16. Ties and Syncopation in Compound Meter
Simple meter and compound meter may differ in the type of subdivisions within their basic beats, but what they do have in common is the definite feel of a pulse. This pulse is what inspires us to start tapping our feet. Rhythms that land on the pulse are enough to keep the rhythm moving forward. In singer Adele’s 2010 song “Rolling in the Deep”, the drumset’s kick-drum emphasizes the pulse throughout the entire song, with the hi-hat providing the accented variations:
Weak Beats become Strong beats in syncopation
Strong and Weak beats in ADELE "Rolling in the Deep"
Strong and Weak beats in ADELE “Rolling in the Deep”
In contrast to clearly defined downbeat grooves, syncopation is the term used for a rhythm that deviates from the emphasis of the beat and instead highlights the subdivisions as the prominent sound within any given beat. The feel of syncopation in music is created by placing emphasis on the parts of each beat that is not on the pulse. This syncopation feel can also be created by tying notes together to create a longer duration for that pitch and leaving the beat halfway through the next pulse.
Example of syncopation in simple meter
Compare the emphasis on the beat from Adele’s “Rolling in the Deep” (from the video above) to the keyboard riff syncopation used in hard rock band Van Halen’s 1983 song “Jump”:
Synthesizer rhythmic riff from VAN HALEN "Jump"
Synthesizer rhythmic riff in VAN HALEN “Jump”
Music uses the feel of syncopation to add interest and to both move the music forward or suspend the music in time. Syncopation can create a variety of effects that can either make the pulse feel like it is stretching out, or like it is being condensed.
Beat augmentation using syncopation
Beat diminution using syncopation
Lalo Schiffrin’s rhythmic riff from the theme to the 1966 TV series “Mission Impossible” uses both the augmentation and the diminution effect. The augmentation makes the listener wait longer for the beat, which creates the feeling of suspense, and the diminution hurries the beat to create the feeling of urgency.
augmentation and diminution of beat in theme from "Missions Impossible"
Augmentation and diminution of beat in LALO SCHIFFRIN main theme from Mission: Impossible
Thus the syncopated feel of a rhythm can create both a hurrying effect and a slowing effect without actually changing the tempo of the work. Check out how Santana slows the beat and creates excitement in his 1970 interpretation of “Oye Como Va” through the use of the augmented syncopated feel.
Augmentation of pulse through use of syncopation in SANTANA "Oye Como Va"
Augmentation of pulse through use of syncopation in SANTANA ‘Oye Como Va”
In popular music, the overall rhythmic groove usually allows for an easily discernible syncopated feel. In classical music, without the aid of the constant rhythmic groove often heard in popular music, the syncopated feel requires the internalization of the pulse.
Syncopation in compound meter in TCHAIKOVSKY "Nutcracker"
Syncopation in compound meter in TCHAIKOVSKY “Nutcracker”
Still other musical styles that have fused classical, jazz and traditional music have a more obvious syncopation feel through both rhythm and the use of accents. This is clearly true in Argentine bandoneon virtuoso and tango innovator Astor Piazzolla’s works. Take a listen to the third movement of his Estaciones Porteñas, “Otoño Porteño”.
Feel of syncopation through accents in PIAZZOLLA "Otoño Porteño" from Estaciones Porteñas
The accented 8th notes in this rhythmic motive create the sense of syncopation despite the fact that most downbeats continue to have a landing note. The accented notes, taken in isolation, create the following syncopated rhythm:
Analysis of Accents and Syncopation in PIAZZOLLA Otono Porteño from Estaciones Porteñas
Syncopation through accents in PIAZZOLLA “Otoño Porteño” from Estaciones Porteñas
Syncopation is closely related to the notation of ties. Ties connect and merge the current note/rhythm to the one immediately preceding it. A tie often allows a sound to briefly intrude into the upcoming downbeat, thus creating the sense of a phantom downbeat with a stronger upbeat following it.
Internalizing the natural subdivisions within a beat or pulse, whether in simple or compound meter, is key to accurately convert rhythm notation on paper into performed music. As examples of the importance of subdivisions, check out the following musical passages that are tricky if internal subdivisions are not part of the equation. However, with the addition of subdivisions it is more clearly discernible where the note changes occur.
Ties and syncopation in TCHAIKOVSKY Symphony No. 4
Ties and syncopation in TCHAIKOVSKY Symphony No. 4
Ties and Syncopation in LOUIS ARMSTRONG’s rendition of “What a Wonderful World”
Ties and Syncopation in LOUIS ARMSTRONG’s rendition of “What a Wonderful World”
The paradox of syncopation is that it inspires listeners to feel the downbeats more strongly by virtue of omitting them. In a practical sense, syncopation can be tied closely to dance. When a pulse is omitted, a skilled dancer would be inspired to create an extra body movement to compensate for this omission. A listener’s ears, like the dancer’s instincts, internalize the implied downbeats created by the syncopated rhythms.
Similarly, a seasoned musician learns that internalizing the subdivisions within a pulse, be it simple or compound meter, will help to perform rhythms more accurately. Internalizing the pulse must first begin with internalizing the subdivisions of the pulse. This is a foundational skill needed for musicians to reach the highest level of rhythmic accuracy.
Julie Landsman and the necessity of subdivisions
Julie Landsman on the necessity of subdivisions