THREE AGAINST FOUR CROSS RHYTHMS

i. Basic Texture

Another important secondary beat scheme in the development of cross rhythms measures off four pulsations as its distinctive flavor in the musical period of twelve pulsations. There are three recurrent groupings of this four pulse beat scheme in a musical period of twelve pulsations. We shall identify this recurrent groupings as a three beat scheme.

Figure 34

Three recurrent groupings of four beats scheme

in a musical period of twelve pulsations.

In contrast to the four main beat scheme, the rhythmic motion of the three beat scheme is slower. A simultaneous interaction of these two beat schemes with contrasting rhythmic motions produces the next most useful cross rhythmic texture in the development of sub-saharan dance-drumming.

Figure 35

Three Against Four Cross Rhythm

Basic Pattern

The composite texture of the three against four cross rhythm produces a motif covering a length of the musical period. The motif begins with the component beat schemes coinciding and continues with the beat schemes in alternate motions thus showing a progression from a "static" beginning to a "dynamic" continuation.

The following is a syllabic intonation of the three against four cross rhythmic texture.

Figure 36

Syllabic Intonation

Three against four cross rhythm

Basic Pattern

ii. Polyrhythmic Textures
(Three Against Four Cross Rhythm)
There are three variant polyrhythmic textures of three against four cross rhythm. Each polyrhythmic texture is produced by setting the three beat scheme in motion a pulsation or more later than the main beat scheme.

Starting the three beat scheme from the second pulsation of the main beat scheme produces a variant motif showing a progression from a "dynamic" beginning to a "static" conclusion. The moment of resolution between the component beat schemes (static effect) falls on the fourth main beat. We shall identify this distinct polyrhythmic texture as the fourth phrasing of the three against four cross rhythm, a term reflecting the moment the component beat schemes coincide within the musical period.

Figure 37

1st Polyrhythmic Variant

Three Against Four Cross Rhythm

Another favorite polyrhythmic texture of three against four cross rhythm is produced by setting the three beat scheme in motion from the third pulsation of the main beat scheme. The resultant motif of this variant interplay shows a progression of dynamic motions interceded in the middle by a static motion. The static effect, produced by a moment of resolution of the component beat schemes, falls on the third main beat. This polyrthythmic textures is identified here as the third phasing of the the three against four cross rhythm.

The progression of this variant motif is replete with dynamic motions interceded in the middle with a static motion.

Figure 38

2nd Polyrhythmic Variant

Three Against Four Cross Rhythm

The last polyrhythmic texture of three against four cross rhythm is achieved by starting the three beat scheme from the second main beat, the moment of resolution of this alternate interplay.

Figure 39

3rd Polyrhythmic Variant

Three Against Four Cross Rhythm

Assignment:
The student should learn how to perform these important cross rhythms using the drill exercise described at the beginning of the section on individual cross rhythms.

As you gain confidence, try to use them as second layers just like an Ewe composer or choreographer using the following exercises:

i.Construct the first rhythmic layer by setting up our time line 1 in motion, tapping its seven attack points pattern on the thigh with your strong hand while the weak hand and your feet tap the four main beats.

ii.With the voice, articulate the three beat scheme by numbers 1, 2, 3 bearing in mind the interrelationship of the layers as the composite structure emerges.

Figure 40

Figure 41

Figure 42

Figure 43

Eight Beat Scheme

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