When the weaker beats (2 and 4) are emphasized, this is called syncopation. Clap and count the rhythm below,
feeling the “missing” beats one and three.
OR
Exercise 5—Class Exercise
Using the instructions given in Exercise 4, tap the following rhythms.
Notice:
- The lower voice establishes the regularity of the strong beats on 1 and 3—until the end of the third measure.
- The upper syncopated voice (indicated with arrows) taps on the weak beats 2 and 4.
- In the third measure, the regularity of the two voices is affected when a rest occurs in the lower voice on
the first half of beat 3. This creates a further push or “drive” to the fourth beat that normally is the weakest
beat of the measure.
Tap another two-hand syncopated rhythm. Be sure to accent beats 2 and 4 by tapping and counting louder on
those beats. Can you feel the “drive” to the fourth beat in the second measure?
Composers of rags, blues, gospel songs, and jazz are known for their use of syncopation. The following are
examples of syncopated rhythms:
- The second eighth note may be emphasized:
117
RHYTHM: SIMPLE METER EXPANDED1
>3
>1
>3
>(2) (4) (2) (4)2
>4
>2
>4
>(1) (3) (1) (3) 2
>4
>2
>4
>1 (3) (1) (3)1 + 2 (3) + 4
1 2 + 3 4 + 1 2 + 3 + 4 +
ee
Count: (1) + (2) +