Category Archives: Rhythm

Take a few pitches; shake, strain

A rare photograph of Irving Berlin and David Lang taken ca. 1935 and 2005.
A rare photograph of Irving Berlin and David Lang taken ca. 1935 and 2005.

It’s may seem like a huge stretch to find parallels between the music of Tin Pan Alley songsmith Irving Berlin and avant-garde postminimalist David Lang, but here’s a great meeting point in two pieces of music separated by more than 60 years: the use of systematic rhythmic permutation.

Cheating, Lying, Stealing

[Listen to the music and see the first page of the score]

Cheating, Lying, Stealing (1993) was David Lang’s breakthrough piece, putting him on the map as a hugely influential composer. I remember hearing it for the first time back then and being dumbstruck by its visceral energy and rhythmic unpredictability. There’s something about its clangorous instrumentation — especially in its “rhythm section” of kick drum and brake drums — that I feel establishes a perfect balance of metric “orientation” and “disorientation.” I’m especially thinking about its first third (up to 3’50” on the Bang on a Can All-Stars recording) and its last minute (starting at 9’36”). For years, I never attempted to figure out if a pattern guided his process — I just marveled at the clanky rhythms.

There is a pattern under it all, of course, and it’s fun to figure out. SPOILER ALERT: I’m going to tell you what it is, so if you want to give it a shot first, here’s a tip. Skip the first two bars (the intro) and take the music in dictation, all in 4/4 meter, separating the treble and bass lines to consider separately. See if you can find what’s going on.

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Rhythms are Boring; Rhythm Is Fascinating

spiralWhat do students learn about rhythm? Mostly these things, which are all essentials:

  • Rhythm (in most music…) is based on a series of steady “beats,” which are somehow organized into metric patterns (duple or triple, simple or compound, and so forth) based on surface patterns in the music.
  • Musical notes indicate relative duration: a whole note = two half notes = four quarter notes = eight eighth notes, and so on.
  • These notes may be organized to “play nicely” with the meter, or to “rub against” it, which would indicate a “pick-up,” a syncopation, or something called hemiola. Students should be able to define hemiola once and are not asked about it after their second week of school until the third semester, in which they will point it out in music by Brahms.

But that’s pretty much where rhythm ends in textbooks. Steven Laitz goes a little further by writing a few paragraphs on what makes rhythm… well… what makes rhythm. There is harmonic rhythm (patterns made from when harmony moves from chord to chord), there is change of musical patterning, and a few others based on changes in texture, dynamics, and register. It’s accompanied by a confusing diagram of eight bars from a Mozart sonata.

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