Rhythmic Duration

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Из курса от партнера The University of Edinburgh

Fundamentals of Music Theory

783 оценки

The University of Edinburgh

Fundamentals of Music Theory

783 оценки

This course will introduce students to the theory of music, providing them with the skills needed to read and write Western music notation, as well as to understand, analyse, and listen informedly. It will cover material such as pitches and scales, intervals, clefs, rhythm, form, meter, phrases and cadences, and basic harmony. This course covers the fundamentals of Western music theory, from the absolute basics to some more advanced concepts and, as such, is the perfect course for beginners and more experienced musicians alike. Follow us on twitter @musictheorymooc #edmusictheory

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Rhythm and Form

Rhythmic Duration3:38

Познакомьтесь с преподавателями

Dr Michael Edwards

Reid School of Music, ECA
Dr Zack Moir
Teaching Fellow
Reid School of Music, Edinburgh College of Art
Richard Worth

Edinburgh College of Art
Dr Nikki Moran

Reid School of Music, ECA
Dr John Philip Kitchen, MA BMus PhD FRCO LRAM

Reid School of Music
Eli Appleby-Donald

Edinburgh College of Art

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All notes have a duration in time, but in Western musical notation the duration is

expressed as a fractions or multiples of a

beat, rather than as a duration in seconds.

Beats are related to, or even synonymous with pulse.

And they're clearly related to tempo, which

is often expressed as beats per minute.

Rhythm then concerns multiples, or subdivisions of beats.

It can be expressed symbolically in western notation,

in the form of both rests and notes.

So, for instance, all of our western

rhythmic notations are related to the whole

note, as it's called in America, or the Semibreve, as it's called in Britain.

Semibreve represent the full duration of one bar in 4/4 meter.

We'll come to meter in a little while, but suffice it

to say, 4/4 is the most common meter that we come across.

The Semibreve, can of course be

subdivided, and these subdivisions have different names.

In British nomenclature for example, we speak of minims, Crotchets, Quavers, etc.

There are two minims per Semibreve.

This is also known as the half note in American parlance.

This is then subdivided into two crotchets.

Crotchets are Quarter notes in the U.S., and there are four quarter

notes in a Whole Note or a Semibreve, as you might imagine.

Crotchets are then further divided into Quavers, Eighth Notes, and

on into Semiquavers, Sixteenth Notes, and so on and so forth.

So, if you use the American nomenclature, which is derived

from the German by the way, it's very easy to see

how many of a particular rhythm you will have in a

whole note, as all rhythms are expressed in relation to this.

So, let's just recap here and look at the actual notation of these rhythms.

First of all, we've got the open round

note symbol, which is the Semibreve or whole note.

This is four beats long in common time,

or four, four meter, again more on this later.

Then we've the half note or minim, the crotchet, the quaver and the semiquaver.

We also have the equivalent rhythms in rests.

Rests are necessary to indicate where a musician stops playing notes.

Most music consists of notes surrounded by space, of course.

Otherwise, musicians would never get the change to

breathe or rest, and neither would the music.

So, first of all, again, the semibreve, or whole note rest.

The minim, or half note rest, the crotchet, or quarter note rest.

The quaver, eighth note rest, and the semiquaver, or sixteenth note rest.

You can see that the quaver and semiquaver notes

are essentially crotchets, with little flags on their stems.

Each flag that you add divides the rhythm by two, so we

could further divide semiquavers into demisemiquavers,

or 32nd notes in American parlance.

And these can be further subdivided

into hemidemisemiquavers, or 64th Notes, etcetera, etcetera.

Now those flags which we've seen on the quavers and

lesser durations, can actually turn into what we call beams.

We use beams so that we group notes into twos, fours, eights, et

cetera, and thereby easily see a beat's worth, or sometimes more of shorter notes.

This makes it easier to orientate ourselves in the flow of

the music, so we can recognize where the beat boundaries are.

Here's another example.

You can see that the number of flags which we use

in the individual notes, is reflected in the number of horizontal beams.

And that adding one more beam is the equivalent to adding one more flag.

That is, we're subdividing the rhythm into two.

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