Rhythm names. What is musical meter? Movement in even durations

Size and are two criteria that are inextricably linked. The reader perceives them as a charming feeling of harmony, meaning and style, inseparable from poetry.

What is rhythm and rhyme in a poem? These are the main factors that distinguish poetry itself from prose. High-quality classical poetry is always characterized by a correctly constructed rhythm. Without it, even perfectly rhymed lines sound clumsy.

The influence of harmony on the perception of a work

What is rhythm, the sound formed by the orderly repetition of syllables? The alternation of stressed and unstressed elements in stanzas is the core of the entire system of composition of Russian syllabic-tonic verse.

Of course, there are free verses, blank verses, in which the rhythmic pattern is not as important as the figurative narrative. But this can be called an exception to the rule. There is also such a variety as ancient verse. This method of versification was introduced into poetry by Asclepiades of Samos more than three hundred years BC. In simple (short) ancient verse, dactyl, spondee and trochae are used. Now these stanzas are little used, since free verse is more popular. But Horace’s famous verse “Monument” was written in ancient verse with a unique rhythm.

When a novice poet makes his first attempts at writing, he needs to focus on rhythm. To better understand whether it is consistent or not, you need to read your essay out loud (to yourself). This makes it more obvious if there are glitches in the lines or if everything is written well.

We will look at how rhythm is formed, what levels are distinguished in literary criticism. We will also give some examples of poetic works.

Determining rhythm in a poem

But let's start from the very beginning, that is, with the definition. Rhythm is the harmonious alternation of sound elements in phrases. What is this concept in versification? Sound phrases are not sentences, they are all those letter elements that are spoken from one pause to another. Phrases are combined into stanzas; and the stanzas are in feet.

How to determine the rhythm of a poem? To do this, an auxiliary scheme is written out with stressed and unstressed syllables, between which separators are placed. Thanks to rhythm, we separate the disyllabic iambic from the trochee. And even when some unstressed syllables are omitted, the meter can still be clearly determined. Determining the rhythm in a poem gives an understanding of the laws of harmony in the art of poetry.

You can study literature and its theory for years, but still not understand inner beauty harmonious stanzas. What is rhythm in a poem? This is a kind of music in a syllable. The phenomenon that is called tact in music is called meter in poetry. Mastery of the meter defines a professional word artist.

Variety of alternations of sound elements

How does rhythm help the perception of a poem? The alternation of sounds in stanzas can be variable so that euphony is felt. After all, constant monophonic sound has a depressing effect on a person.

For a verse to be pleasant to the ear, the rhythm must obey the laws of harmony. In order for poems to be distinguished from an army march, they must be supplemented with dissonances or assonances.

Meters and rhythms in one verse can be different. It all depends on the author’s intention, genre and chosen For example, avant-garde verse will have its own sound, corresponding to the theme of the figurative narrative. And the odic stanza has its own special rhythm, since there are 6 stanzas, and male and female rhymes alternate in a special way.

In large works, especially in children's fairy tales written in verse, freely rhymed lines are allowed. This gives the author more freedom in shaping the plot. But the main rule of free rhyme is euphony.

Words should be combined soundly, not visually. In complex stanzas you need to select the rhyme by ear. Just as a conductor determines the quality of a fugue by its sound, so a poet selects words for a poem so that they support the rhythm and do not disrupt it.

Pendulum image

What is rhythm in a poem in your own words? The most suitable image, on the basis of which it is convenient to imagine its essence, is a pendulum, measuredly dividing time into certain segments.

The formative elements of rhythm are meter, rhyme and the presence of an ordered structure. All of them are very important for composing an easy to read poem.

What are the different levels of rhythm? Classification by level is necessary for those who have devoted their lives to the study and development of literature. But this knowledge will also be of interest to those who are just beginning to be interested in this area of ​​​​humanitarian knowledge.

The first level is, as already mentioned, the simplest syllables. The second is tropes, the third is poetic lines, the fourth level is stanzas. At first glance this seems difficult. But once you figure it out, everything falls into place.

Complex stanzas and rhythm

Let's try to explain it differently, in a poem, in our own words. For the average reader and students high school It is not at all necessary to know rhythmic patterns. It is also not necessary to determine the meter of each verse read. Let's just say that rhythm is the alternation of stressed and unstressed syllables. In some works, the authors place them somewhat unusually. For example, there are 2 stressed syllables in a row or 2 unstressed ones. This somewhat disrupts the rhythm, but is also an acceptable technique in literature.

Complex dimensions, where a lot of nuances are taken into account, are a special level of sound harmony. If the rhythm in them is not maintained, then all efforts are in vain. New types of stanzas need to be mastered gradually.

Rhythm and rhyme

Let's consider two main criteria, without which it is impossible to write poetic work. What is rhythm and rhyme in a poem? These are two concepts that are closely related. The entire stanza is united by a common rhythm. The size is determined after analyzing the stanza. They come in three-foot, four-foot, pentameter, and so on.

There are five main rhyme sizes. These are the dimensions that are obtained if the alternation of syllables is strictly maintained. Among them, two two-syllable and three three-syllable ones are distinguished. Iambic and trochee differ from each other in that in the first case the stress falls on syllable number 1, in the second case - on number 2. Without dividing the couplet into lines, it would not be clear which syllable is first and which is second. Rhythm delineates the elements of the stanza.

Among the trisyllabic sizes, bacchius, antibacchius and amphimacra are also distinguished. Their presence in poetry is justified if you need to emotionally highlight some plot in a long poem. What rhythm is in a poem can be determined by analyzing the work and identifying its size.

What are the rhythms?

Literature has its own history and established traditions, but it is constantly evolving and absorbing new trends. Therefore, rhythm is not limited by any norms. The poet develops his own style over the course of creative life.

For clarity, to determine the rhythm, here are several poems in different sizes:

This morning, this morning,

The fields are sad, covered with snow,

Reluctantly you remember the past time,

You will also remember faces long forgotten. (I.S. Turgenev)

This is a tetrameter dactyl. Thanks to the markings, you can determine its rhythm. Trisyllabic meters are characterized by two unstressed syllables and one stressed syllable. Dactyl, amphibrachium and anapest are three meters that acquire euphony in most 4- and 5-foot verses of the syllabic-tonic structure.

A. Blok, written in anapest. When analyzing the stanzas, the patterns of stress that form the rhythm are clearly visible.

There are also purely tonic poems in the Russian language, in which the poet arranges only stressed syllables, and unstressed ones are used inconsistently. This style of writing was used quite often by V. Mayakovsky.

Our god is running,

The heart is our drum

The rhythm in such a poem is very peculiar. Of course, V. Mayakovsky could express himself like that. But a beginning poet must first master the syllabic-tonic system.

Assonance and dissonance in poetry as a way of creating rhythm

Let us explain these basic concepts. Assonance is a trope in which the same vowels are used in a verse. This technique enhances the emotionality of what the author says. Lines with such frequently repeated sounds are easy to read and quick to learn.

Very often, assonance can be found in the poems of S. Marshak; M. Lermontov also has these paths. This trope is similar to alliteration, but with its use there are an order of magnitude more such repeated sound combinations.

What is dissonance? This trope is characterized by the fact that in the last syllables of the lines, it is the consonant sounds that coincide, but the stressed vowels are completely different. This gives a peculiar flavor to the poems. The author benefits from the interest experienced by the reader, who is trying to understand why the verse sounds harmonious, although the standard rhyme cannot be heard by ear.

Alliteration, dissonance, and assonance make the rhythm more interesting and add variety to big picture, created by a word artist. But the use of these tropes requires good theoretical knowledge and experience in poetry.

Conclusion

Analyzing poems step by step and determining the size is the school program. Anyone who loved literature lessons knows a little about style and rhyme, remembers what rhythm is in a poem; 4th grade already knows that there is a cross and ring form of rhyme. And older schoolchildren are already studying sizes.

But aspiring poets should already be more interested in complex issues theories of poetry. Rhythm, meter and rhyme, as we see, are interrelated concepts. The poet must have not only a significant vocabulary, but also knowledge of the laws of rhythm.

rhythm) The concept of R. has many meanings. Probably the broadest definition, which covers all meanings of this word, belongs to Plato: “Rhythm is order in movement.” One might suggest instead: “Rhythm is order in sequence.” Temporal order structures can be found in a wide variety of areas. Here we will discuss temporal order in three of them: cosmology, biology and perception. There are similarities between the first two areas, but none of them are related to the third. Cosmic rhythms are known to us from events that occur over time, regardless of our actions, such as seasonal rhythm (change of seasons), lunar rhythm, which affects the ebb and flow of tides, and especially daily rhythm (change of day and night), which largely affects our Everyday life . There are a variety of biological rhythms in the plant and animal world. If we consider only people. organism, then almost all of our bodily functions are rhythmic. These R. are consistent with the functioning of various systems, the periodicity of which is endogenous, but they can play the role of a synchronizer when one of them is connected with another. Of course, night R. is basic. However, people can temporarily violate the boundaries of night R. if they live in artificially created conditions, for example, in the Far North, or perform the work of astronauts. In these cases, the circadian (daily) R. differs from its natural duration, being slightly longer than 24 hours. The sleep-wake cycle, although more flexible, usually also obeys the oscillatory system. This is found in individuals who are in “free-flowing” situations, without the influence of night R.R. sleep-wakefulness regulates the life of astronauts in space, where the change of light and darkness occurs much faster. However, despite the fact that social conditions (night work) or geographic circumstances (flights across the ocean) significantly change sleep-wake R., one can be convinced that these new R. over time begin to serve as synchronizers of body temperature R., which adapts to R. activity. These adaptations are important because not only the feeling of freshness or fatigue depends on R. body temperature; it also influences the degree of alertness and other activity levels. These R., therefore, can be defined as endogenous; their time period is little subject to change, but their phases can shift due to synchronization with R. of the same period of time (for example, the influence of R. activity on temperature). Finally, there are R. acquired through habit (conditioning). This is the case with R. hunger, associated with our eating habits and reflected in our degree of readiness for activity. There is also a weekly R., associated in particular with weekends, which, when Monday morning comes, creates slight difficulties in adapting again to the work regime, be it in the classroom or in the factory. Perceptual rhythms. When people talk about R., they immediately think of music and poetry; that is, the repetition at regular intervals of one or more elements organized into integral structures. This simple description means that, in these cases, there is a perception of order in the sequence. R.'s perception forces us to ask two fundamental questions: a) what are the time limits within which the sequence is perceived? b) What is the nature of the structures that tend to repeat themselves? Temporal limits of perceived rhythm. The basis of R.’s perception is the ability to grasp and comprehend successive elements as a whole, similar to our ability to cover with our gaze a part of space from a certain angle of view. This capacity for apprehending is often called the psychic present, since it corresponds to perception, in which elements simultaneously exist one after another. This is our ability to perceive simple expressions, such as a telephone number. This is psycho. the present (the psychological present) has boundaries, which are associated both with duration and with the nature of the elements. Thus, it is possible to perceive a sequence of two identical sounds, which follow with a threshold interval of 0.1 s to 1.8 s, as a single whole. Beyond this duration, sounds become elements perceived as independent of each other. But how many elements can be perceived in this present? Here it is necessary to distinguish between disparate elements and elements that form a structure. Although we are only able to grasp and comprehend about 5 letters of the alphabet, presented in disorder, we can fully perceive the 12 syllables that make up a poem. In a perceived structure, whether it is repeated or not, we perceive subgroups called chunks. The more sectioned (divided into parts or blocks) the perceived unity, the longer the psychic can be. present, provided that no internal interval exceeds 1.8 s. Thus, the regular repetition of identical situations gives us the perception of not only unity (as in the perception of a phrase), but also R., as is the case in music, poetry and dance. This brings us to consider the speed of the sequence, or tempo. Pace is the speed with which the elements of a structure follow one after another and the structures themselves unfold in time. For a clear perception of rhythmic unity, it is necessary that the duration of time between elements be sufficiently short. When reading poetry or playing music slows down significantly, the perception of rhythm is suppressed. Rhythmic structures. Let's consider simplest example, in which a simple sound is repeated at intervals of 0.4 s. These sounds are perceived as related to each other. If you listen carefully, they are perceived as grouped in 2 (less often 3). When analyzing this perception, it becomes noticeable that these groups seem to differ from each other in one or two respects - either in the length of time between the groups (pause), or in the emphasis of one of the two elements. Artistic rhythms. It is obvious that artistic R., in terms of their temporality, are perceived by R. It is important to find out whether there is a connection between what is spontaneously created creative artists, and the laws of R., derived on the basis of experimental procedures. Time limits. R., created in poetry and music, have periods of duration, which completely fit within the specified perceived limits. The average duration of rhythmic measures is 3.2 s. For poetic lines, according to Wallin, the average length is 2.7 seconds. Regarding the number of elements of substructures in music, the composer rarely goes beyond 6 bars, and the listener usually hears units of two or three bars. In poetry, the number of syllables rarely exceeds 12, and each line is divided into two, three or four parts by accents or pauses. The structure of rhythmic units is fully illustrated by examples of previous analyses. In the absence of documentary evidence, we know from Aristoxenus (IV century BC) that R. is a sequence of durations, and that these durations are not arbitrary. There is a minimum indivisible duration, as well as multiples of two and three values ​​of this duration, so that time is decomposed into more or less complex series of short and long periods, that is, series of durations. This is also true for dance, music and chants - arts that are inseparable from each other. This is true of Greek and Latin poetry. Today, depending on the language and traditions, poetry is more syllabic in nature, with regular stress sequences, and in classical poetry rhyme provides additional guidance. IN classical music In our time, the composer has a range of different durations at his disposal, because the possible durations are a binary division of a sufficiently long note, called the semibreve. It is divided into half notes, quarter notes, eighth notes, etc., without counting further gradations. The composer, in a fragment, which is homogeneous with the viewpoint. tempo, makes the leading use of two notes, which are in two or three-beat ratio (eighth and quarter, or double eighth-eighth, sometimes double eighth - half-eighth), and this is in a proportion of 70 to 80%. Obviously there are short notes, long notes and silence. We believe that these accidents are the creations of the artist, who is trying to avoid the determinism that requires the preferential use of only two periods of duration, the shortest of which is the most frequent. How could one explain this spontaneous predominance, canonized by practice, of only two durations in rhythmic structures? Here you can remember common law, which often turns out to work in the field of perception: the understanding of simplification as a two-way process of likening elements that are only slightly different from each other, and differentiation, which tends to emphasize the differences remaining after likening. But in the case of durations used in R., you also need to remember about the information being transmitted. Using the absolute perceived duration scale, it has been found that we cannot distinguish between more than two or at most three durations. This is the limitation on temporary perception that has been imposed on the artist at all times. It also overlapped with the work of those who created alphabet based on alternating durations, such as Morse code, which consisted of a system of dots and dashes. Rhythms of movement. To study the laws of R. we use not only images of perception, but also aspects of movement. First, it should be noted that perceived R., especially in art, are created by the motor or verbal activity of people. In fact, there is harmony between created and perceived values. This harmony reveals itself, especially, in the fact that audible movements cause very real motor induction, characterized by periodicity of movements. This phenomenon has been observed since early age. A child aged 1 year can rock gently while listening to rhythmic musical works, and even adults have to restrain spontaneous movements when listening to music. This spontaneity is also revealed in our difficulty in identifying a beat, which, for example, is located between two ordinary stresses, or what is called syncopation. It usually takes a lot of practice to hit two different rhythm different hands to create a polyrhythm. Returning to the spontaneous synchronization of music, it can be clearly seen that movement accompanies the main stress point, but if the structure is long and complex, synchronous movements are created by secondary stress points. All this occurs as if the induced accompanying movements must remain coupled, which means that the intervals separating them must be defined as less than 1.8 s. Motor induction and synchronization give rhythms qualities different from those perceived. Muscular-sound harmony causes emotional reactions characteristic of the perception of R. In addition, spontaneous synchronization makes allowances for the socialization of rhythmic activity, which takes place in dancing, orchestral music And choral singing. This socialization of activity is always a source of stimulation. Spatial rhythms. There is less talk about spatial R. than about auditory ones. For example, when describing movement it is easier to talk about shape or proportion. It is natural that sequences exist, but they often unfold in a three-dimensional context, which increases the subsequent difficulties. When only linear sequences are considered, it is noticeable that they often resemble rhythmic structures with regular repetitions of identical elements, like a tree-lined avenue, or are formed by the repetition of secondary or even tertiary structures with regular intervals between groupings. Even in rows of windows, for example, one can find more complex structures with elements, the variation of which has a repeating character. See also Auditory perception, Circadian rhythm, Perceptual organization P. Fress

Today in the Russian language there are a lot of concepts that are worth becoming familiar with. In this article we will talk about what rhythm is and what symbols are associated with it. Definitions on different sources a lot, but they all have the same meaning. Let's take a closer look at all the features of rhythm and give it a designation. The word "rhythm" today has several meanings, these are:

• Rhythm of life.
• Musical rhythm.
• Poetic rhythm.
• Biorhythm.

General concepts of rhythm

The word "rhythm" came to us from Greek language, where Rhytmos means regularity, consistency. We are accustomed to understanding rhythm as something measured, a natural alternation of certain elements, for example, movements, sounds.

Also with the help of rhythm we determine:

• Respiration rate.
• Change of season.
• Heartbeat.
• Pendulum swing and much more.

First of all, when we hear the word “rhythm”, music, dance and melodies appear in our minds. Musical rhythm is the alternation of long and short sounds in a certain order. When learning or composing this or that melody, musicians always pay attention to the rhythm. To do this, they can use a special device, a metronome. Music is characterized by its own rhythms, and they are completely different from the rhythms of life, movements and other things.

Rhythm in versification

Poetry has its own rhythms; here we can note such rhythmic units as:

• A line or phrase.
• Stop.
• Syllable.

There are also a lot of rhythms in nature, because our life consists of them. Rhythm can be called the change of day and night, the change of season or time. The human biorhythm is associated with natural rhythms. Many people are seeing activity in daytime, at night passivity predominates. It is not possible to judge general biorhythms, because they are strictly individual for each person. All this is connected with physiological processes. Each human biorhythm affects the activity, endurance and general condition of a person.

Each rhythm of life is determined by the way and way of life of a person. If a person is characterized by increased activity at night and passivity during the day, then his biorhythm is completely different from a person who is awake during the day. If you learn to determine your biorhythms correctly, you can improve your quality of life.

Although professional musicians can memorize music by ear, most beginners need to learn how to read music. Understanding the principles of reading music is also important for dancers and can captivate the heart of the casual listener. First you need to learn to count musical rhythm or knowing how long to hold or play each note. It is also important to know the definition of time signature. This article describes standard principles for reading music using a 4/4 time signature.

Steps

Part 1

The concept of tact. Music is divided into measures, indicated by vertical bars. Notes in music are named according to how much time they occupy in a bar. Think of the beat as a pie that can be cut into quarters, halves, eighths, or a combination of different notes.

Learning basic musical notation. Note names contain information about what part of the bar they occupy. To fully understand, you must know the basic meaning of “shares.” A whole note will take up the entire measure. Half notes take up half a bar.

• Quarter notes take up 1/4 of a bar.
• Eighth notes take up 1/8 of a bar.
• Sixteenth notes take up 1/16 of a bar.
• Notes can be combined to create one whole note, for example, one half note and two quarter notes last one full measure.

1. Try to keep the rhythm. If the rhythm is monotonous, try beating it with your heel and counting to four several times: 1-2-3-4, 1-2-3-4. Speed ​​is not as important here as maintaining the same amount of space between each strike. A metronome can be helpful in maintaining a steady rhythm.

   • Each complete cycle of counting 1-2-3-4 is equal to one beat.

2. Try counting the length of the base notes. Say or sing “la” while continuing to count the rhythm to yourself. A whole note will take up the entire measure, so start singing the note "A" on the first beat and hold it until you reach the fourth. You just sang a whole note.

   • Two half notes make up a full measure. Sing an "A" note for beats 1-2, then a new "A" note for beats 3-4.
   • Four quarter notes make up a full measure. Sing an "A" note for each beat you beat.

3. For smaller notes, add syllables. For eighth notes, you need to divide the bar into eight equal sections, although you will still only be hitting four beats per bar. Add the word “and” between each beat: “1 and 2 and 3 and 4 and.” Practice until you get it right. Each word represents 1/8 of a note.

4. Point value. Sometimes in music there is a small dot immediately after the notes. This means that the length of the note should be increased by 50%.

   • A half note usually takes up two beats, but with a dot it increases to three beats.
   • A quarter note without a dot takes up one beat, while a quarter note with a dot takes up 1 1/2 beats.

5. Practice playing triplets. Triplet refers to a group of three notes that lasts one beat. Their execution is quite problematic, since all the previously studied notes had equal shares. Pronunciation of syllables can help you master triplets.

   • Try hitting triplets, saying “1st, 2nd, 3rd, 4th.”
   • Remember to keep the number beats consistent by using a metronome or foot taps.

6. Do it your way. Fermata is a musical notation that looks like a dot with an arc above the note. According to this symbol, you have the right to stretch the note as much as you like, regardless of musical rules.

   • If you are part of an ensemble, then the duration of the note is determined by the conductor.
   • If you are performing alone, determine the most appropriate length in advance.
   • Listen to a recording of yourself playing if you're not sure how long to hold a note. This will give you insight into other artists' solutions, which will help you choose the best sound.

   Part 2

   Studying the Time Signature

   1. Determine the time signature. In the top left corner of the sheet music you will see some musical notation. The first symbol is called the "clef", which usually depends on the instrument on which the piece is played. Then there may be sharps or flats. But after them you should see two numbers arranged in a column. This is the time signature.

      • In the first part of this article we used the 4/4 time signature, which is indicated by two fours standing on top of each other.

Very often you see musicians who simply identify themselves with their instrument with some kind of manic devotion.

I usually see these people as an app to their tool. Guitarists don't listen to vocalists, drummers don't know about horns, pianists don't know about strings, etc.

What is all this for?

Sometimes I just forget that musical instrument it is just a TOOL for expressing what is within the individual, we deprive ourselves of the opportunity to develop as a musician and as a person.

Actually what does it have to do with it rhythm?

Once I became interested in the problem, I began to look for answers to the questions that interested me. However, there are no answers in elementary textbooks.

And largely due to the fact that I am very partial to drums, I started looking for drummers who know how to work with rhythm better than any other musician.
Music rests on two of the most important elements (although many will consider this controversial, but in light of the changes that have occurred in the music of the 20th century, the role today is not so important, since it may be absent altogether).

Each element should become natural. Experiment with mixing them with each other and from different tables.
Since Benny Greb only has two tables, the third one will be mine.

Reflecting on the non-standard and complex rhythm, I thought that it would not be a bad idea to compose it for 5-fold division, which gives a large selection of extraordinary options.

Play it will challenging task, but after this you will immediately feel musical growth. The more complex things we master, the more simple things become.

How to use all this to master complex dimensions