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Metric levels faster than the beat level are division levels, and slower levels are multiple levels. A hyperbeat is one unit of hypermeter, generally a measure, as is to a hypermeasure what a beat is to a measure. (Stein 2005, p.329)
Upbeat
Image:Anacrusis-bwv736.png
It is also an anticipatory note or succession of notes occurring before the first barline of a piece, sometimes referred to as an ‘upbeat figure’, section or phrase. An alternative expression for "upbeat figure" is "anacrusis" (from Greek. ana: "up towards" and krousis: "to strike"; Fr. anacrouse). This term was borrowed from poetry where it refers to one or more unstressed extrametrical syllables at the beginning of a line.[1] DownbeatThe impulse that occurs at the beginning of a bar in measured music.[2] In music performance and music theory, the "downbeat" is the first beat of a measure in music. It is named after the downward stroke of the director or conductor's baton at the start of each measure. This differentiates it from the back beat on the even beats. James Brown’s signature funk groove emphasized the downbeat – that is, with heavy emphasis "on the one" (the first beat of every measure) – to etch his distinctive sound, rather than the backbeat, familiar to many R&B musicians, that placed the emphasis on the second beat.[3] According to the New York Times, by the "mid-1960s Brown was producing his own recording sessions. In February 1965, with “Papa’s Got a Brand New Bag,” he decided to shift the beat of his band: from the one-two-three-four backbeat to one-two-three-four. “I changed from the upbeat to the downbeat,” Mr. Brown said in 1990. “Simple as that, really.”[4] According to Maceo Parker, Brown's former saxophonist, playing on the downbeat was at first hard for him and took some getting used to. Reflecting back to his early days with Brown's band, Parker reported that he had difficulty in playing "on the one" during solo performances, since he was used to hearing and playing with the accent on the second beat.[5] Back beatIn music a back beat (also called the backbeat) is a term applied to the beats 2 and 4 in a 4/4 bar or a 12/8 bar [6] as opposed to the odd downbeat, (quarter beat 1). [2] That is, counting out a simple 4/4 rhythm, 1 2 3 4, the 1 beat is the down beat. If beat 4 immediately precedes a new bar it is also called an upbeat [1](see upbeat article for more information on what an upbeat is). The up and down refer to movements of the conductor's baton. Afterbeat refers to a percussion style where a strong accent is sounded on the second, third and fourth beats of the bar, following the downbeat.[7] The effect can be easily simulated by repeatedly counting to four while alternating strong and weak beats:
The style emerged in the late 1940s in rhythm and blues recordings, and is one of the defining characteristics of rock and roll and is used in virtually all contemporary popular music, bossa nova being a notable exception. Drummer Earl Palmer states the first record with nothing but back beat was "The Fat Man" by Fats Domino in 1949, which he played on. Palmer says he adopted it from the final shout or out chorus common in Dixieland jazz. While "The Fat Man" may have been the first Top 40 song with a back beat all the way through, black gospel music was stressing the back beat much earlier with hand-clapping and tambourine. Other earlier examples of back beat include the final verse of "Grand Slam" by Benny Goodman in 1942. There is a hand-clapping back beat on "Roll 'em Pete" by Pete Johnson and Big Joe Turner, recorded in 1939. In Reggae music, the term One Drop reflects the complete de-emphasis (to the point of silence) of the first beat in the cycle. Off-beatThe Off-beat is a musical term commonly applied to rhythms that emphasize the weak beats of a bar. According to Grove Music, the “Offbeat” is [often] where the downbeat is replaced by a rest or is tied over from the preceding bar".[7] The downbeat can never be the off-beat because it is the strongest beat in 4/4 time.[8] In music that progresses regularly in 4/4 time, the first beat of the bar is the strongest, the third is the next strongest, and the second and fourth are weaker; subdivisions (like eighth notes) of any of the beats are weaker than the main beats and if used frequently in a rhythm can make it off-beat.[7] Sources
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