In a previous post I talked about ‘keeping the beat’, while rhythmically shifting melodic motifs and accents. One way of shifting was to pre-ordain it through the process of pulse preserving polymeter, as exemplified by Led Zeppelin’s Kashmir and Stavinsky’s Three Pieces for String Quartet. However, Stravinsky didn’t only use such prearranged processes to create rhythmic displacement; in fact more often he would also just do it.
Histoire du Soldat and Thelonious Monk:
Again, Histoire du Soldat provides some of the best examples of this, partly because, as Lambert said, all those marching band rhythms and pseudo polkas and rags make the pulse emphatically clear.
Here is one of my favourite examples from Histoire:
Continue reading Turn the Beat Around