The
codification of repetition, as observed by R.F.
Thompson* and others, may reveal something quite
different. Western interpretations of repetition
involve replication; and supposed that variance
from the perfect copy is an interruption of flow
and expectation. Regularity in tone, without break
and interruption in flow, is a singular option.
It alone epitomizes profound beauty; such as Bel
Canto. So-named repetition in African form may be
a bit different. The exact duplication of anything
is quite rare. Rhythms that appear to repeat may
serve at least 2 perspectives in cosmological condition.
1)
Repetition may be a reminder of the constancy
and/or infinity of being.
2) It may indicate gradations in time, moment/condition
that are parts of beat, time, and/or rhythm.
Those events may indicate syncopation in and of
time that are a fractal rendering of the moment.
In either case, the events respond less like clones
and reflex more like siblings. The repetition
is different than a clock-like pattern of equidistant,
even, symmetrical mark. Repetition is a resonant
quality of syncopated, poly-metric, polyrhythmic
dimension. It is not a frame for pulse. It is
an expressionistic quality of condition beyond
replication, and quantized contrivance. In this
sense, it is not repetition at all. It is rhythm
or time that is harmonized.
A consideration of embellishment, strum speed,
intent, and intensity reveals a few relevant details.
For example: The strum speed of a guitar used
to land a chord on the downbeat of a 70 beat per
minute pulse has to occur at a rate per/beat faster
that 70bpm. The player must compress speed when
he strikes the six successive strings. A quantized
treatment often obliterates the unique shape that
individual players offer to each beat. Quantized
treatment makes all downbeats uniform and perfect.
That goes for the single player as well as sets
of instruments. The character of each beat is
in effect cloned. Each beat would otherwise be
a rhythm chord. The loci of intent and intensity
are deflected. The peculiar contingencies of their
expression a re rendered incidental, trivial,
or irrelevant. This is a clear example of repetition.
Uneven, imperfect, flexible, asymmetric currents
are a reservoir of conditional output. The condition
illustrates a shape or characteristic of actual
expression that overlays the uniformity of pulse.
The ambiance created by collective imperfection
creates a parallel hub for expression. Presumed
repetition is actually syncopation. It is a fractal
exposition of the moment that engages larger issues
of material content in eternal resonance. Resonance
is an independent, non-entropic activity; unlike
repetition or duplication. Rhythm engages investigation,
modification, and exploration. Quantization, either
virtual or en vivo, limits or constrains the ambient
potential of rhythm. The succinct framing of pulse
removes cyclical elements of polyrhythm, resonance,
and syncopation inherent in semantic rhythmic
practice. It optimizes a “pure tone/ Bel
Canto” approach to rhythm that supplants
multiple temporal elements: harmonic rhythms or
rhythms that go together. The multiple elements
crowd, interrupt, cloud, or busy the otherwise
single pure line.
+
The guitar is syncopated by default. The end strum
note is always an odd or weak beat, yet, it is
placed as the strong beat or down beat. The compression
or decompression of those notes into a downbeat
lends character to time. They exist on the mark,
before the mark, after the mark and sometimes
in the mark. The same situation can happen with
other instruments or with sets of drums. The fat,
tall, short, wide, skinny brother or sister is
a family member irrespective of their lack of
symmetry. They are not clones of one another.
The term repetition and/or its consideration as
a revision of pattern may be inappropriate and
incomplete. Other considerations may allow time/rhythm
to exist in an elliptical rather than circular
situation. The forces available in that irregularity
or asymmetry vary, yet, the constancy of them
as a whole endures.
©2008
David Pleasant www.davidpleasant1.com
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PRECISION
The placement of syncopated rhythm within
pulse, such as that of Ragtime or more sophisticated
forms, seems to contradict conventional ideals
of precision. The replication or duplication of
mark or the symmetrical framing of pulse characterizes
precision. A reliance on this as a primary indicator
of quality may be an overestimation of optimal
value and/or an oversight of other relevant issues.
Syncopation and rhythm have the capacity to radically
realign balance and proportion.
Precision, as indicated by uniform, regimented
action, may actually undermine peculiar harmonic
tendencies available in syncopation. Those tendencies
may appreciate fractal *organization. They concern
qualities that are outside of purely structural
boundaries and exist as a harmony of events. They
occur with or with out binary counterpoint or
smooth Euclidian arrangements. They involve layers
of rhythmic information that are in fact counter-intuitive;
that is, other than rhythmic flow that is symmetrical;
or cloned space/time that guarantees expected
placement and/or outcome. The events may involve
multiple elliptical arrangements such that equidistant
value is only one of many levels of qualification.
The delivery of structure as intelligible, predictive
current isolates only a portion of a greater coherent
incident. It eliminates certain harmonic rhythmic
material that escapes intuition: renditions of
consonant, symmetrical order.
Precision may have a different meaning when vaporous
structure is engaged. The incidence of preselected,
in-line mark can be induced with choreographed
action.
Predictive action is calculated and expected to
occur in an established arc. A lack of precision
is commonly indicated when those actions/events
do not line-up. Syncopation and polyrhythm qualify
the value of things that do not line-up. The meaning
and intent inherent in them comes from the value
of the spaces as they do not line-up, and also
the changes in state or gravitation that accompany
them. Rhythm exists as "solid, liquid, gas,
and plasma" both with in and with out "gravity".
Rhythm, pattern, order, expectation, etc. must
respect the polymorphic qualities of space and
time. The treatment of rhythm as a solid only
may limit a variety of expressive dividends. The
framing of time/rhythm as neat Euclidean packages
tends to overestimate the value of containment.
Syncopation and polyrhythm elevate fractal-like
tendencies in space and time that allow for plasma
or vaporous perceptions of rhythm. Conventional
applications of rhythm use it as a frame for pulse
of which estimation and expectation of mark qualify
value and/or precision.
Conventional
treatment makes the containment of stuff a primary
focus. Transitional or vaporous structure begs
an engagement of the actual stuff. It explores
the substance of space and matter rather than
the means used to contain it. It lessens focus
on containment as a replicable optimal value.
When the "state or "gravity" of
rhythm changes, so too must expectations of mark
and precision with in those structures. Syncopation
may invite rhythms or meters to liquefy or evaporate;
to freeze or contract. It suggests an acceptance
of elliptical references for rhythm that parallel
circular clock time, equidistant markers. It exists
with out correction or purification.
Events and rests may occur in the same space with
equal subjective potential. They may also happen
as a simultaneous option in a single player. The
player may both play the event and feel the rest
at the same instant.
An assumed absence of space does little to acknowledge
the presence of interstitial, dimensional, or
cumulative space. Space does exist when on the
surface, particularly the smooth surface, there
seems to be none. The catch is that surfaces are
indeed rough. This is the inherent illumination
of syncopation and polyrhythm. The illusion of
even flowing smooth surface erases interstitial
potential and minimizes the fractal capacity of
time/rhythm. Syncopation suggests the proportionate
value of resonance and simultaneous activity:
and sometimes the simultaneous presence of stress
and release as complimentary harmonic activity.
It also suggests that resonance is a non-entropic
regenerative condition: an harmonic resource of
combinative, interwoven activities with various
states and gravities that sustain themselves.
Inductive form uses flow, regularity, duplication,
quantization, regimentation, etc. to suggest solidity,
contiguity, and symmetry. Line is smoothed out
to insure pure, unmitigated flow. Syncopation
is viewed as an interruption of flow. The above
idea exposes syncopation as a catalyst for interstitial
space. The normalization of uninterrupted symmetry
may be an illusion given the variety of interstitial
values in rhythm/syncopation/polyrhythm/time.
Plenty of space is always available; and is rife
to be filled. The observer must be aware of the
capacity of the moment to absorb extra-linear
content that is harmonic. Resonant stuff and novel
events are compatible harmonic contingencies.
They go with one another in a way that maximizes
the potential of condition and meaning. Resonance
and flow are enhanced by this situation. The harmonized
structure expands time as opposed to crowding
it. Parallel materials dance together rather than
oppose one another. An understanding of this allows
for conceptual and perceptual vision that places
little emphasis on the isolation of mark. The
power of meaning may indeed bypass syntax and
supplant direction in the moment altogether. The
idea of mark as a sole indication of precision
may recede in to a mist of collective involvement
that creates as much pace as it appears to fill.
*
Fractal : any of various extremely irregular curves
or shapes for which any suitably chosen part is
similar in shape to a given larger or smaller
part when magnified or reduced to the same size.
©2008
David Pleasant www.davidpleasant1.com
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