Teori Musik 2 Page 52
Syncopation
The position of notes in a bar show their relative rhythmic strengths. However, occasionally, the rhythmic pattern wanted does not fit the rhythmic pattern shown by the
barring. One says that the rhythm is off the beat or syncopated. Examples of this are common in popular music including jazz, but it does occur in music of all ages. We have
given a good example of syncopation below. Note, in particular, the theme played by pianists right hand the upper line of the piano part. The theme is off the beat for much
of the time, i.e. it is syncopated. The effect is notated using ties. A crucial feature of syncopation is that there should be a strong sense of the beat off which the theme is
being played. This is provided by the percussion and bass guitar lines. There is a second type of syncopation, where the strong beat is replaced by a silence.
C. Triplet
In music, the term irrational rhythm is usually applied to a rhythm in which an
unusual number of beats is superimposed on the predominating tempo. More precisely, if n evenly-spaced beats are played in the time of m beats of the underlying tempo then
the rhythm is irrational if neither of n and m is divisible by the other. The use of the term “irrational” in this context is quite different to the mathematical use of the term: indeed,
rhythms of this sort are, in the mathematical sense, rational, as their are precisely defined by the ratio of beats played to beats in the underlying tempo.
One example is the triplet, used when in the context of a simple time signature one wants to subdivide a beat into three. The triplet notation lets you to do this.
Gambar 78. Triplet Other-lets
The division of notes into smaller notes using triplets and duplets can be extended to irrefular groups of even larger number, known collectively as tuplets or
gruppo irregolare Italian. Again there are ‘notational’ conventions for writing such
grouping and these are listed below. As with triplets the groupings can include rests and notes of different value. The ‘convention’ tells us the total time value of the group as
written and as played.
Teori Musik 2 Page 53
Tabel 6. Other Lets
Irregular Divisions in Simple Time 1
3 notes are written in the time of 2 of the same note example: 3 quavers eighth notes in the time of 2 quavers eighth notes.
2
5, 6 and 7 notes are written in the time of 4 of the same note example: 5 quavers eighth notes in the time of 4 quavers eighth notes.
3
9, 10, 11, 13 and 15 notes are written in the time of 8 of the same note example: 13 quavers eighth notes in the time of 8 quavers eight notes.
Irregular Divisions in Compound Time 1
2 notes are written in the time of 3 of the same note example: 2 quavers eighth notes in the time of 3 quavers eighth notes.
2
4 notes are written in the time of 3 of the same note but also in the time of 3 beats of double the time value.
example: 4 quavers eighth notes in the time of 3 quavers eighth notes; but sometimes 4 semiquavers sixteenth notes in the tome of 3 quavers
eighth notes.
The irregular division of compound time is rare and notational ‘conventions’ are fluid.
Simple time divition is much more common and this has given time for composers and music publishers to follow and keep to a ser of ‘notational conventions’.
D. Triads chords
Concord Discord The distinction between what we would call music and what we would regard as
noise is a matter of personal taste. We might use words like concordant and discordant to distinguish the acceptable from the unacceptable. Musical theorists
discussing harmony have a particular technical use for the words concord as applied to chords or consonance as applied to intervals, as well as to discord as applied to
chords or dissonance as applied to intervals.
Most cultures employ tunes or melodies in their music but Western music is particularly distinctive through its use of harmony whether arising from the interweaving
of other musical lines around and about a melody line what we call counterpoint or through the support of a melody line with a progression of chords, groups of notes
sounding simultaneously, groups made up of various musical intervals
