Essential elements of rhythm: Here are the definitions of those musical rhythm terms.

• Pulse: The pulse or in this case the downbeat is the steady, underlying beat of a piece of music. It's the fundamental, recurring beat that you might tap your foot or nod your head to. Think of it as the music's heartbeat; it provides the basic framework. In the grid, these are denoted by numbers such as 1,2,3,4, etc. In terms of rhythmic tension, these are the addresses that provide the most rhythmic resolution.
• Meter/Time Signature: Meter is the number of pulses in the cycle. This usually corresponds to the number of pulses comprising the full length of the rhythmic structures you’re playing. The Western equivalent of this is a time signature and is notated as follows.

  • The top number indicates how many pulses (beats) are in each measure (or group).
  • The bottom number indicates which note value gets one pulse.
  • For example, in a 4/4 time signature, there are four pulses per measure, and the quarter note gets the pulse. In a 3/4 time signature (like a waltz), there are three pulses per measure.
  • Most of the time in drum circles participants who aren’t taking lessons are playing in 2 or 4 pulse cycles. intentional facilitators will evaluate whether the circle would benefit from the novelty asymmetry and shape of an 8 pulse cycle.$$Audio 13-1: 8 pulse cycle example$$

• Pulse Subdivision: Pulse subdivision is the act of dividing a single pulse into smaller, equal rhythmic units. This creates more complex rhythmic patterns on top of the basic pulse. For example, a single pulse can be subdivided into virtually any grouping of equal subdivision between 1 and 12 but the most common are:

  • Two - In western musical conception these would be called eighth notes$$Graphic 13-1: 8th Note Pulse$$Count1e&a2e&a3e&a4e&a8th NotesXXXXXXXX(Western Notation equivalent: Continuous 8th notes)$$Audio 13-2: 8th note pulse$$
  • Four - Western notation would refer to these as sixteenth notes$$Graphic 13-2: 16th Note Pulse$$Count1e&a2e&a3e&a4e&a16th NotesXXXXXXXXXXXXXXXX$$Audio 13-3: 16th note pulse (Western notation AND grid notation)$$
  • Three - Western notation would usually notate these as triplets - notated with a bracket and a number 3$$Graphic 13-3: Triplet Pulse$$Count1triplet2triplet3triplet4tripletTripletsXXXXXXXXXXXX$$Audio 13-4: Triplet pulse (Western notation AND grid notation)$$

• The “One”: The 1 is the first box in the grid, the first pulse of the cycle and is usually heard as the beginning of the rhythmic phrase. The 1 is generally the most resolved moment of most commonly played rhythmic structures.
• Upbeat: An upbeat in this context is the address exactly between pulses. In a 2 pulse subdivision it is the address between the pulses denoted by & and is played on the non-dominant hand.$$Graphic 13-4: Upbeats (&s)$$Count1&2&3&4&UpbeatsXXXX$$Audio 13-5: Upbeat in 2 pulse subdivision$$In a four beat pulse subdivision the upbeat is played on the dominant hand between pulses.$$Graphic 13-5: Upbeats in 16th Grid$$Count1e&a2e&a3e&a4e&aUpbeatsXXXX$$Audio 13-6: Upbeat in 4 pulse subdivision$$. The upbeat creates a sense of momentum and anticipation, leading into the main beat. Think of the word "and" when you count "and one, and two...". The "and" is the upbeat.
• Secondary Upbeat: A secondary upbeat is the unit of time in a four beat pulse subdivision denoted by the “e” and “a”. When alternating hands starting on the dominant hand these are played on the non-dominant hand. These addresses reside between the pulse and the upbeat (the &) and due to their proximity to the pulse they generate the greatest amount of tension.$$Graphic 13-6: Secondary Upbeats (e & a)$$Count1e&a2e&a3e&a4e&a2ndary UpbeatsXXXXXXXXThe reason for that is that for people not precisely tracking a four beat pulse subdivision, the secondary upbeat can either sound early the “a” or late the “e” when people expect the note to land on the pulse. It’s important to note that this phenomenon is not really a rhythm theory concept - people with no knowledge or experience of rhythm theory feel this. The tension people feel in with these note relationships is in their bodies. As drummers we learn to use this biological/neurological response to rhythmic tension to shape the experience of other drummers and dancers.