I happened across a book called The Geometry of Musical Rhythm: What Makes a "Good" Rhythm Good? by Godfried T. Toussaint in the last couple of days. In there, chapter 15 is entitled Rhythmic Oddity, defined thus:
The simple "son clave" is an example of such a rhythm... ie there are no pairs of black dots which can be connected by a line passing through the center:
Two further examples are given in figure 15.3:
For the left example, simply transcribing the intervals into Alan's bagging notation, one might write something like:
The whole pattern would repeat back-front, before then returning front-back next time around. Chose left-right as you see fit.
Having stumbled across these, I'm now curious... how does the rhythmic oddity of these patterns translate to sound and feel on the bag? I know rhythms can take on different characters when played at speed, which I can't do yet. Are they easy or tricky, interesting or not, is there any flow, or just a total lack of it?
What do you make of these?
A rhythm with an even number of pulses in its cycle has this property if no two of its onsets divide the rhythmic cycle into two half cycles, i.e., two segments of equal duration.
Two further examples are given in figure 15.3:
For the left example, simply transcribing the intervals into Alan's bagging notation, one might write something like:
Code:
[FONT=Courier New]0 3 6 9 11 14 17 19 22 0 FCP''' FCP''' FCP''' FCP'' RSP''' RSP''' RSP'' FCP''' FCP'' RSP''' ...[/FONT]
Having stumbled across these, I'm now curious... how does the rhythmic oddity of these patterns translate to sound and feel on the bag? I know rhythms can take on different characters when played at speed, which I can't do yet. Are they easy or tricky, interesting or not, is there any flow, or just a total lack of it?
What do you make of these?
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