Syncopation
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In music, syncopation includes a variety of rhythms which are in some way unexpected in that they deviate from the strict succession of regularly spaced strong and weak beats in a meter (pulse). These include a stress on a normally unstressed beat or a rest where one would normally be stressed. "If a part of the measure that is usually unstressed is accented, the rhythm is considered to be syncopated."[1]
Syncopation is used in many musical styles, if not all, and is fundamental in such styles as funk, ska, reggae, ragtime, rap, jump blues, progressive rock, jazz, breakbeat and often in dubstep, heavy metal, and classical music. "All dance music makes use of [syncopation] and it's often a vital element that helps tie the whole track together"[2]. In the form of a back beat, syncopation is used in virtually all contemporary popular music.
Syncopation can also occur when a strong harmony is placed on a weak beat, for instance when a 7th-chord is placed on the second beat of 3/4 measure or a dominant is placed at the fourth beat of a 4/4 measure. The latter frequently occurs in tonal cadences in 18th and early 19th century music and is the usual conclusion of any section. A hemiola can also be seen as one straight measure in 3 with one long chord and one short chord and a syncope in the measure therafter, with one short chord and one long chord: 3 ≥ . | . ≥ | Usually, the last chord in a hemiola is a (bi-)dominant, and as such a strong harmony on a weak beat, hence a syncope.
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[edit] Types of syncopation
Technically, "syncopation occurs when a temporary displacement of the regular metrical accent occurs, causing the emphasis to shift from a strong accent to a weak accent."[3] "Syncopation is," however, "very simply, a deliberate disruption of the two- or three-beat stress pattern, most often by stressing an off-beat, or a note that is not on the beat."[4]
Cognitively, Temperley[5] argues that most accurately syncopation be described as involving "displacement; in a syncopation, an accent that belongs on a particular strong beat is shifted or displaced to a weak one."
[edit] Missed-beat syncopation
Syncopation itself may look as simple as follows, involving the addition of a rest[4]:
This is an example of the missed beat type of syncopation, in which a rest (silence) is substituted for an expected note [6]. This can occur on any beat in a measure. "The natural stress of the meter has been disrupted -- ONE-two-(three)-FOUR, which is weird, because we want to keep hearing that nonexistent quarter note that would carry the downbeat in the middle of the measure."[4]
[edit] Suspension
This may be thought of as a suspension, as in the following example with two points of syncopation, the third beats which are sustained rather than missed:
Though syncopation may be highly complex, dense or complex looking rhythms often contain no syncopation. The rhythm, though dense, stresses the regular downbeats, 1 & 4 (in 6/8)[4]:
However, whether it's a "carefully placed rest or an accented note...any point of a piece of music that moves your perspective of where the downbeat is is a point of syncopation because it's shifting where the strong and weak accents are built."[4]
[edit] "Even-note" syncopation
For example, in meters with even numbers of beats (2/4, 4/4, etc.), the stress normally falls on the odd-numbered beats. If the even-numbered beats are stressed instead, the rhythm is syncopated. Accordingly, the former implies duple meter (1212) while the latter implies quadruple (1234).
[edit] Off-beat syncopation
The stress can shift by less than a whole beat so it falls on an off-beat, as in the following example where the stress in the first bar is shifted back by an eighth note (or quaver):
Whereas the notes are expected to fall on the beat:
Playing a note ever so slightly before, or after, a beat is another form of syncopation because this produces an unexpected accent:
[edit] Anticipated bass
Anticipated bass[citation needed] is a bass tone that comes syncopated shortly before the downbeat, which is used in Son montuno Cuban dance music. Timing can vary, but it usually comes less than an eighth note before the first and third beats in 4/4 time.
[edit] Transformation
Richard Middleton [7] suggests adding the concept of transformation to Narmour's [8] prosodic rules which create rhythmic successions in order to explain or generate syncopations. "The syncopated pattern is heard 'with reference to', 'in light of', as a remapping of, its partner." He gives examples of various types of syncopation: latin, backbeat, and before-the-beat. First however, one may listen to the audio example of stress on the "strong" beats, where expected:
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[edit] Latin equivalent of simple 4/4
This unsyncopated rhythm is shown in the first measure directly below:
The third measure depicts the syncopated rhythm in the following audio example in which the first and fourth beat are provided as expected, but the accent unexpectedly lands in between the second and third beats, creating a familiar "latin rhythm":
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[edit] Backbeat transformation of simple 4/4
The accent may be shifted from the first to the second beat in duple meter (and the third to fourth in quadruple), creating the backbeat rhythm familiar in rock drumming beatbox stereotypes:
Different crowds will "clap along" at concerts on either 1 & 3 or 2 & 4, as above.
[edit] "Satisfaction" example
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Before-the-beat phrasing, combined with backbeat transformation of a simple repeated trochee, which gives the phraseology of "Satisfaction"[7], recommended for its syncopation[4]:
[edit] Syncopation in dance music
In trance music the bass falls between the beat (one &), while the kick drum falls on the beat[2].
[edit] See also
[edit] Notes
- ^ Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.12. Seventh Edition. ISBN 978-0-07-294262-0.
- ^ a b Snoman, Rick (2004). Dance Music Manual: Toys, Tools, and Techniques, p.44. ISBN 0240519159.
- ^ Reed, Ted (1997). Progressive Steps to Syncopation for the Modern Drummer, p.33. ISBN 0882847953.
- ^ a b c d e f Day, Holly and Pilhofer, Michael (2007). Music Theory For Dummies, p.58-60. ISBN 0764578383.
- ^ Temperley, David (1999). "Syncopation in Rock: A Perceptual Perspective". Source: Popular Music, Vol. 18, No. 1, (Jan., 1999), pp. 19-40. Published by: Cambridge University Press. Stable URL: http://www.jstor.org/stable/853567. Accessed: 26/05/2008 17:33
- ^ van der Merwe, Peter (1989), written at Oxford, Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music, Clarendon Press, 128, ISBN 0193161214
- ^ a b Middleton (1990/2002). Studying Popular Music, p.212-13. Philadelphia: Open University Press. ISBN 0-335-15275-9.
- ^ Narmour (1980). p.147-53. Cited in Middleton (1990/2002), p.212-13.
[edit] References
- Seyer, Philip, Allan B. Novick and Paul Harmon (1997). What Makes Music Work. Forest Hill Music. ISBN 0-9651344-0-7.
