffman, Miles (1997).
648:Encyclopædia Britannica
520:download the audio file
473:download the audio file
334:download the audio file
314:download the audio file
290:download the audio file
253:download the audio file
214:download the audio file
132:, for instance, when a
80:download the audio file
38:download the audio file
16:Off-beat musical rhythm
1438:Boyd, Malcolm (1993).
1229:Studying Popular Music
1130:. Alfred. p. 33.
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533:"Satisfaction" example
370:Anticipated bass is a
1798:Additive and divisive
1458:. Forest Hill Music.
1456:What Makes Music Work
1093:Snoman, Rick (2004).
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1924:Prolation and tempus
1545:Backdoor progression
1253:Narmour, E. (1980).
1029:The Syncopated Clock
819:Boyd also hears the
537:The phrasing of the
267:Off-beat syncopation
185:Types of syncopation
2015:Musical terminology
1257:. pp. 147–153.
994:Syncopation (dance)
776:Christopher Hogwood
378:, which is used in
2010:Musical techniques
1674:Jazz improvisation
1620:Free improvisation
1605:Constant structure
1585:Chord-scale system
1263:, pp. 212–213
1126:Reed, Ted (1997).
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1303:Giovanni Gabrieli
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1023:heavy metal music
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645:According to the
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383:Cuban dance music
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2020:Jazz terminology
2000:Rhythm and meter
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1485:On syncopation
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1474:External links
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1261:Middleton 2002
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1201:10.2307/780203
1195:(2): 249–261.
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1038:
1036:
1033:
1032:
1031:
1026:
1016:
1011:
1006:
996:
991:
986:
980:
979:
963:
960:
929:Antony Hopkins
792:of syncopated
672:
657:
589:
586:
551:
539:Rolling Stones
534:
531:
517:
514:
511:
498:
489:
481:
470:
467:
464:
454:
445:
437:
417:transformation
409:
408:Transformation
406:
391:
367:
364:
349:
331:
328:
325:
311:
308:
305:
287:
284:
281:
268:
265:
250:
247:
244:
233:
227:, 1 and 4 (in
211:
208:
205:
199:
196:
186:
183:
161:
153:dominant chord
142:
88:
77:
74:
71:
70:
69:
46:
35:
32:
29:
28:
27:
15:
9:
6:
4:
3:
2:
2032:
2021:
2018:
2016:
2013:
2011:
2008:
2006:
2003:
2001:
1998:
1997:
1995:
1980:
1977:
1975:
1972:
1970:
1967:
1965:
1962:
1960:
1957:
1955:
1952:
1950:
1947:
1945:
1942:
1940:
1939:Rhythmic mode
1937:
1935:
1932:
1930:
1927:
1925:
1922:
1920:
1917:
1915:
1912:
1910:
1907:
1905:
1902:
1900:
1897:
1895:
1892:
1890:
1887:
1885:
1882:
1880:
1877:
1875:
1872:
1870:
1867:
1865:
1862:
1860:
1859:
1855:
1851:
1848:
1847:
1846:
1843:
1841:
1838:
1834:
1831:
1830:
1829:
1826:
1824:
1821:
1819:
1818:Canter rhythm
1816:
1814:
1811:
1809:
1806:
1804:
1801:
1799:
1796:
1795:
1792:
1788:
1784:
1777:
1772:
1770:
1765:
1763:
1758:
1757:
1754:
1742:
1739:
1737:
1734:
1730:
1727:
1725:
1722:
1721:
1720:
1717:
1715:
1712:
1710:
1707:
1705:
1702:
1700:
1697:
1695:
1692:
1690:
1687:
1685:
1682:
1680:
1677:
1675:
1672:
1668:
1665:
1664:
1663:
1660:
1658:
1655:
1653:
1650:
1648:
1645:
1643:
1640:
1638:
1635:
1633:
1630:
1626:
1623:
1622:
1621:
1618:
1616:
1613:
1611:
1608:
1606:
1603:
1601:
1598:
1596:
1593:
1591:
1588:
1586:
1583:
1581:
1578:
1576:
1573:
1571:
1568:
1566:
1563:
1561:
1558:
1556:
1553:
1551:
1548:
1546:
1543:
1541:
1538:
1537:
1534:
1530:
1529:improvisation
1526:
1523:
1516:
1511:
1509:
1504:
1502:
1497:
1496:
1493:
1486:
1483:
1481:
1478:
1477:
1467:
1465:0-9651344-0-7
1461:
1457:
1452:
1451:
1441:
1436:
1435:
1434:
1433:
1422:
1418:
1417:Grove, George
1412:
1404:
1400:
1394:
1386:
1382:
1376:
1374:
1367:, p. 85.
1366:
1361:
1355:, p. 53.
1354:
1349:
1341:
1334:
1326:
1322:
1321:Craft, Robert
1318:
1312:
1304:
1300:
1299:Arnold, Denis
1294:
1279:
1275:
1269:
1262:
1256:
1249:
1240:
1238:0-335-15275-9
1234:
1230:
1223:
1221:
1219:
1210:
1206:
1202:
1198:
1194:
1190:
1189:
1181:
1172:
1166:
1162:
1155:
1153:
1151:
1149:
1139:
1137:0-88284-795-3
1133:
1129:
1122:
1114:
1112:0-240-51915-9
1108:
1104:
1099:
1098:
1089:
1081:
1074:
1059:
1055:
1051:
1050:"Syncopation"
1044:
1040:
1030:
1027:
1024:
1020:
1017:
1015:
1012:
1010:
1007:
1004:
1000:
997:
995:
992:
990:
987:
985:
982:
981:
977:
966:
955:
939:
937:
932:
930:
921:
905:
902:
900:
892:
876:
873:
870:
869:
864:
860:
856:
852:
844:
828:
826:
822:
813:
797:
795:
791:
790:
785:
781:
777:
771:
766:
760:
747:
745:
744:
739:
735:
734:George Handel
731:
727:
725:
721:
713:
697:
695:
691:
687:
682:
675:
660:
650:
649:
639:
623:
621:
614:
609:
605:
603:
599:
595:
585:
582:
578:
567:
563:
559:
556:
550:
548:
544:
540:
530:
521:
510:
508:
504:
492:
474:
463:
461:
448:
436:
432:
423:
418:
414:
405:
403:
394:
384:
381:
377:
373:
363:
361:
352:
335:
324:
315:
304:
302:
291:
280:
279:(or quaver):
278:
274:
264:
254:
243:
236:
226:
215:
204:
195:
193:
182:
180:
175:
173:
164:
154:
151:measure or a
145:
135:
131:
127:
122:
120:
115:
113:
109:
105:
101:
92:
81:
64:
60:
56:
54:
53:
47:Syncopation (
39:
26:
22:
1953:
1856:
1729:Tadd Dameron
1713:
1560:Bird changes
1455:
1439:
1431:
1430:
1420:
1411:
1402:
1393:
1384:
1360:
1348:
1339:
1333:
1324:
1311:
1302:
1293:
1281:. Retrieved
1268:
1254:
1248:
1228:
1192:
1186:
1180:
1160:
1127:
1121:
1096:
1088:
1079:
1073:
1061:. Retrieved
1053:
1043:
976:Music portal
936:George Grove
933:
926:
903:
897:
874:
867:
849:
818:
788:
774:
769:
758:
741:
728:
720:Denis Arnold
718:
693:
683:
673:
658:
646:
644:
617:
591:
583:
570:
565:
561:
557:
554:
543:Satisfaction
536:
528:
500:
490:
456:
446:
411:
392:
369:
360:eighth notes
350:
342:
322:
300:
298:
270:
261:
234:
222:
201:
188:
176:
162:
143:
123:
116:
103:
97:
51:
50:
25:
1954:Syncopation
1714:Syncopation
1657:Jam session
1637:Harmolodics
1565:Block chord
1555:Bebop scale
770:Water Music
759:Water Music
743:Water Music
503:duple meter
380:Son montuno
277:eighth note
119:dance music
104:syncopation
1994:Categories
1969:Time point
1919:Polyrhythm
1914:Note value
1884:Homorhythm
1850:Note value
1840:Cross-beat
1719:Turnaround
1694:Polyrhythm
1679:Lead sheet
1662:Jazz chord
1610:Contrafact
1540:Avoid note
1487:(in Dutch)
1035:References
1014:Cross-beat
1003:epenthesis
784:ritornello
730:J. S. Bach
688:, such as
358:rhythm in
303:the beat:
198:Suspension
1944:Stop-time
1894:Isorhythm
1869:Half-time
1833:Count off
1803:Anacrusis
1590:Chordioid
1570:Blue note
1365:Boyd 1993
1353:Boyd 1993
1259:Cited in
984:Anacrusis
859:Beethoven
794:antiphony
564:get
225:downbeats
134:7th-chord
89:Vertical
59:Beethoven
1845:Duration
1828:Counting
1823:Colotomy
1652:Jam band
1419:(1896).
1401:(1981).
1383:(2010).
1323:(1959).
1301:(1979).
1283:14 March
1019:Nu metal
962:See also
863:Schubert
746:(1733).
598:madrigal
594:Trecento
541:' song "
509:rhythm:
507:backbeat
460:tresillo
422:backbeat
376:downbeat
192:off-beat
172:cadences
112:off-beat
1929:Prosody
1879:Hemiola
1689:Outside
1667:So What
1642:Harmony
1600:Comping
1575:Cadenza
1432:Sources
1274:"Carol"
1063:13 July
1009:Hemiola
999:Syncope
588:History
547:trochee
273:offbeat
179:hemiola
126:harmony
108:rhythms
91:hemiola
1979:Tuplet
1864:Groove
1783:Rhythm
1724:ii-V-I
1632:Groove
1525:theory
1462:
1235:
1209:780203
1207:
1167:
1134:
1109:
868:Eroica
861:, and
855:Mozart
789:Epilog
738:Handel
613:Listen
602:hocket
402:tumbao
1964:Tempo
1949:Swing
1934:Pulse
1858:Gatra
1787:meter
1709:Swing
1704:Scale
1205:JSTOR
851:Haydn
825:fugue
568:– o
562:can't
558:can't
100:music
57:) in
1959:Tala
1889:Iqa'
1813:Beat
1785:and
1647:Head
1625:List
1527:and
1522:Jazz
1460:ISBN
1285:2019
1233:ISBN
1165:ISBN
1132:ISBN
1107:ISBN
1065:2009
1001:and
821:coda
732:and
576:Play
430:Play
372:bass
130:beat
1808:Bar
1197:doi
1058:NPR
796:":
740:'s
604:.)
242:):
98:In
61:'s
52:sfz
1996::
1372:^
1319:;
1276:.
1217:^
1203:.
1191:.
1147:^
1105:.
1103:44
1056:.
1052:.
857:,
853:,
696::
566:no
462:.
404:.
301:on
177:A
102:,
1775:e
1768:t
1761:v
1514:e
1507:t
1500:v
1468:.
1287:.
1243:.
1241:.
1211:.
1199::
1193:6
1175:.
1173:.
1142:.
1140:.
1115:.
1067:.
674:4
659:8
555:I
522:.
491:4
475:.
447:4
393:4
351:4
336:.
316:.
292:.
255:.
235:8
216:.
163:4
144:4
82:.
40:.
23:.
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