This figure compared to the master figure
The second and the fourth
Usage of this figure
This figure is probably the hardest to feel of all.
It contains only the two weakest elements of a beat, giving it a gliding sensation.
This figure is very rarely found in classical music.
Humans have generally started feeling this figure during the rhythm revolution of the 1970s-80s period, but most people cannot repeat it, even nowadays.
This figure is often used as an anticipation of the simple binary division (two eighth notes).
Each note being anticipated by one quarter of a beat.
Anticipating each eight note.
This figure marks the end of the long evolution of rhythms based on the division by four.
The history of sixteenth note rhythms started several thousand years ago with the appearance of the master figure (four sixteenth notes) which was achieved by subdividing the binary division.
Two new notes had been added between the existing two.
Evolution from simple binary rhythm to division by four. Two notes are added to every beat.
Now in the twenty-first century, most people are able to feel all sixteen possibilities ensuing from the division by four.
The figure studied here represents the outcome of this system, since
it contains only the two notes that were added at its origin.
This figure is like a simple eighth note rhythm, but this time shifted by one quarter of a beat.
Only the two newest notes remain in this figure.
Continuous sixteenth note syncopations.
The end of the division by four evolution
How to perform
A: Start by doing this rhythm, using the syllable "Ta".
B: Transform the first and third "Ta" into a "Tu".
C: Eliminate the "Tu".
Tempo 60 bpm
Tempo 75 bpm
Tempo 90 bpm