Hello and welcome to today's music lesson.

I'm Ms. Mansell and I'm gonna be your teacher today.

Let's get started.

Today's lesson outcome is, "I can analyze how a composer uses rhythmic devices effectively, and can use some of these in my own composition.

" Let's take a look at some keywords for today.

Polyrhythm.

Multiple different rhythms playing at the same time.

Cross rhythm.

A polyrhythm in which two or more of the rhythms conflict and feel like they have a different pulse.

Hemiola.

When three notes are played over the duration of two, or vice versa, creating the feeling of tempo change.

Syncopation.

Where a rhythm emphasizes notes in between the main beats.

Diminution.

Where the notes in a melody or rhythm are all shortened by the same proportion.

For example, in half.

Today's lesson on using rhythmic devices is in two parts.

Part one is analyzing a percussion quartet, and part two is using rhythmic devices in your composition.

Let's get started with part one, analyzing a percussion quartet.

Using rhythmic devices can be effective for creating interesting musical ideas, adding variety and developing ideas.

Percussion instruments can be more limiting for composers than other types of instrument because many of them cannot sustain notes and often have fewer timbres.

For this reason, rhythmic development and interest is crucial when composing for percussion.

Have a listen to this percussion quartet for xylophone, vibraphone, marimba, and woodblock.

Can you identify any ways that the composer has used rhythmic devices to create an interesting and effective composition?

Have a listen.

What did you hear?

This composer creates a polyrhythm in a few sections of the composition.

This is where multiple different rhythms play at the same time, creating a complex texture.

In this section, all four instruments play different rhythms, creating an interesting web of rhythms.

Have a listen.

In some sections, the composer creates cross rhythms, where two or more of the rhythms feel like they have a different pulse.

Analyze this section that you can see here.

Two parts create a feeling of two beats in a bar, and the other two have a feeling of three beats in a bar.

Can you identify which parts do which?

Have a listen and have a look at the score.

I hope you noticed that the xylophone and the woodblock feel like three in a bar, and the vibraphone and the marimba feel like two in a bar.

The composer also uses a specific type of cross rhythm called a hemiola.

This is where three notes are played over the duration of two, or vice versa, creating the feeling of tempo change.

This piece is in 6/8, which has a feeling of two long, dotted crotchet, beats in a bar.

At some points, the composer creates a feeling of three shorter, crotchet, beats in a bar by changing the rhythmic patterns.

Analyze this short section.

Can you identify in which bars the pulse feels like it changes from two slow beats to three faster beats in a bar?

Have a listen and look at the score.

What did you think?

I hope you could see that in the first part feels like two, then the next two it feels like you've got three beats in the bar, and the final one, it feels like two beats.

In the introduction and coda, the composer uses a different type of hemiola, where the quavers are grouped in a way that makes it feel like each bar is two beats, or four quavers long.

This creates the feeling of three bars spread over two notated bars.

Have a listen to that.

And now have a look.

So you can see in bars one and two, the way it sounds, it feels like three.

And the same for bars three and four, it feels like three shorter bars rather than the two longer bars you can see in the notation.

There is lots of rhythmic variety in this composition, which is one of the aspects that makes it very effective.

You might have noticed some syncopated rhythms included, which add variety and interest to the texture.

Analyze this section.

Which instrument is playing a syncopated rhythm here?

Have a listen.

Did you spot which instrument it is?

It's the woodblock.

There is one example in this composition of diminution, where the notes in a melody or rhythm are all shortened by the same proportion.

Analyze this section.

Can you identify which instrument uses diminution to create a counter melody based on the main vibraphone melody?

Have a listen to this section.

Could you hear it?

So, here's the original vibraphone melody, and here's the xylophone melody using diminution.

You might have spotted this is not a pure use of diminution because not every note is shortened by the same proportion.

However, when listening, it clearly has the effect of a sped up version of the original melody.

Composers can also use rhythmic augmentation, where the notes are lengthened instead of shortened.

The melody also uses an anacrusis at some points.

This creates melodic variety because in some cases the melody starts on beat one, while in others it starts earlier with the anacrusis.

Can you spot the anacrusis in this melody?

Have a listen.

Here you can see the anacrusis, so the note just before beat one.

In summary, this composer uses a variety of rhythmic devices to create an effective and varied composition.

These include polyrhythm, which creates an interesting and varied texture.

Cross rhythms and hemiola, which create an interesting and complex rhythmic accompaniment.

Syncopation, which adds variety to the texture.

And diminution, which is used to develop a melodic idea.

Anacrusis, which creates contrast between different melodies.

Let's do a check for understanding.

What is a cross rhythm?

Pause and have a think.

A cross rhythm is a type of polyrhythm in which two or more of the rhythms conflict and feel like they have a different pulse.

And what is a hemiola?

Pause and have a think what that is.

It's when three notes are played over the duration of two, or vice versa, creating the feeling of tempo change.

So, let's move on to Task A.

Have a listen to the whole percussion quartet.

We want you to write a paragraph explaining how the composer has used different rhythmic devices to create an effective and varied composition.

So, pause and have a listen to the whole percussion quartet now, and then write your paragraph.

In your paragraph, you might have mentioned polyrhythm, cross rhythms and hemiola, syncopation, diminution, or anacrusis.

The composer uses all of these rhythmic devices.

Let's move on to part two of our lesson, using rhythmic devices in your composition.

When using rhythmic devices, consider two questions.

One, which rhythmic devices are idiomatic for the style or genre?

Different styles use different typical rhythmic devices.

In minimalism, for example, cross rhythm and polyrhythm are very common, whereas in blues, these are less typical, with songwriters using syncopation and swing rhythms more often.

Using lots of different rhythmic devices is not always appropriate.

Instead, choose those that are the most effective and idiomatic for the style you're writing in.

And question two, what purpose or effect do your chosen rhythmic devices have?

Fundamentally, you should choose rhythmic devices with a specific purpose in mind rather than just using the rhythmic device for the sake of it.

For example, you might choose to create a polyrhythm or cross rhythm to develop the texture, or to create an interesting accompaniment.

You might choose to use diminution to develop a rhythmic idea.

When choosing rhythmic devices to use, make sure you have a clear idea of why you have chosen that specific device.

True or false?

It's important to use lots of different rhythmic devices.

Which is it?

Well done if you said false.

Why is it false?

It's more important to use a few rhythmic devices that are effective and idiomatic for the style and for specific purposes, rather than using lots of different rhythmic devices.

So, let's do Task B.

Reflect on your composition.

Identify where you could use rhythmic devices to add variety, musical interest, and to develop ideas.

Make sure you consider what is idiomatic in your chosen style.

Consider using syncopation, polyrhythm, cross rhythms, hemiola, anacrusis, an ostinato, diminution or augmentation.

And develop your composition using your chosen techniques.

So, pause the video and go ahead and work on your composition.

How did you get on?

Reflect on the changes you have made to your composition.

Use these questions to help you consider your next steps.

What rhythmic devices have you chosen to use in your composition?

Are these idiomatic for the style of music?

Why did you choose to use those?

Have they achieved the effect that you wanted?

Are there any other rhythmic devices that you would like to build into your composition?

So, let's summarize today's lesson.

Rhythmic devices can be effective for creating interesting musical ideas, adding variety, and developing ideas.

Common rhythmic devices include syncopation, polyrhythm, ostinato, and anacrusis.

In some styles, using cross rhythms, hemiolas, diminution, and augmentation can be very effective.

To choose rhythmic devices, consider your desired musical effect as well as what devices are most idiomatic.

Thank you for joining me for today's lesson.