Broadly speaking, syncopation is the rhythm of the backbeat. For example, when we march 1212, 1 is in the positive beat position, the 1 read heavy you are classical, you are folk music, you are the Phoenix Legend, you are the square dance song ...... which belongs to the regular rhythm. 2 is located in the reverse beat position, if the 2 read heavy is syncopated. Follow me to read 1212 a few more times and read 2 louder! Prepare to sing: 1 2 1 2 ,1 2 1 2 ,1 2 1 2 ,1 2 1 2 . Does the irregular rhythm of the 2's give you a little thrill? If the notes on the backbeat are not only strong but also long in duration, they are more typically syncopated.
Use syncopation a lot. If you use it, you're pop, and if you use it so much that there's at least one backbeat accent in almost every measure, you're jazz, you're jazz, you're jazz, you're jazz! Just! WIN! Won!
For example, this line from "Porcelain", "Let's pretend I'm the pen for meeting you", where "meet", "you", "pen", "pen", "pen", "pen", "pen", "pen", "pen", "pen", "pen", "pen", "pen", and "pen" are all used. The four consecutive words "see", "you", "ambush" and "pen" are all syncopated. In fact, the first word of this line "on" is also syncopated, just not typical. The whole song is full of phrases that start with a backbeat like "just as I am", so there's syncopation in almost every bar.
Another example is the jazzy "Super Mario", where I added accent marks to all the syncopations in the treble clef, and there are 2-3 syncopations in every measure.
That said, it's hard to cook without rice, and if you don't have syncopated rhythmic material in your head, you won't be able to use it. So what syncopated rhythm patterns are available? There are 12 types of syncopated rhythms, and I've listed them all here for you!
What? Only 12? That's too few! Don't worry! There are four additional variations:
① Each eighth note can be replaced by two sixteenth notes.
For example, the first three measures of the first line of Figure 1 can be changed as follows:
② Double or halve the duration of all notes. The position of the accents can be adjusted slightly after the shortening.
For example, the first 4 measures of the second line of Fig. 1 can have the following variations (time values are expanded and then shortened):
③ Two or more measures can be used in combination with a line. (If measure 1 ends with a note and measure 2 begins with a rest, the rest in measure 2 can be changed to a note, with a homophonic link to the note at the end of measure 1.) It sounds like the rhythmic stress hasn't changed, but strictly speaking the note timing has changed, and so has the notation.
For example, the first line of Figure 1 can be rewritten as follows:
If ③ is changing rests across measures to notes, then the following is changing rests within the same measure to notes.
④ Within the same measure if the note is followed by a rest, you can add the rest's time value to the note and write it as one long note. Of course it is possible to add only half of the rest.
For example, the first line of Figure 1 could be rewritten as follows:
That's it, you can play with the rhythm yourself.
In fact, you don't need to read this part, but when the teacher's professional disease is guilty of not making sense of it, he can't rest in peace. I've been thinking about the process of organizing the above rhythmic patterns for a while now, but I've come to the realization that it's really just a combination of accents, and it doesn't need to be that complicated. If you find that there are omissions, or more serious errors in logic, be sure to tell me oh, thank you very much. I'm sorry that I'm not good at playing music, I don't know how to play rhythmic music, so I'll just use the notes to replace the above examples. The first is to use the same notes as in the previous one.
First, the two-four beat, for example, if we specify the minimum time value is the eighth note, you can get the following eight different rhythmic patterns:
Second, to the first note of each bar to add the same note line, and get seven different rhythmic patterns, in order to facilitate the reading of the score, we will be rewritten in the form of the line with a rest (i.e., the second line is rewritten from the first line to get), as follows:
Third, change the position of the rest in the second line of step two, and get 17 new rhythmic patterns:
Fourth, in one, two, three *** 32 kinds of rhythmic patterns in the selection of the backbeat has notes in the rhythm, *** 22 kinds:
Fifth, in the 22 kinds of rhythmic patterns in the selection of the similarity of the accents, to retain the notes of the shorter which is easy to recognize, that is, the 12 kinds of rhythmic you see in the beginning The 12 rhythmic patterns you saw at the beginning.
For example, the following 3 different rhythm patterns, because they sound similar in accent, keep only the 3rd one.
Sixth, now we hit a few times per measure (a few sounds), the beat patterns and counter-beat patterns to do a summary:
1 hit simplified patterns, 2 types of beat, 2 types of counter-beat; 2 hit simplified patterns, 1 type of beat, counter-beat 5 types; 3 hit simplified patterns, only the counter-beat 4 types; 4 hits simplified patterns, only the counter-beat 1 type:
Seventh, almost to the application of it! Choose the basic rhythmic patterns from the chart above, and combine them to form a four-four beat rhythm!
Examples of 2-strike rhythms per measure (any two 1-strike patterns; or any 2-strike pattern, with the rest of the beat):
Examples of 3-strike rhythms per measure (1-strike + 2-strikes; or any 3-strike pattern, with the rest of the beat):
Examples of 4-strike rhythms per measure (2-strikes + 2-strikes; or 1-strike + 3-strikes; or any 4-strike pattern, with the rest of the beat):
Examples of rhythms with 6 strokes per measure (6+0; or 1+5; or 2+4; or 3+3)
NOTE: Rewrites are made by turning rests into notes, with legato. You can also add 16th notes oh.
I can't write! You go on! To borrow the words of Mr. Montenegro, learning music is not a movie, have you practiced?
I can't write any more.