Is this piece polyrhythmic?

Is this piece polyrhythmic, and/or polyphonic?

What should I change?

The Rainbow Song.pdf

no.

no.

How so? It's got two different rhythms in the bass and treble.

It has more than one rhythm, therefore, by definition, it is polyrhythmic. However, by most standards, no it's not.

Now I'm confused...

... I only see an isorhythm of 2+2... There's some syncopation, sure, but no polyrhythms...

The poly- prefix only applies to independent parts.

In this case, you have an extremely homophonic feel, because your piano, guitar, and voice are all the same, and your bass and piano...

If you used different meters (i.e. 7/8 over 4/4) or different subdivisions (i.e. 8 over 7 or 5 over 4 over 3 over 2), then it would be polyrhythmic.

Or if you had triplets on quintuplets or seven-lets over six-lets; that'd work too

Well, the term polyrhythmic is not entirely clear in the first place, and there are especially a lot of disagreements over what the differences between polyrhythm and polymeter (and sometimes even polytempo) are. I tend to agree with Nico that technically there -are- two rhythms at the same time, so it certainly could be called polyrhythm, but that would make most music with more than one voice we usually listen to "polyrhythmic", be that a Palestrina motet, a Mozart sonata or pretty much any pop song.

To actually give the listener a sense of polyrhythm, the two voices should sort of give the impression of running in different tempi, meters, or something like that. You just have a short imitative rhythm that lasts exactly one bar, which makes it very regular and square as a whole, because not only do both voices run at the same "speed" (i.e. you have this dotted quarter-eighth-quarter rhythm that is repeated with a quarter-offset), but the second voice also just starts again after a measure, not giving the voices enough time to diverge and sound really independant.

Try to play with rhythms that don't synchronize so much within a measure or beat, that don't fall into the same grid, or that have accent patterns which run in contrast to each other for longer durations.

Well, the term polyrhythmic is not entirely clear in the first place, and there are especially a lot of disagreements over what the differences between polyrhythm and polymeter (and sometimes even polytempo) are. I tend to agree with Nico that technically there -are- two rhythms at the same time, so it certainly could be called polyrhythm, but that would make most music with more than one voice we usually listen to "polyrhythmic", be that a Palestrina motet, a Mozart sonata or pretty much any pop song.

To actually give the listener a sense of polyrhythm, the two voices should sort of give the impression of running in different tempi, meters, or something like that. You just have a short imitative rhythm that lasts exactly one bar, which makes it very regular and square as a whole, because not only do both voices run at the same "speed" (i.e. you have this dotted quarter-eighth-quarter rhythm that is repeated with a quarter-offset), but the second voice also just starts again after a measure, not giving the voices enough time to diverge and sound really independant.

Try to play with rhythms that don't synchronize so much within a measure or beat, that don't fall into the same grid, or that have accent patterns which run in contrast to each other for longer durations.

Okay, that was very helpful.

Btw, here's an updated v. of the MIDI. Did you like it?

The Rainbow Song.mid

still not polyrhythmic, if that's what you're asking. Or polyphonic.

still not polyrhythmic, if that's what you're asking. Or polyphonic.

Okay, is this homophonic and polyrhythmic:

Finale NotePad 2009 - [The Rainbow Song].pdf

The Rainbow Song.mid

No, it's still not polyrhythmic.

No, it's still not polyrhythmic.

How? It has multiple rhythms; the drums have one rhythm, and the other instruments have another rhythm.

Is it homophonic, with the guitar and the left hand of the piano having the melody, the electric bass and right hand of the piano having the harmony, and the snare and bass drum having the rhythm?

There has to be a way of having polyrhythm w/o polymeter.

May help.

Polyrhythm - Wikipedia, the free encyclopedia

May help.

Polyrhythm - Wikipedia, the free encyclopedia

Okay. I'd like to put triplets in the snare drum, but I can't figure out how to use Finale Notepad's tool.

4 voices, 2 (likely 1) line. That's why it's not polyphonic.

Adding a straight-eight rhythm that reinforces (again) the 2+2 isorhythm won't make it any more polyrhythmic. You have to break from the stress pattern in some way.

You might not be easily able to use a lot of polyrhythms with this melody. Not all techniques are as equally applicable to every situation.

4 voices, 2 (likely 1) line. That's why it's not polyphonic.

Adding a straight-eight rhythm that reinforces (again) the 2+2 isorhythm won't make it any more polyrhythmic. You have to break from the stress pattern in some way.

You might not be easily able to use a lot of polyrhythms with this melody. Not all techniques are as equally applicable to every situation.

But, does it sound good?

There has to be a way of having polyrhythm w/o polymeter.

Sure, like having eight notes against dotted eight notes (or equivalent amount when tied over a barline). Or perhaps 4 quarters against 6 quarter note triplets?

The thing with polyrhythm is that it will sound like two completely different lines - almost like two guys playing at their own tempo and meter and ignoring each other.

Sure, like having eight notes against dotted eight notes (or equivalent amount when tied over a barline). Or perhaps 4 quarters against 6 quarter note triplets?

The thing with polyrhythm is that it will sound like two completely different lines - almost like two guys playing at their own tempo and meter and ignoring each other.

I put "quarter rest-eighth note triplet-quarter rest-eighth note triplet" alternating with "quarter rest-quarter note-quarter rest-quarter note" in the bass drum, and "four sixteeth notes-two eight notes-four sixteenth notes-two eight notes", which switches to eight eight notes in the bridge and the end, in the snare drum.

That's still not it.

I've attached two examples in .png for below, labeled accordingly. The "notpolyrhythm" is something along the lines of what you described: sure, they're different note values and even in some cases triplets, but they're not independent lines. In other words, they line up: on the beat, at the barline, etc.

The other example, "polyrhythm" is something like what I described. If you played those two rhythms at the same time, they wouldn't sound "together" because they don't line up. It SOUNDS like they're in different meter (in response to your question about meters, they're both in 4/4, but line 2 certainly doesn't sound like it. Actually, it sounds like a slower 4/4).

The thing with polyrhythm is that it won't sound "together," which it seems like you want it to. There won't be a strong, steady, obvious beat. Actually, that's a lie: there'll be two. Which is the point.

That's still not it.

I've attached two examples in .png for below, labeled accordingly. The "notpolyrhythm" is something along the lines of what you described: sure, they're different note values and even in some cases triplets, but they're not independent lines. In other words, they line up: on the beat, at the barline, etc.

The other example, "polyrhythm" is something like what I described. If you played those two rhythms at the same time, they wouldn't sound "together" because they don't line up. It SOUNDS like they're in different meter (in response to your question about meters, they're both in 4/4, but line 2 certainly doesn't sound like it. Actually, it sounds like a slower 4/4).

The thing with polyrhythm is that it won't sound "together," which it seems like you want it to. There won't be a strong, steady, obvious beat. Actually, that's a lie: there'll be two. Which is the point.

I think the problem is that Finale Notepad 2009 won't let me select individual meters for the voices.

Anyway, for this comp., I don't think polyrhythm is what I need, nor polyphony. Here's a MIDI of my 40 second composition.

Does it sound good to you?

I plan on persuing piano and theory classes while I complete my cardiac sonography AS program at Orange Coast College. Then I'll transfer to the Bob Cole Conservatory at CSULB, and major in composition and theory, while minoring in biology.

The Rainbow Song.mid

You don't have to have different meters to be polyrhythmic.

You don't have to have different meters to be polyrhythmic.

Yeah I know, but I'd like to try my hand at polymetric polyrhythm.

Also, why do some Christian fundamentalists complain about syncopated rhythms, like a backbeat? I mean, I'm Reformed Baptist, one of the most theologically conservative denominations, and we only complain about lyrics, not the actual music.

How difficult is it to get admission to CSULB's music composition and theory major?

After reading thru the thread, I decided to do some web searching to learn more. Came across this article. Wondering what you all think. Its a short read!

Polyrhythmic Drum Set Technique - History And Development

Also, why do some Christian fundamentalists complain about syncopated rhythms, like a backbeat?

Because some religions have unnecessary, ill-informed, or at times bigoted views and laws as part of their doctrine? I mean, why do some Christians hate gay people for being gay? Same reason. But let's not turn this into a religion thread; there's already a thread somewhere in off-topic for that.

Anyway, what I was REALLY posting to contribute: you don't need different meters for polyrhythm, and in fact that kind isn't very prevalent nor very practical, as one conductor trying to conduct several different meters would be hard as hell, if possible at all. The most common form of polyrhythm is something you actually momentarily accomplished in your most recent posting: triplets against regular notes. When you have those very brief instances of 4 sixteenths against 3 eight note triplets, guess what? THAT'S POLYRHYTHM! But you'd have to keep it going for awhile for it to really be noticable, which I think is your other problem: you aren't looking for that disjointed sound with this piece. So you shouldn't use polyrhythm. I think.