1. IGCSE Rhythm History/Theory

2. The BEAT Steady pulse of the piece of music: providing a steady FRAMEWORK This is grouped into repeating units of 2, 3, or 4 – called BARS or MEASURES Ie.

3. Metre The way you set your repeating beat pattern will determine the PULSE of Strong and weak, giving a sense of metre. DUPLE METRE DUPLE METRE TRIPLE METRE TRIPLE METRE QUADRUPLE METRE QUADRUPLE METRE

4. Time Signature TOP NUMBER TOP NUMBER BOTTOM NUMBER BOTTOM NUMBER 2/4 2/4 3/4 3/4 4/4 4/4

5. Rhythm The Grouping of long and short sounds into patterns in musical time. Characterized by: 1. Accent and non-accent 2. Duration: length of notes related to each other 3. SILENCE

6. SIMPLE TIME Definition: Each beat is SIMPLE – a plain note (not a DOTTED note) and can be split into halves. ACTIVITY 1. Improvisation activity on instruments

7. SIMPLE TIME Definition: Each beat is SIMPLE – a plain note (not a DOTTED note) and can be split into halves. ACTIVITY 1. Improvisation activity on instruments 2. CLAP THE SELECTION ON THE PAGE

8. SIMPLE TIME Definition: Each beat is SIMPLE – a plain note (not a DOTTED note) and can be split into halves. ACTIVITY 1. Improvisation activity on instruments 2. CLAP THE SELECTION ON THE PAGE 3. Listen (1 Carmen) and (2 Tiger Dance) and Identify the metre

9. COMPOUND TIME Definition: each beat is a DOTTED note, divisible into thirds. COMPOUND DUPLE: COMPOUND TRIPLE: COMPOUND QUADRUPLE:

10. Compound time: Mozart ’ s Serenade No. 12 in C minor, K388 Theme: Oboes and Bassoons, 2/4 time

11. Compound time: Mozart ’ s Serenade No. 12 in C minor, K388 Theme: Oboes and Bassoons, 2/4 time V1: Oboes, bassoons and clarinets, 6/8

12. Compound time: Mozart ’ s Serenade No. 12 in C minor, K388 Theme: Oboes and Bassoons, 2/4 time V1: Oboes, bassoons and clarinets, 6/8 V2: oboes, bassoon 2/4 (SYNCOPATION)

13. Compound time: Mozart ’ s Serenade No. 12 in C minor, K388 Theme: Oboes and Bassoons, 2/4 time V1: Oboes, bassoons and clarinets, 6/8 V2: oboes, bassoon 2/4 (SYNCOPATION) Syncopation: disturbance of the expected pattern of accents.

14. Syncopation This can be done through: 1. Accenting a weak beat

15. Syncopation This can be done through: 1. Accenting a weak beat 2. Accent between beats.

16. Syncopation This can be done through: 1. Accenting a weak beat 2. Accent between beats. 3. Playing a rest on a strong beat.

17. Syncopation This can be done through: 1. Accenting a weak beat 2. Accent between beats. 3. Playing a rest on a strong beat. 4. Tying (holding) over a strong beat.

18. Irregular Time Definition: Each Bar can be made up of some combination of two and three: - ie. 5 beats per bar (5/4 or 5/8) ||: 1 2 3 4 5 :|| or ||: 1 2 3 4 5 :|| - ie. 7 beats per bar (7/4 or 7/8) ||: 1 2 3 4 5 6 7 :|| or ||: 1 2 3 4 5 6 7 :|| Listen to Samples