Lyrics, Rhythm of Life Lyrics
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- Rhythm of Life Lyrics
Ensemble:
Daddy started out in San Francisco,
Tootin' on his trumpet loud and mean,
Suddenly a voice said, "Go forth Daddy,
Spread the picture on a wider screen."
And the voice said, "Brother, there's a million pigeons
Ready to be hooked on new religions.
Hit the road, Daddy, leave your common-law wife.
Spread the religion of The Rhythm Of Life."
And The Rhythm Of Life is a powerful beat,
Puts a tingle in your fingers and a tingle in your feet,
Rhythm in your bedroom,
Rhythm in the street,
Yes, The Rhythm Of Life is a powerful beat,
To feel The Rhythm Of Life,
To feel the powerful beat,
To feel the tingle in your fingers,
To feel the tingle in your feet,
Daddy, spread the gospel in Milwaukee,
Took his walkie talkie to Rocky Ridge,
Blew his way to Canton, then to Scranton,
Till he landed under the Manhattan Bridge.
Daddy was the new sensation, got himself a congregation,
Built up quite an operation down below.
With the pie-eyed piper blowing, while the muscatel was flowing,
All the cats were go, go, go-ing down below.
Daddy was the new sensation, got himself a congregation,
Built up quite an operation down below.
With the pie-eyed piper blowing, while the muscatel was flowing,
All the cats were go, go, go-ing down below.
Flip your wings and fly to Daddy,
Flip your wings and fly to Daddy,
Flip your wings and fly to Daddy,
Fly, fly, fly to Daddy,
Take a dive and swim to Daddy,
Take a dive and swim to Daddy,
Take a dive and swim to Daddy,
Swim, swim, swim to Daddy
Hit the floor and crawl to Daddy,
Hit the floor and crawl to Daddy,
Hit the floor and crawl to Daddy,
Crawl, crawl, crawl to Daddy,
And The Rhythm Of Life is a powerful beat,
Puts a tingle in your fingers and a tingle in your feet,
Rhythm in your bedroom,
Rhythm in the street,
Yes, The Rhythm Of Life is a powerful beat,
To feel The Rhythm Of Life,
To feel the powerful beat,
To feel the tingle in your fingers,
To feel the tingle in your feet,
To feel The Rhythm Of Life,
To feel the powerful beat,
To feel the tingle in your fingers,
To feel the tingle in your feet,
Flip your wings and fly to Daddy,
Take a dive and swim to Daddy,
Hit the floor and crawl to Daddy,
Daddy we got The Rhythm Of Life,
Of life, of life, of life.
Yeah! Yeah! Yeah!
Man!
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Description
This section is from the book "[37]The Rhythm Of Life", by Charles
Brodie Patterson. Also available from Amazon: [38]Rhythm of Life.
Music Of Other Climes. Part 2
Aristoxenus, an early Greek critic of prosody, distinguished the
elements out of which rhythm is composed as: the spoken word, the time
of [39]music in song, and the bodily [40]motion. And he defined rhythm
so produced as an arrangement of the time periods. The art of the early
Greek poets was devoted to a harmonious combination of language,
instrument, and gesture, the whole three uniting to form perfect
rhythm. Ages ago it was known that rhythm could be put into everything
we do with the greatest advantage, so that no matter what work one may
be engaged in, the rhythmic way of doing it is the easiest as well as
the most graceful.
Pythagoras, who lived some six hundred and fifty years before Christ,
and is considered one of the greatest of early mathematicians, believed
that the universe was created by music. It is said he taught that not
the ear, but mathematics, should be the guide in music. He was
apparently one of the first Greeks to teach the music of the spheres,
and had a scale in which the Moon, Mercury, Venus, the Sun, Mars,
Jupiter, and Saturn corresponded to the notes E, F, G, A, B, C, and D,
of which the Sun formed the middle or the controlling note; thus we can
see that the music of 2500 years ago was, in one sense, derived from
the heavens, and that heavenly bodies were used as symbols of musical
sounds. Unquestionably Greece laid the foundation of her civilisation
in music, and the other Muses constituted different degrees of the one
great fundamental note that ruled through all from first to last.
It is music that comes through man's ear in sound, and it is music that
comes through man's eye in colour. Musical sound vibration and musical
colour vibration underlie all [41]nature, and give beauty to all life.
Take music and colour out of the world and we have a dead world, a
world without a soul. The nation that is devoid of the musical sense,
so that it neither creates nor loves music, has lost its soul. And the
individual who has not awakened to a love of music and colour has not
yet found his soul. We feel music and colour far more than we see or
hear them. The greatest beauty of sound or colour is a revelation to
the soul of man rather than something derived through his sense nature.
Greece was a great nation so long as she continued to use the divine
principles of rhythm, melody, and [42]harmony in everything she felt,
thought, and did. From the time she began to lose these principles,
there came a decline. But the spirit which once animated the Greek
people did not die; it lives on, and will continue to live on until
there shall come a civilisation even greater than that of the Greeks.
As Jesus was a prophecy of what man must become, so Greece was a
prophecy of what the whole world shall yet become.
When we write of the music of the past, let us remember that music is
without beginning or ending, that it lives in the heart of the
Infinite, that the demand can never exceed the supply. Moreover, the
world can have the music it desires if it is willing to seek it. But
the things that heart and mind desire are not brought into being
without an effort on the part of those desiring them. We must bring of
what we have to bear on that which we desire to have; for everything we
receive, there must be something in the nature of an equivalent given.
We can have what heart and mind desire, when we use heart and mind and
bodily effort to get it. It was Plato who said: "The soul which has
seen the most of truth shall come to the birth as a philosopher, or
artist, or musician, or lover." It is through seeing the most of truth
and expressing all that we are able to see that there comes the new
birth, the new zeal, the new knowledge. Love music for the love of
music; love beauty for the love of beauty, and music and beauty will
become redoubled, as it were, in your life. If we are going to secure
from life all that is highest and best, then we must bring to life all
that is highest and best. We cannot barter the unlovely for the lovely,
or the unwholesome for that which is wholesome, the discordant for the
harmonious. No, it is like that attracts like. Give all the melody that
is in your life to the world, and a still greater melody will flow back
into it. Give to the world the best, and give only the best, then shall
you receive the best.
With the decline of music in Greece, there was a long period when the
progress of music seemed to have come to an end. The world came under
the thraldom of the Roman Empire, and the Muses, save in the most
external way, failed to prove of interest to the people. With the
coming of materialism into any country, the death-knell of beauty is
sounded. The Roman Empire was noted for its building of wonderful
roads, and the carrying on of great wars; but it paid little attention
to all that goes to make life truly great or beautiful. True it is
that, under some of the emperors of Rome, art flourished more than it
did under others. With the advent of Christianity as the national
religion of the Roman Empire, it might be thought that the Christian
Gospel of peace and goodwill would have brought with it something of
the true music of life; but there is little evidence that the change
from Roman barbarism to Christian civilisation wrought any marked
change in the art of the day. Undoubtedly all the persecutions and the
curtailments of the religious rights of the early Christians had much
to do with keeping them from expressing themselves through music. There
were doubtless many other reasons besides this. The majority of them
were made up of the poorer classes and it is doubtful whether, even
under ordinary circumstances, they would have been able to have
expressed themselves through music. It was during the fourth century
A.D. that Ambrose, Bishop of Milan, made the first real effort to
produce Church music, and he seems to have met with considerable
success; later, Pope Gregory the Great carried on still further the
work begun by Ambrose. But comparatively little of what might be called
good music was produced until the middle or end of the fourteenth
century. From that time on the growth of music is a continuous one, and
Italy takes a very prominent part; not only did she lay a new
foundation of musical art, but she has continued on through the
centuries without any break in her career, so that I think it may
truthfully be said that the knowledge and love of music possessed by
the Italians has not been exceeded by the people of any other nation in
modern times.
Continue to:
* prev: [43]Chapter II. Music Of Other Climes
* [44]Table of Contents
* next: [45]Music Of Other Climes. Part 3
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[51]cosmic consciousness, [52]dance, [53]energy, [54]rhythm, [55]music,
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Keeping the rhythm of life in sync
May 28, 2008
Beyond symbolically holding our feelings of love and compassion, the
heart is a very efficient pump with a steady beat that provides the
rhythm of life. Abnormal rhythm in the heart is a condition known as
cardiac arrhythmia. A normal heart beats between 60 and 100 times per
minute. It goes faster if needed for exercise or to handle emotional or
physical stress.
The heart beat is regulated by a complex and specialized electrical
system that runs through the heart muscle. The muscle itself is indeed
electrically active. Alterations in the normal electrical system of the
heart and its regulatory mechanisms lead to arrhythmias. These could be
too fast, too slow, or irregular.
All forms of arrhythmia can cause problems. Patients with abnormal
heart rhythms can suffer a variety of health issues. Different people
may experience arrhythmias in different ways. Some may have an abnormal
rhythm and not even know it.
Fatigue, dizziness, lightheadedness, palpitations, heart racing, chest
pressure, fainting spells, episodic blurry vision, shortness of breath,
swelling of the legs, strokes, heart attacks or sudden death can occur
because of abnormal heart rhythm.
To evaluate the electrical system of the heart and identify its
relation to the symptoms patients may have, physicians use an
electrocardiogram. This diagnostic test allows us to look in real time
at the graphic tracing of the electrical activity of the heart by
placing electrodes on the skin.
Most commonly, the arrhythmias occur intermittently and it may be
difficult to catch an episode with an electrocardiogram. In this case,
other tests may be ordered. One is an electrophysiology study, in which
electrodes are placed inside the heart through a form of heart
catheterization.
Cardiologists with rigorous training in the specialty of
electrophysiology can treat rhythm disorders with drugs, catheters, or
implantable devices. Catheter ablation is the procedure that allows
doctors to thread a catheter through veins in the groin to areas inside
the heart where abnormal electrical connections or scar tissue are
causing arrhythmias. The catheter then delivers heat or freezing
temperatures to these abnormal areas, and tissue is selectively
destroyed to prevent the recurrence of the arrhythmia.
Implantable devices are sometimes needed to stimulate the heart when
the natural pacemaker or the heart's electrical system is not
functioning and the heart beats too slow. More complex pacemakers can
be used in selected patients with a weakened heart muscle to
resynchronize the beating of the chambers of the heart and restore some
of its pumping function.
Implantable defibrillators can save lives when patients at risk of
dangerous arrhythmias collapse from a rhythm that is too fast. The
device, a small implantable computer, identifies the abnormality and
delivers an electrical shock to restore the normal rhythm.
Correcting abnormal heart rhythms can relieve discomfort, prevent
disability, prolong life, and frequently allows patients to go back to
their normal daily living. Penn State Hershey Heart and Vascular
Institute has a team of heart rhythm specialists and the most advanced
treatments available to help restore the heart rhythm ... to help
restore the rhythm of life.
For more information, visit [28]http://www.pennstatehershey.org/rhythm
Source: Penn State, By Javier Banchs
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* [47]Sepp - May 29, 2008
+ Rank: 1 / 5 (1)
"...the heart is a very efficient pump with a steady beat that
provides the rhythm of life..."
Why do we call the heart a "pump" when its principal function is
just to give rhythm to a natural circulatory flow of the blood
through our system of vessels.
It isn't pressurization by the heart that makes the blood
circulate. Picture miles and miles of blood vessels getting ever
smaller along the way until they are capillaries, then, after
supplying blood to tissues, these capillaries gradually open up to
become veins. No amount of pressure - even if the heart was capable
of supplying it - could squeeze that liquid through such lengthy
and thin pipes.
It is _rhythm_ we get from the heart, and indeed the article is all
about that. So let's find a better term than the misleading word
"pump" to describe the heart.
What about "metronome"?
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* [54]bmcghie - May 29, 2008
+ Rank: 4 / 5 (1)
Sorry Sepp, but the heart does supply pressure. That's it. If you
don't think that it can generate enough pressure... you are wrong.
Your body does a VERY good job of dilating the required vessels,
and constricting others to optimize the use of this pressure, and
also takes advantage of skeletal muscle movement to help blood
return to the heart... but the bottom line is the heart is ONLY
used to generate pressure. Resulting fluid movement occurs due to
the vessels and their levels of constriction/dilation.
As for your "miles and miles"... yeah, if your blood is too thick,
as sometimes occurs with blood doping athletes abusing drugs... the
thicker blood becomes harder to pump, leading to localized flow
loss in some areas, which triggers blood clotting. I apologize if
this sounds a little heavy handed, but you really need to do some
reading if you understand the heart to be ANYTHING but a massive
pump sitting in your chest. I suggest wikipedia-ing "circulation"
or taking a highschool biology class.
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Rhythm Of Life lyrics
(Chorus)Get down to the rhythmKeep on movingDown to the rhythm of life
Get down to the rhythmYou know you can do itIt's the rhythm of life
Better get yourself togetherGotta make you're mind up soon
Now that time is running out on youIf you're lostThen I'll find you
I'll be right behind youAnd you knowI can catch you when you fall(Chorus)
If you're feeling lost and lonelyYou know I can ease your pain
Never have to be that way againJust believe you can make it
The chance is there so take itIt's your lifeSo don't let it pass you by(Chorus)
Get down to the rhythmGet down to the rhythmGet down, get down, get down
(repeat x2)(Chorus (x3) to fade)
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May 19, 2008
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5 most recent columns
January 11, 2010: [8]Music Therapy Experience in a Public Hospital. By
Diego Schapira
December 28, 2009: [9]The Honor of Sharing Our History. By Barbara
Wheeler
December 14, 2009: [10]Challenges on Music Therapy Clinical Practice.
By Lia Rejane Mendes Barcellos
November 16, 2009: [11]Keeping Music Close to Nature. By Sarah Hoskyns
November 2, 2009: [12]Some Thoughts on Being a White Music Therapist.
By Helen Oosthuizen
Sound, Rhythm, Life Symphony
By Gabriella Giordanella Perilli ()
1st Movement: Introduction and Allegro
When I think about my life, I have an image of waves moving
rhythmically, at different levels and in different directions, each
producing different sounds. These sounds reflect me interacting with
other people in various environments. Perhaps I have developed this
metaphor as a musician trying to understand what is going inside and
around me emotionally. It is a kind of an ecological perception in
which each wave, whether sonic or emotional, becomes a meaningful
presence.
I was astonished the first time I heard the recorded sounds of planets
and the composed music sent to Voyager as witness of our human
civilization and cultures. While the aural perception of music on this
planet is made possible by human sensory organs and functions, in other
parts of the Universe perhaps music is a mathematical code immediately
grasped by intelligent minds. This leads me to think that space is not
empty or chaotically immeasurable; rather it is filled with rhythm, and
sounds - or electromagnetic waves. Curiously, the immense space of the
universe is not threatening for me as before.
Once a very different experience happened at my physician's office,
when I first heard my own blood pulsing through my veins, during an
echo Doppler imaging. The incessant bubbling flow seemed to nurture
each cell in my body, with dynamic contours and peaks of intensity
arising randomly, above the background sound.
Meeting outstanding people in the Music Therapy field, like Helen Bonny
and Ken Bruscia, allowed me to reach a deep level of understanding of
sound and rhythm and how they embed our lives. That opened terrific
scenarios I could never imagine before.
2nd Movement: Adagio Maestoso
Suddenly my mind diverges from such pleasant experiences and goes to a
patient of mine, suffering from a severe kind of autistic syndrome.
That young man felt people as if they were electrical appliances,
making irritating noises. It seemed as if he could perceive when a
person had some health or emotional problem which, for him, made
unbearable sounds. In such occasion he became very anxious, crying
aloud while lying down, moving his body as if tortured by those
dangerous noises.
When his psychodynamic therapist introduced me to this young man, she
told me about an unusual behavior of his. Quite often, during a therapy
session, he made vocal sounds while rhythmically wringing his hands.
His sounds were so emotionally intense that their
message--"Help!"--seemed to flood my being. How could I participate in
a meaningful way to share his anxiety and at the same time modify it
safely? I decided to experiment with adding my own vocalizations (with
overtones) to his. He was very surprised to hear my sounds and his
together. We used to tape our nonverbal dialogue and, afterwards,
listen to it with curiosity. That became part of our music therapy
session: no longer did he isolate himself; instead he accepted vocal
interactions with me first, and, then, with other people outside.
My opinion was that, by these interactive music experiences, he
developed a better selective attention function so that he was able to
process only the meaningful sounds, distinguishing them from the huge
amount of incoming stimuli. Finally he could enjoy being with people,
without being overwhelmed by their presence and their annoying sounds.
In contrast, sounds could not be shut off or avoided in the delusional
experiences of schizophrenic patients that had I met previously in a
Mental Health Community Center. Terrifying voices and crashing sounds
were always present in their heads, unless we played music that they
liked. Listening to such moving music transformed the perceived nasty
words into supportive ones, so that they could feel relieved from their
painful situation: the green color of their face turned on in a light
pink together with a smile illuminating their eyes.
Other examples of unforgettable sounds in my own life come to mind: the
roar of bombs exploding during the Second World War, and our neighbors'
desperate cry for the deportation of their close relatives. In both
situations, my mother took great care to help me to cope with these
dramatic events so that as a child I could not be overwhelmed by
fearful or anxious sounds. She guided me through each fearful event
with a brave heart, looking for strength and possible resources. I was
grateful to her then; and later as a music therapist.
I particularly appreciated my mother's insights when I began to work
with clients in Guided Imagery and Music (GIM), wherein a client may
experience similarly difficult and tragic situations. The guide has to
be a supportive, trustful presence that allows the client to cope with
and explore the situation to discover and develop potentialities
available to the client. Every GIM session affords the client and
therapist with inexhaustible and surprising alternatives for healing:
the rhythm of life is embodied in human beings as well as the
environment; music can evoke motion and emotion, while also producing
amazing levels of awareness and different states of consciousness
necessary for improving quality of life.
3rd Movement: Trio
In Hamburg, during the 8th World Congress, Maturana presented his idea
which considers that a good development of each system is possible when
there is coherence between its internal parts, and it and its
environment. Human beings and their environment are in constant
interaction. In this way they influence each other with mutual
perturbation which trigger off structural modification in each system.
Change has to occur at the same time, in a consensual domain of
structural coupling, and, he said, this can happen, for example, with
rhythm entrainment and music.
As I have observed in GIM sessions, the music evokes but does not
determine the nature of personal modification. Any change is produced
by each individual in a independent and unique way, based on subjective
readiness and level of development, as well as the need to maintain the
structural characteristics (autopoiesis) and to avoid disintegration.
To reach that goal of integrity and coherence, our brain organizes
schema to structure and order internal and external events using
rhythmic patterns or subjective tempo, both of which are
self-referential and carry our own personal meaning. Those temporal
structures have a neurophysiological basis, and seem to be biologically
determined; moreover, from a psychological point of view, they follow
an evolution similar to early psychophysical experiences with a
caregiver and the social environment. In some way, those temporal
patterns may influence our music perception and evaluation by
comparison between the inner and outer different temporalities. As
Oliver Sachs says, our brain is a musical score; thus interaction with
sound and rhythm is both natural and functional. Neurosciences enlarge
our horizon regarding music and the brain, showing that numerous areas
are involved in processing musical stimuli. The music effect on human
beings and on their self-definition process is, partially, due to the
emotional response to music.
Musical behavior and musical cognition are expression of the
metaphorical process by which our knowledge evolves. The musical
behavior and cognition prove that concepts become meaningful because
they are associated with embodied functions. It is important to
understand that what we call an abstract thought depends from our
sensory and motor experiences. By consequence, music, which seems to be
the most abstract form of artistic expression, may be considered the
most embodied one, reproducing and stimulating rhythm, motion, emotion,
and metaphorical thinking.
Moment by moment, music builds up both time flow and its duration.
Unfortunately, this is not experienced by people with Alzheimer,
because their subjective tempo, or internal clocklike system, processes
separate instances in an atemporal fashion. In that pathological
situation, only sensory and emotional memories seem to function. They
do not mentally grasp the present, nor can they demonstrate the
capacity of the human nervous system to maintain its viability and
integrity from instant to instant, as described in T. Fraser's theory.
There is no more the noetic experience of time which combines ideas
about present, past, and future necessary to define and construct a
conscious unity of selfhood. By hearing music, Alzheimer patients could
answer, emotionally, in the instant articulated and defined by music
itself. In this experience they can live the organic present in which
is still possible to maintain coherence among their biological clocks.
And, thus, they can still feel joy.
4th Movement: Finale Allegro con brio
All the above experiences stimulated and sustained me in trusting the
efficacy of music to enhance human quality of life, in spite of
criticism and depreciation expressed for years by some colleagues of
mine as far as music therapy. At the same time other colleagues shared
my ideas, and appreciated my work. By consequence with their support my
dream came true. So that I succeeded to bring music therapy,
particularly the Bonny Method of Guided Imagery and Music, at the
highest academic level in Italy, founding the post graduation Institute
named "School of Psychotherapy and Integrated Music Therapy - SPIM" to
train psychologists and physicians in this field.
This is my life a meaningful kinetic Symphony moved by, through, and
with a sonic universe of feelings evoked by rhythm, sounds, and music.
References
Bruscia, K.E. & Grocke, D.E. (Eds.) (2002). Guided Imagery and Music:
The Bonny Method and Beyond. Gilsum NH: Barcelona Publishers.
Fraser T. (1990). Of Time, Passion, and Knowledge: Reflections on the
Strategy of Existence. Second edition. Princeton: Princeton University
Press.
Johnson, M. (1987). The Body in the Mind. The Bodily Basis of Meaning,
Imagination, and Reason. Chicago: The University of Chicago Press.
Maturana, H.R. (1970). Biology of Cognition. Urbana: University of
Illinois.
To cite this page:
Perilli, Gabriella (2008). Sound, Rhythm, Life Symphony. Voices: A
World Forum for Music Therapy. Voices: A World Forum for Music Therapy.
Retrieved from http://www.voices.no/columnist/colpirelli190508.php
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Iambic Pentameter: The Rhythm of Life?
Sunday March 22, 2009
[bencrystal.jpg]
Does the thought of [23]iambic pentameter terrify you? I remember being
baffeled by it at school myself because I got bogged down in counting
syllables and working out where the stresses go but, I now know that
this is a very technical way of studying iambic pentameter.
In later life, Ive grown to love iambic pentameter. Theres something
beautiful about it that I cant put my finger on. I know for sure that
its in the speaking because on the page it is inert. When you [24]speak
those words aloud, they literally jump off the tongue and the rhythm is
the easiest of all meters to find.
I asked Ben Crystal about this [25]in our interview a few months ago.
He said that iambic pentameter is the rhythm of our English language
and of our bodies a line of that poetry has the same rhythm as our
heartbeat. A line of iambic pentameter fills the human lung perfectly,
so its the rhythm of speech.
I think this is true. When you [26]learn how to speak verse, you soon
discover that its a very instinctive rhythm. Once you relax and go with
the flow, it comes naturally. And, strange as it might sound, classic
iambic pentameter lines like If music be the food of love, play on and
Now is the winter of our discontent do happen to fit a single breath
perfectly if spoken with passion.
So, if youre having trouble with iambic pentameter, remember that its
designed to be spoken, not studied. Open your mouth and speak aloud
those great words.
Photo of Ben Crystal © Scott Wishart
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Comments
March 30, 2009 at 2:29 pm
[33](1) [34]Kent Richmond says:
In doing verse translations of five Shakespeare plays, I have
had to learn how Shakespeares iambic pentameter works in order
to give my translations the feel of the original. One of the
beauties of iambic pentameter is that the poet can temporarily
relax the meter without violating it. In this series of made-up
and rather prosaic lines, the first line is straight-ahead
iambic pentameter. The second and third lines, if read
independently, are less obviously iambic pentameter, yet they do
not violate the rhythm. The fourth line is clearly unmetrical
and removes the sense that we are listening to verse.
1. Her mother took the kids to shop for clothes,
2. Planning to buy them all some warmer sweaters. (trochaic
start; feminine ending)
3. No! No! No! No she bellowed at the oldest. (Two spondees to
start; feminine ending)
4. Dont you ever hit your little sister. (unmetrical)
Shakespeare, at least in the plays I have translated, did not
write verse lines with the rhythm of (4). To make this line
sound a bit more like Shakespeares iambic pentameter, we need to
make a few alterations to line 4.
1. Her mother took the kids to shop for clothes,
2. Planning to buy them all some warmer sweaters.
3. No! No! No! No she bellowed at the oldest.
4. Dont ever hit that little girl again.
To make the whole passage sound like prose, we need to change
the first line a little.
Then her mother took the kids clothes shopping, planning to buy
them all some warmer sweaters. No! No! No! No she bellowed at
the oldest. Dont you ever hit your little sister.
The first and fourth lines now have trochaic feet exposed in the
wrong places, and most editors would print such a passage as
prose. Shakespeares iambic pentameter certainly places
constraints on what rhythms are allowed, yet it allows for
flexibility and naturalness. Take a look at George Wrights book
titled Shakespeares Metrical Art to see the techniques
Shakespeare employed.
April 11, 2009 at 8:25 pm
[35](2) Dave says:
The words literally jump off the tongue? I'd like to see that!
[36]Leave a Comment
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* [37]Introducing Iambic Pentameter
* [38]Iambic Pentameter - How to Study Iambic Pentameter
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What is music rhythm?
The music rhythm is the beat. It is the most important element in
music. It drives the music forward. It is the gasoline of music.
Rhythms can be simple or complicated.
Essential music vocabulary
Meter
It's the way we group the beats. We group eggs by the dozen. We group
days by the week. We also group beats into two's or three's. That's
meter.
Rhythm
The beat. The beat can be even or uneven, steady or unsteady.
Note Values
Long and short sounds in music are represented by notes. White notes
have longer sounds than black notes.
Tempo
This is the speed of the music.
Time Signature
This is a number that appears at the beginning of the music. The top
number tells you how many beats are in each measure (bar) and the
bottom number tells you what kind of a note gets one beat. The most
common times signatures are 4/4, 3/4, 2/4, and 6/8.
Whole music notes
These notes are whole notes. Each note is four beats long.
Click the image to hear the note value.
[14][whole.gif]
Half music notes
Here are half notes. Did you see the stems? These notes are twice as
fast as whole notes. These note are two beats long.
Click the image to hear the note value.
[15][half.gif]
Quarter music notes
These notes are black. They are quarter notes. Each quarter note gets
one beat. How many beats are in each measure? If you guessed four,
you'd be right!
Click the image to hear the note value.
[16][quarter.gif]
Eighth music notes
These are eighth notes. Notice how the stems are connected by a beam.
These notes move twice as fast as quarter notes. Two note are played
for each beat of music.
Click the image to hear the note value.
[17][eighth_.gif]
Combining Note Values
In 4/4 time, different note values can be combined in each measure as
long as they equal four beats. Click the examples to hear the rhythm
patterns:
[18][combo2.gif]
[19][combo3.gif]
[20][combo4.gif]
Music tempo
Tempo means speed. Musicians use Italian terms for different tempos.
Here is a melody fragment. Click the image to hear the tune:
[21][example.gif]
Click the words below to hear this tune played at different tempos.
Slow Medium Fast
Largo Largo is the slowest tempo.
Adagio Largo means slow or leisurely.
Andante Andante means a walking pace.
Moderato Moderato is medium. It is not too fast or too slow.
Allegro Allegro is fast. It means cheerful in Italian.
Vivace Vivace is quick and lively.
Presto Presto is very fast.
Meter
Meter is how we hear the groupings of beats in music. Music will be in
an even meter (groupings of 2's or 4's) or an odd meter (groupings of
3's).
Even Meters Are Groupings of 2 Beats A [22]march is played in a meter
of 2, which makes it an even meter. That means you will hear the beats
of the march move in patterns of two's.
Odd Meters Are Groupings of 3 Beats A [23]waltz is played in a meter of
three, which makes it an odd meter. That means you will hear the beats
of the waltz move in patterns of three's.
Can you hear meter in music? Click the examples below to identify
whether you hear the music moving in groups of two's or three's.
[24]Example 1 [25]Example 2 [26]Example 3 [27]Example 4 [28]Example 5
Time Signatures
The time signature helps us group the notes so we don't get lost. It's
the way we organize beats in music. It's like grouping eggs by the
dozen or days by the week. The top number tells us how many beats we
can have in one measure. In 4/4 time we have four beats in each
measure. What was the time signature in all of all the examples above?
Remember this: A beat is not the same thing as a note. Notes can have
more or less than one beat. A whole note in 4/4 time has four beats. A
half note in 4/4 time has two beats. An eighth note in 4/4 time has
just 1/2 beat. It takes two eighth notes to make one beat in 4/4 time.
Time signatures and meter: The time signature will tell you the music's
meter. If you can divide the top number by two, the music is in an even
meter. If you can divide the top number by three, the music is in an
odd meter.
Let's look at some popular time signatures and see if we can add up the
beats in each measure.
4/4 Time (Common Time)
[Common_time.gif]
Did you notice the number at the beginning of all the examples above?
That's the time signature. It's 4/4. That means that there are four
beats in each measure and the quarter note gets one beat. This time
signature is also called Common Time because it is the most popular
time signature in music.
Listen to [29]Somewhere Over the Rainbow from The Wizard of Oz. It's in
4/4 time. Each measure equals four beats. It is in an even meter.
[30][rainbow.gif]
3/4 Time (Waltz Time) [Three_four.gif]
A 3/4 time signature would only have three beats per measure. Here is
what it looks like.
Listen to [31]America played in 3/4 time. 3/4 is also called waltz
time. Did you notice the dots after some of the notes. Dotes make the
notes longer. This song is in an odd meter because there are three
beats per measure.
[32][amaerica.gif]
2/4 Time [Two_four.gif]
A 2/4 time signature has just two beats per measure. It looks like
this.
Listen to [33]You're a Grand Old Flag in 2/4 time. Do you see the line
connecting the last two notes. It is called a tie. What is the meter of
this song? Look at the time signature for your answer.
[34][grand.gif]
6/8 Time [Six_eight.gif]
A 6/8 time signature has six beats per measure. The bottom number is 8.
This tells you that the eighth note gets one beat.
Do you recognize the song [35]Follow the Yellow Brick Road from The
Wizard of Oz? It's in 6/8 time. This song goes fast, making it sound
like 2/4 rather than 6/8 time. This time signature can sound like an
even or odd meter because you can divide 6 by 2 or 3.
[36][wizaed.gif]
Drums online games
* [37]Drums music machine free online game
* [38]Drums player online music machine
* [39]Restore rhythm online ear training
* [40]Drums map movie
* [41]Drums editor online game
Music piano and guitar online games
* [42]Computer play a note pitch ear training. You try to understand
it and type c,d,e,f,g...
* [43]Computer show a note you try to understand it play keyboard
* [44]Music machine ear training
* [45]Piano music machine free online game you can compose melody and
play it. Try compose melody. This is very easy.
* [46]Music free online game. Try to repeat music.
* [47]Note pair online game. Find all notes. This game is very useful
for music memory improvement.
* [48]Notes shooter online game. Try to recognize note as fast as you
can.
* [49]Piano note free online teacher
* [50]Sound memory improvement free game. Listen music. Then try to
repeat it.
* [51]Drag music online game. Compose melody by notes.
* [52]Piano note editor. Compose melody. Use mouse for composing.
* [53]Find error at the melody online game. The computer play melody
then replace one note. Try to find error
Music machines
* [54]Orchestra quiz online music
* [55]Music quiz for kids
* [56]Virtual band
Music games for kids
* [57]Rainbow piano for kids. Computer show the color. Kids need to
press correct note.
* [58]Can you play jingle bells? Look at the note sheet and play.
* [59]Piano keyboard online game. Download piano keyboard movie on to
your computer and play.
Metronomes and fork
* [60]Light metronome online movie
* [61]Metronome online movie
* [62]Guitar tuning fork its help tune guitar
Guitar online games
* [63]Guitar music machine
* [64]Guitar chord finder
* [65]Guitar online chords
* [66]Guitar chords
* [67]Basic guitar chords and how it
* [68]Guitar chords machine with sound
* [69]Guitar scales
__________________________________________________________________
Free music games [70]AbabaSoft.com/music
Copyright © 1998 -
Références
1. http://www.ababasoft.com/music/index.html
2. http://ababasoft.com/music/drum_machine.html
3. http://ababasoft.com/music/drums01.htm
4. http://ababasoft.com/music/drums02.html
5. http://ababasoft.com/music/music.html
6. http://ababasoft.com/music/drum_editor.html
7. http://ababasoft.com/music/music01.html
8. http://ababasoft.com/music/ear_training01.html
9. http://ababasoft.com/music/music02.html
10. http://ababasoft.com/music/chords_piano.html
11. http://ababasoft.com/music/memory_sound.html
12. http://www.ababasoft.com/how_to_draw/
13. http://www.ababasoft.com/flash_games/
14. http://ababasoft.com/music/midi/WHOLE.MID
15. http://ababasoft.com/music/midi/HALF.MID
16. http://ababasoft.com/music/midi/QUARTER.MID
17. http://ababasoft.com/music/midi/EIGHTH.MID
18. http://ababasoft.com/music/midi/PATTERN1.MID
19. http://ababasoft.com/music/midi/PATTERN2.MID
20. http://ababasoft.com/music/midi/PATTERN3.MID
21. http://ababasoft.com/music/midi/EXAMPLE.MID
22. http://www.empire.k12.ca.us/capistrano/Mike/capmusic/modern/american%20composers/sousa/stars%20and%20stripes.mid
23. http://ababasoft.com/music/midi/Chopin_Waltz.mid
24. http://www.empire.k12.ca.us/capistrano/Mike/capmusic/the_wild_west/gold_rush/susanna.mid
25. http://www.empire.k12.ca.us/capistrano/Mike/capmusic/glossary%20of%20musical%20terms/fug-x.mid
26. http://www.empire.k12.ca.us/capistrano/Mike/capmusic/classical/sym40-Mozart.mid
27. http://www.empire.k12.ca.us/capistrano/Mike/capmusic/the_wild_west/cowboys/Home%20on%20the%20Range.mid
28. http://www.empire.k12.ca.us/capistrano/Mike/capmusic/renaissance/GALLIARD[1].mid
29. http://ababasoft.com/music/midi/RAINBOW.MID
30. http://ababasoft.com/music/midi/RAINBOW.MID
31. http://ababasoft.com/music/midi/AMERICA.MID
32. http://ababasoft.com/music/midi/AMERICA.MID
33. http://ababasoft.com/music/midi/GRAND.MID
34. http://ababasoft.com/music/midi/GRAND.MID
35. http://ababasoft.com/music/midi/WIZARD.MID
36. http://ababasoft.com/music/midi/WIZARD.MID
37. http://ababasoft.com/music/drum_machine.html
38. http://ababasoft.com/music/drums01.htm
39. http://ababasoft.com/music/restore_rhythm.html
40. http://ababasoft.com/music/drums02.html
41. http://ababasoft.com/music/drum_editor.html
42. http://ababasoft.com/music/music_type.html
43. http://ababasoft.com/music/music_type2.html
44. http://ababasoft.com/music/music.html
45. http://ababasoft.com/music/piano_machine.html
46. http://ababasoft.com/music/music01.html
47. http://ababasoft.com/music/notepair.html
48. http://ababasoft.com/music/noteshooter.html
49. http://ababasoft.com/music/music02.html
50. http://ababasoft.com/music/memory_sound.html
51. http://ababasoft.com/music/dragmusic.html
52. http://ababasoft.com/music/note_editor.html
53. http://ababasoft.com/music/finderror.html
54. http://ababasoft.com/music/orchestra03.html
55. http://ababasoft.com/music/music_quiz.html
56. http://ababasoft.com/music/virtual_band.html
57. http://ababasoft.com/music/rainbow_piano.html
58. http://ababasoft.com/music/jinglebells.html
59. http://ababasoft.com/music/piano.html
60. http://ababasoft.com/music/metronome02.html
61. http://ababasoft.com/subvocalization/index.html
62. http://ababasoft.com/music/guitar_tuning_fork.html
63. http://ababasoft.com/music/guitar_machine.html
64. http://ababasoft.com/music/chord_finder.html
65. http://ababasoft.com/music/guitar_chord.html
66. http://ababasoft.com/music/guitar_chords.html
67. http://ababasoft.com/music/guitar_chords_basic.html
68. http://ababasoft.com/music/guitar_chords_machine.html
69. http://ababasoft.com/music/guitarscales.html
70. http://www.AbabaSoft.com/music
[1]CAT.INIST
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Share [9]Mendeley
Titre du document / Document title
Effects of pre-exercise listening to slow and fast rhythm music on
supramaximal cycle performance and selected metabolic variables
Auteur(s) / Author(s)
YAMAMOTO T.^ (1) ; OHKUWA T.^ (2) ; ITOH H.^ (2) ; KITOH M.^ (3) ;
TERASAWA J.^ (3) ; TSUDA T.^ (3) ; KITAGAWA S.^ (3) ; SATO Y.^ (1) ;
Affiliation(s) du ou des auteurs / Author(s) Affiliation(s)
^(1) Research Center of Health, Physical Fitness and Sports, Nagoya
University, 464-8601, JAPON
^(2) Department of General studies, Nagoya, 466-8555, JAPON
^(3) Department of Applied Chemistry, Nagoya Institute of Technology,
Showa-ku, Nagoya, 466-8555, JAPON
Résumé / Abstract
We examined the effect of listening to two different types of music
(with slow and fast rhythm), prior to supramaximal cycle exercise, on
performance, heart rate, the concentration of lactate and ammonia in
blood, and the concentration of catecholamines in plasma. Six male
students participated in this study. After listening to slow rhythm or
fast rhythm music for 20 min, the subjects performed supramaximal
exercise for 45 s using a cycle ergometer. Listening to slow and fast
rhythm music prior to supramaximal exercise did not significantly
affect the mean power output. The plasma norepinephrine concentration
immediately before the end of listening to slow rhythm music was
significantly lower than before listening (p < 0.05). The plasma
epinephrine concentration immediately before the end of listening to
fast rhythm music was significantly higher than before listening (p <
0.05). The type of music had no effect on blood lactate and ammonia
levels or on plasma catecholamine levels following exercise. In
conclusion, listening to slow rhythm music decreases the plasma
norepinephrine level, and listening to fast rhythm music increases the
plasma epinephrine level. The type of music has no impact on power
output during exercise.
Revue / Journal Title
Archives of physiology and biochemistry ISSN 1381-3455
Source / Source
2003, vol. 111, n^o3, pp. 211-214 [4 page(s) (article)] (14 ref.)
Langue / Language
Anglais
Revue : Français
Editeur / Publisher
Taylor & Francis, Basingstoke, ROYAUME-UNI (1995) (Revue)
Mots-clés anglais / English Keywords
Dopamine agonist ; Neurotransmitter ; Catecholamine ; Human ; Bicycle
ergometer ; Music ; Rhythm ; Dopamine ; Norepinephrine ; Epinephrine ;
Physical performance ; Heart rate ; Physical exercise ;
Mots-clés français / French Keywords
Stimulant dopaminergique ; Neurotransmetteur ; Catécholamine ; Homme ;
Bicyclette ergométrique ; Musique ; Rythme ; Dopamine ; Noradrénaline ;
Adrénaline ; Performance physique ; Rythme cardiaque ; Exercice
physique ;
Mots-clés espagnols / Spanish Keywords
Estimulante dopaminérgico ; Neurotransmisor ; Catecolamina ; Hombre ;
Bicicleta ergométrica ; Música ; Ritmo ; Dopamina ; Noradrenalina ;
Adrenalina ; Rendimiento físico ; Ritmo cardíaco ; Ejercicio físico ;
Mots-clés d'auteur / Author Keywords
Slow music ; fast music ; epinephrine ; norepinephrine ; dopamine ;
supramaximal exercise ; power output ; lactate ; ammonia ; heart rate ;
Localisation / Location
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5. mailto:infoclient@inist.fr?subject=Message%20depuis%20CAT.INIST.FR
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7. mailto:infoclient@inist.fr?subject=Message%20depuis%20Cat@inist.fr
8. http://www.addthis.com/bookmark.php?v=250&username=inist
9. http://www.mendeley.com/import/?url=http%3A%2F%2Fcat.inist.fr%2F%3FaModele%3DafficheN%26cpsidt%3D15397711
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Basic Music Theory. Copyright Neil Hawes 1997
Rhythm
* Rhythm in music is dependent on the fact that humans recognise a
[1]beat occurring at a regular interval.
* Rhythm in music is more than just a [2]beat, however; it is the way
that sounds with differing lengths (or gaps between them) and
accents can combine to produce patterns in time which contain a
[3]beat.
+ These sounds do not have to be particularly musical; rhythms
can be made by striking almost anything, as long as there can
be difference in accent.
+ Differences in accent can mean different sounds or just
different loudness (i.e. amplitudes) of sounds
* It is common to speak of a particular rhythm, referring to a
pattern of [4]note lengths which occurs in a piece of music.
+ It is important to understand that the rhythm is defined by
the pattern; the overall speed of it could vary from
performance to performance, but the rhythm would still be the
same.
+ The speed or tempo of a piece of music is indicated by a
[5]metronome marking and/or a [6]direction word or phrase; its
rhythm is specified by various [7]note lengths creating
[8]beats within [9]bars.
* Modern songs often include [10]syncopation in their rhythm
__________________________________________________________________
[11]Mail me
[12]Copyright and disclaimer
[13]Content and structure of these pages
[14]Return to top
Références
1. http://neilhawes.com/sstheory/theory09.htm#rhythm
2. http://neilhawes.com/sstheory/theory09.htm#rhythm
3. http://neilhawes.com/sstheory/theory09.htm#rhythm
4. http://neilhawes.com/sstheory/theory12.htm
5. http://neilhawes.com/sstheory/theory14.htm
6. http://neilhawes.com/sstheory/theory06.htm
7. http://neilhawes.com/sstheory/theory12.htm
8. http://neilhawes.com/sstheory/theory09.htm#bar
9. http://neilhawes.com/sstheory/theory15.htm
10. http://neilhawes.com/sstheory/theory37.htm
11. mailto:website@neilhawes.com
12. http://neilhawes.com/sstheory/theory05.htm
13. http://neilhawes.com/sstheory/theory03.htm
14. http://neilhawes.com/sstheory/theory.htm
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[1]Home: jazz improvisation : pop blues| [2]Pop music videos| [3]Pop
blues jazz albums| [4]Jazz improvisation - harmony| [5]Lingua italiana|
[6]HELP - FAQ|
Rhythm and swing
* Swing jazz rhythm
* [7]Music rhythm
* [8]Learn music theory : polyrhythms
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* [18]Jazz melody and improvisation
* Swing jazz rhythm
* [19]Jazz techniques : practice
Swing jazz rhythm in improvisation
Swing is very important in improvisation. This word means stressing the
upbeat.
If you also give a "sliding" or "retardation" between notes, you can
create the real swing jazz rhythm, which was born at the beginning of
the XX century about. When you stress an upbeat you make perhaps a
"swinging" rhythmics, (also being without a dragging or a sliding
between notes), for modern rhythm too, (such as pop and rhythm and
blues).
* When you play swing music, that is Dixieland, blues, ragtime,
swing, bebop, cool jazz, hard bop, you have to follow this scheme:
basic rhythmic pattern
...in this way:
swing jazz rhythm pattern
Learn swing jazz rhythm
In order to learn how to swing, you simply have to learn how to reason
in up beat and stressing with it constantly. In other words, swing
means "stressing the upbeat" with an implied octaves triplets clef.
It's so a rhythm "sliding" effect created : the meaning of the American
word "swing" is just similar to "sliding", "waving" or "rocking".
* For example these measures :
how to learn jazz swing
..must be played (in general) in this way:
fundamental jazz swing rhythm
In other words Swing has offbeat (upbeat) accents and an eighth-note
triplets rhythmic base.
Learning jazz swing
Learning swing very well and have the ability to improvise, stressing
and giving the right accent of phrases needs much time to practice it.
Above all, you must pay attention at the beginning to stress upbeat
octave notes constantly and to stop when you realize you are making the
contrary. While stressing notes on your instrument, I suggest to upbeat
by your foot, so that you can emphasize this rhythmic accent better.
You have to get used to reason in upbeat, beginning all over again, as
since we were children we have been starting clapping hands in
downbeat. Swing-jazz rhythm can be so learned naturally after studying
constantly in this direction.
* You need some months to learn swing rhythm on your instrument. I
remember you to stress always the upbeats.
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3. http://musilosophy.com/pop-blues-jazz-albums.htm
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6. http://musilosophy.com/help-jazz-improvisation.htm
7. http://musilosophy.com/music-rhythm.htm
8. http://musilosophy.com/learn-music-theory.htm
9. http://www.musilosophy.com/
10. http://musilosophy.com/pop-music-videos.htm
11. http://musilosophy.com/jazz-piano-videos.htm
12. http://musilosophy.com/pop-blues-jazz-albums.htm
13. http://musilosophy.com/jazz-pianist.htm
14. http://musilosophy.com/jazz-improvisation.htm
15. http://musilosophy.com/music-harmony.htm
16. http://musilosophy.com/scales-improvise.htm
17. http://musilosophy.com/blues-improvisation.htm
18. http://musilosophy.com/jazz-melody.htm
19. http://musilosophy.com/jazz-techniques.htm
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[8]Home: [9]Basic Music Theory Elements: Music Theory Rhythm
"Music Theory Rhythm"
"Your Journey in Music Rhythm"
Introduction:
Your journey to learn and master the music theory rhythm begins in this
section of the Music Learning Workshop. The music rhythm workshop
provides us with the basics needed to get rhythm down cold. below we
link to the beginner series of lessons.
We start with the essential building blocks of how to fundamentally
know rhythm and then expand our knowledge of rhythm music theory and
know how until we achieve mastery.
Learning Pyramid
The Basic Building Blocks of Rhythm
Rhythm forms the basis of music theory. It is what all other musical
elements are based upon. You can only survive so long in your musical
journey without the essential building block of rhythm.
Ask professional musicians: what one element of music do you find to be
most important? The answer will often be rhythm. As it is the one thing
that is least forgiven by the listener.
Our learning approach assumes a level of maturity in the student. Often
it is related to the age of about 8 years old. However, with proper
guidance younger ages can use the materials. We don't take a single
element to explore, but instead take a bigger picture and zero in on
the elements that make it work.
When we teach notes names or values we do it all at once, because it is
very important that you know how all of them are related right at the
start. This allows you jump start and accelerate your learning process.
Whatâs really neat is that if you get hung up you can go back and see
exactly what that single thing is and how it relates to other items in
context.
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Beginning Rhythm Music Theory Lessons
The sequence of lessons below are designed specifically for the newbie
music student. They start with an overview approach of just looking at
music components such as what is a measure a note in definition. We
then follow the approach detailed above.
Take your time
Beginning Rhythm
[11]Rhythm Definitions
[12]Note Symbols
[13]Note Symbols Practice
[14]Note Time Value
[15]Time Signatures
[16]Counting Rhythm Beats
[17]Counting Rhythm Using Rests
[18]Counting Rhythm Duple Pattern
[19]Counting Rhythm Quadruple Pattern
[20]Counting Rhythm Triplet pattern
[21]Note Relationships
[22]Reference Chart Beat vs Time
There is no hurry, it is far more important that you understand the
concepts than to rush through them to get to the next one. The better
you understand each step the easier the next one will be.
Start with some terms we will need to become familiar with when
discussing rhythm and music theory and move on through the lessons to
build up on the previous group of knowledge.
This outline shows the components of rhythm available on this site that
you can start learning.
This sequence is designed to quickly lead you through the basics of
what is needed to learn rhythm music theory.
The Music Learning Workshop "Get It Down Cold" Workbooks will be
available soon to lead you through the process.
[23]Join the our community and you will be notified when they are
available.
[24]Basic Music Theory Elements: [25]Rhythm | [26]Notes | [27]Master
Staff | [28]Intervals | [29]Scales | [30]Chords | [31]Key Signatures
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[43]MLW Book Store
[44]FAQ
================
Beginning Rhythm
* [45]Rhythm Definitions
* [46]Note Symbols
* [47]Note Symbols Practice
* [48]Note Time Value
* [49]Time Signatures
* [50]Rhythm Counting Beats
* [51]Rhythm Counting Rests
* [52]Rhythm Duple Pattern
* [53]Rhythm Quadruple Pattern
* [54]Rhythm Triplet Pattern
* [55]Note Relationships
* [56]Rhythm Beat Chart
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