Pulse and One-Half Beat Scheme

Pulse and One-Half Beat Scheme (Eight Beats Scheme)
Against
Three Pulse Beat Scheme (Four Main Beats Scheme)

All the beat schemes we have discussed so far measure off specific number of whole pulses as their distinctive characters. None exploit a fraction of a pulse.

The next most useful secondary beat scheme in the development of cross rhythms measures off one and one-half pulsations as a distinctive characteristic ( the term hemiola used in music theory describes a similar relationship). Eight recurrent groupings of this beat scheme fit in a musical period of twelve pulsations. We shall therefore identify it as eight beats scheme.

Figure 44

Eight Beat Scheme

The eight beats scheme is perceived as a duple subdivision of the four main beats scheme. Its rhythmic motion within the musical period is twice as fast as that of the main beats scheme. An interplay of these divergent rhythmic motions produces another useful cross rhythm in the development of Anlo-Ewe dance-drumming.

Figure 45

Eight against Four Cross Rhythm

As the student will notice in figure 23 above, two recurrences of the one and one-half pulse beats (two dotted eighth notes) and the three internal pulses of a main beat (three eighth notes) establish a vertical relationship of 2:3 ratio. In a composite structure their interplay produces a short energetic motif showing a progression from a "static" beginning to "dynamic" continuation. The eight against four cross rhythm is perceived as a succession of these short motifs within the musical period. The fast progression of tension and relief creates an incredible effect of vitality very much favored by the Anlo-Ewe.

The common Anlo-Ewe syllabic intonation for this motif reflects this peculiar interaction of two recurrences of the one and one-half pulse beats against the three internal pulses of a main beat. It also shows that two recurrences of these one and one-half pulse beats are perceived as a unit and a duple subdivision of a main beat. Note that in this distinct ordering of syllabic pitches, "Kpla" articulates a moment of resolution while the pitch "Tu" represents the one and one-half pulse beats in alternate motion with weak pulses of the main beat articulated with the pitch "Ka".

Figure 46

Syllabic intonation

Component Motifs of

Eight against Four Cross Rhythm

Rhythmic Frameworks Exercise

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