Polyrhythm

Polyrhythm refers to the superimposition of several rhythms in a polyphonic piece. Each individual voice can also have its own beat or even its own meter (polymetrics).

Polyrhythms are used in works by Khachaturian (for example, as subdivision rhythms), Dmitri Kabalevsky (as complementary rhythms, as such also in Mozart's Piano Sonata No. 11) and Haydn (as conflict rhythms).

Polyrhythm is considered a characteristic of traditional African music and has also been found in jazz and tango Argentino since the 1950s. Based on the various percussion instruments and drums in African cultures, a characteristic meter emerged for each instrument. However, there is a great variety of different ways of making music in Africa. While the Maasai people create their rhythms in dance by hanging themselves with various rattles and the like, the neighbouring peoples, for example the Luo, have created complicated dances to drum accompaniment. Polyrhythmic music is also found among West African cultures, as well as among all peoples with speaking drummers. The result of polyrhythmic music making are complex structures.

From these regions polyrhythms spread to the African south as well as to the Berber peoples and Tuareg in the north. Polyrhythm can also be found in Moroccan music. Today, polyrhythmic music can also be found in all areas of Latin America, especially in the Caribbean, where it was brought by African slaves.

In pop music, polyrhythms are represented in parts of Latin rock and by some African pop musicians. In new music it has been taken up in particular by Steve Reich and György Ligeti. Well-known representatives of the metal genre who make use of polyrhythms are the bands Meshuggah and Tool. A well-known rapper who makes use of polyrhythm is Blueface.

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See also

• Cross-rhythm