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Pérotin, "Alleluia nativitas", in the third rhythmic mode. In medieval music, the rhythmic modes were set patterns of long and short durations (or rhythms).The value of each note is not determined by the form of the written note (as is the case with more recent European musical notation), but rather by its position within a group of notes written as a single figure called a ligature, and by ...
A composite rhythm is the durations and patterns (rhythm) produced by amalgamating all sounding parts of a musical texture. In music of the common practice period, the composite rhythm usually confirms the meter, often in metric or even-note patterns identical to the pulse on a specific metric level.
The clave pattern is also found in the African diaspora music of Haitian Vodou drumming, Afro-Brazilian music, African-American music, Louisiana Voodoo drumming, and Afro-Uruguayan music . The clave pattern (or hambone, as it is known in the United States) is used in North American popular music as a rhythmic motif or simply a form of rhythmic ...
In the theory of late-medieval mensural polyphony (e.g., Franco of Cologne), modus is a rhythmic relationship between long and short values or a pattern made from them; [9] in mensural music most often theorists applied it to division of longa into 3 or 2 breves.
A divisive form of cross-rhythm is the basis for most Sub-Saharan African music traditions. Rhythmic patterns are generated by simultaneously dividing a span of musical time by a triple-beat scheme and a duple-beat scheme. In the development of cross rhythm, there are some selected rhythmic materials or beat schemes that are customarily used.
The most commonly used key pattern in sub-Saharan Africa is the seven-stroke figure known in ethnomusicology as the standard pattern. [19] [20] [21] The standard pattern, composed of two cross-rhythmic fragments, is found both in simple (4 4 or 2 2) and compound (12 8 or 6 8) metrical structures. [22]
Isorhythm (from the Greek for "the same rhythm") is a musical technique using a repeating rhythmic pattern, called a talea, in at least one voice part throughout a composition. Taleae are typically applied to one or more melodic patterns of pitches or colores, which may be of the same or a different length from the talea.
This pattern may have migrated east from North Africa to Asia through the spread of Islam. [34] In Egyptian music and music from the Levant, the Tresillo pattern is referred to as "Malfouf". [35] African-based music has a divisive rhythm structure. [36] Tresillo is generated through cross-rhythm.