The usage of simple, common time (4/4 time signature, where there are four beats to a measure, and each quarter note gets one beat) is pervasive in Western popular music, including rock, blues, country, folk, pop, and various forms of electronic music including many sub-genres of house and trance music. The four-on-the-floor mindset can be difficult to escape, but every musician and composer can benefit from a study of rhythm that includes a wider variety of time signatures and rhythms.
This tutorial assumes that you have some background in music theory - at the very least an understanding of a time signature, and basic rhythmic notation. However, if those concepts are foreign to you, you can still benefit from this tutorial. In the end, rhythm is as much about 'feel' as it is strict notation and classification.
What Is a Polyrhythm?
In its simplest terms, a polyrhythm is simply two more independent rhythms playing at the same time. Polyrhythms can be heard throughout African, Indian, and Afro-Cuban music, among many other musical cultures. As noted in the Wikipedia article on Polyrhythm, a simple example would be, "Three evenly-spaced notes against two, with the 3-beat pattern being faster than the 2-beat pattern, so that they both take the same amount of time."
Flickr photo by Pushcart Design.
To better understand the concept of polyrhythms, let's look first at a simple rhythm in common time. Below is an example of a simple rhythm in common time, or 4/4 time. The time signature indicates that there are 4 beats to a measure, and each quarter note gets one beat. In the first measure, we have two parts playing four quarter notes, and in the second measure we have one part playing quarter notes and one playing eighth notes. Note that both parts are still effectively playing the same rhythm and meter.
Two parts playing common time.
Audio example of common time:
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In the next example, we have a simple 3/2 polyrhyhtm - where we play two notes against three over the same length of time. The result is two distinct rhythms that, when played together, create something more interesting and complex as a result. I've hard panned the two rhythms to better allow you to distinguish the individual rhythms.
Two parts playing a 3/2 polyrhythm.
Audio example of 3/2 polyrhythm:
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Variations And Counting
While the above example may not seem overly complex, polyrhythms can grow increasingly complex as you add more beats. Adding one beat to each of the above, we get a 4/3 polyrhythm.
Audio example of 4/3 polyrhythm:
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When counting a polyrhythm, we use what is called the 'lowest common multiple'. In our first example, the lowest common multiple of 3/2 is six - and thus it takes us 6 beats for the two rhythms to 'synchronize' their start points. In our second example, the lowest common multiple is 12 (4x3). Thus, this cycle requires twice as many beats to re-synchronize.
If you're confused, or find using the musical notation difficult, there's an easier way to visualize polyrhythms without using your DAW or notation: graph paper!
Visualizing Polyrhythms
In order to better understand the mathematical interplay between rhythms within a polyrhythm, it is often helpful to use graph paper. If you don't have ready access to graph paper, there are two other helpful options: a computer spreadsheet program, or your DAW's 'Piano Roll' editor.
In the first example, we see our 3/2 polyrhythm laid out. 6 beats per cycle, and two independent lines - one rhythm of three over one rhythm of two.
3/2 Polyrhythm graph.
In our next example, we have our 4/3 polyrhythm laid out. Twelve beats per cycle, and two independent lines - one rhythm of four over one rhythm of three.
4/3 Polyrhythm graph.
When we're working our DAW, the process is very similar. We set the grid resolution to be equal to (or a multiple of) the length of one complete cycle. In the case of the 3/2 polyrhythm, I used a grid resolution of twelve, then used the Pencil tool to draw in the rhythm like so:
3/2 polyrhythm in the Piano Roll Editor of Logic.
And here's the 4/3 polyrhythm:
4/3 polyrhythm in the Piano Roll Editor of Logic.
Using Polyrhythms In Your Music
Now that we have a basic understanding of what a polyrhythm is, how to map out the rhythm, and how to create it using our Piano Roll editor, let's explore how we might use polyrhythms in our music.
It is easy to envision using polyrhythms for the rhythmic components of our compositions: percussion, drumkits, etc. However, I really enjoy working with polyrhythm where rhythm meets melody and harmony. Let's take a brief look at two examples.
OstinatoComposer Ryan Leach previously gave us a great tutorial on using ostinato phrases in our compositions. Conveniently, using a 3/2 polyrhythm is a great way to create an ostinato phrase with an interesting rhythm. Below is an example of a 3/2 polyrhythm, used in the lead ostinato line, supported by a downsampled rhythm and simple droning bassline.
Audio example of 3/2 ostinato polyrhythm:
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BasslinesAnother simple use of polyrhythm is in adding interest and complexity to your basslines. In the example below, I've added a pizzicato bassline to the previous example, layering a 4/3 polyrhythm over the existing 3/2 polyrhythm. The result is an even more rhythmically interesting presentation.
Audio example of 3/2 ostinato polyrhythm:
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Conclusion
I hope you've enjoyed learning a bit about polyrhythms and that you'll take the opportunity to begin exploring them in your own music. In this tutorial we barely scratched the surface of polyrhythms, so I encourage you to learn more about them - reading and listening, performing and recording. There are a host of great learning resources online including theory, music and video examples. To listen to some more examples of polyrhythms, check out this excellent site for "Bounce Metronome".
In conclusion, I'll leave with a YouTube example of polyrhythm from a Japanese Pop group called Perfume. Their tune 'Polyrhythm' has an amazing polyrhythmic bridge (starting at 1:37) that might spark further interest and discussion.
Perfume: Polyrhythm
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User Comments
( ADD YOURS )VicDiesel September 30th
Cool. However, polyrhythms of this kind quickly get into Zappa territory. You should also do something about poly-meters, where both voices have the same quarter note, but different length groupings. Take Zep’s Kashmir as an example.
Another popular polymeter is interpreting 6/8 (or a shuffle rhythm) as 3/4. Et cetera.
( )VicDiesel September 30th
In fact, that Perfume bridge is polymetral in the sense I just sketched, rather than polyrhythmic as you described it. They use snippets of 5/8 and 3/8 that they repeat, but the speed of their 8th note is the same as of the basic rhythm.
Extremely nifty example, though.
PS for polyrhyhtms in your sense, take a listen to reggae/dub breaks. They are often 3 over 2.
( )West October 1st
Thanks for the comments, VicDiesel. My feeling was that discussing polymeter and polyrhythm in the same tutorial would most assuredly confuse beginners. We may do a polymeter tutorial at some later point, though!
( )Björgvin October 1st
Love the video. Amazing middle part. And cute
I don’t know, maybe it’s just me but I didn’t hear a lot of difference in the last two audio samples? Maybe I need a better explanation. I get the tut, and I’m familiar with using rhythms like this, as I’ve been heavily subjected to spanish/cuban/latin music as of late, but I’m going to play stupid and say:
Can you explain that last part again?
( )Adrian Try October 1st
Very good ears, Björgvin! That was my fault, not West’s. It’s fixed now, and you’ll definitely notice the difference.
( )Björgvin October 1st
Ahhh ok. My career in sound is not over yet then….thanks.
Paul Baarn October 1st
Nice introduction to the concept. I know it especially from African music.
( )Deems October 1st
Good start on poly rhythms. But I hope there will be expansion on the subject.
( )Björgvin October 1st
I use drumloops a lot(recorded acoustic drums, not “techno” beats) because it’s very time consuming to record drums. But to get a livelier feel and a little bit of rhythm interest I have a lot of percussion playing friends that are easy to mike up and get to play over a loop that doesn’t change.
It’s not really poly rhythm although a straight four drumbeat can sound very differently if you have someone jamming a funky rhythm on a Spanish Cajón under it.
( )peter jaques October 1st
There’s a whole realm of more complex time signatures, for instance what you’ll find all across the traditional music of the Balkans.
( )peter jaques October 1st
[sorry, somehow that posted when i wasn't done]
There’s a whole realm of more complex time signatures, for instance what you’ll find all across the traditional music of the Balkans & Turkey. The polyrhythms you described still kept an underlying 4 beat, but there’s a whole world of rhythm once you step out of that box.
For example, the funkiest & perhaps most common rhythm in Turkey is a 9/8. Here’s an example on Youtube of the great clarinetist Selim Sesler (though the poster said it was a different master) playing a slow 9:
http://www.youtube.com/watch?v=7lT3ZnfMRw4
~peter in oakland, california
( )Locke October 2nd
Great tutorial!
I also very much enjoyed Ryan Leach’s tuts, so I was particularly interested in the last two examples. I have a hard time figuring out the rhythmic patterns, though.
Is it possible for you to post a graphic representation of the lead and bass ostinato lines in the piano roll?
Also, nice video… very cute… and catchy tune!…
( )Ryan Leach October 2nd
Really nice introduction, thanks West. I’m not ashamed to admit that I love J-Pop, thanks for sharing that video!
( )Andy October 3rd
That’s a great introduction into polyrhythm. Very helpful, thanks.
( )Philippine Outsourcing October 7th
Interesting post here… thanks for sharing. Nice video sample showing the use of polyrhythm too. I also do video editing and this post has just sparked some interesting ideas that I would like to try on some of my videos. =)
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