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Rhythm guitar

2025-06-20T18:34:12Z

2A00:23C6:139A:B601:B736:6AE6:104A:2B27: /* Rock and pop harmony */

{{Short description|Technique providing rhythm and harmony to an ensemble}}
[[File:Guitar strum on open G chord common pattern.png|thumb|right|350px|Guitar [[strum]] {{audio|Guitar strum on open G chord common pattern.mid|Play}}: pattern created by subtracting the second and fifth (of eight) eighth notes from a pattern of straight eighth notes.]]
[[File:Power chord on E.svg|thumb|300px|E5 [[power chord]] in eighth notes {{Audio|Power chord on E.mid|play}}]]
[[File:NOT Travis picking.PNG|thumb|350px|[[Travis picking]].<ref>Traum, Happy (1974). Fingerpicking Styles For Guitar, p.12. Oak Publications. {{ISBN|0-8256-0005-7}}. Hardcover (2005): {{ISBN|0-8256-0343-9}}.</ref> {{audio|NOT Travis picking.mid|Play}}]]

In music performances, '''rhythm guitar''' is a [[guitar technique]] and role that performs a combination of two functions: to provide all or part of the rhythmic [[pulse (music)|pulse]] in conjunction with other instruments from the [[rhythm section]] (e.g., [[drumkit|drum kit]], [[bass guitar]]); and to provide all or part of the [[harmony]], i.e. the [[guitar chord|chords]] from a song's [[chord progression]], where a chord is a group of notes played together. The basic technique of rhythm guitar is to hold down a [[chord sequence|series of chords]] with the [[fret]]ting hand while [[strumming]] or fingerpicking rhythmically with the other hand. More developed rhythm techniques include [[arpeggios]], [[Damping (music)#Guitar|damping]], [[riffs]], [[chord solo]]s, and complex strums.

In ensembles or bands playing within the [[Acoustic music|acoustic]], [[country music|country]], [[blues]], [[rock music|rock]] or [[Heavy metal music|metal]] genres (among others), a guitarist playing the rhythm part of a composition plays the role of supporting the melodic lines and improvised solos played on the lead instrument or instruments, be they strings, wind, brass, keyboard or even percussion instruments, or simply the human voice, in the sense of playing steadily throughout the piece, whereas lead instruments and singers switch between carrying the main or countermelody and falling silent. In [[big band]] music, the guitarist is considered part of the rhythm section, alongside bass and [[drums]].

In some musical situations, such as a solo singer-guitarist, the guitar accompaniment provides all the rhythmic drive; in large ensembles it may be only a small part (perhaps one element in a [[polyrhythm]]). Likewise, rhythm guitar can supply all of the harmonic input to a singer-guitarist or small band, but in ensembles that have other harmony instruments (such as [[Keyboard instrument|keyboard]]s) or vocal harmonists, its harmonic input will be less important.

In the most commercially available and consumed genres, [[electric guitar]]s tend to dominate their [[Acoustic guitar|acoustic]] cousins in both the recording studio and live venues. However the acoustic guitar remains a popular choice in [[country music|country]], [[Western music (North America)|western]] and especially [[bluegrass music]], and almost exclusively in [[folk music]].

==Rock and pop==

===Rock and pop rhythms===
Most rhythms in rock and blues are based on {{music|time|4|4}} time with a [[Beat (music)#Backbeat|backbeat]]; however, many variations are possible. A backbeat is a [[syncopation|syncopated]] [[Accent (music)|accentuation]] on the off beat. In a simple {{music|time|4|4}} rhythm these are beats 2 and 4.<ref name=Grove>{{cite web|title=Backbeat |url=http://www.grovemusic.com |access-date=February 10, 2007 |year= 2007 |publisher=Grove Music Online }}</ref> Emphasized back beat, a feature of some African styles, defined [[rhythm and blues]] recordings in the late 1940s and so became one of the defining characteristics of [[rock and roll]] and much of contemporary [[popular music]].

===Rock and pop harmony===
{{See also|Chord progression}}
Harmonically, in rock music, the most common way to construct chord progressions is to play major and minor "[[Triad (music)|triads]]", each comprising a root, third and fifth note of a given [[scale (music)|scale]]. An example of a major triad is C major, which contains the notes C, E and G. An example of a minor triad is the A minor chord, which includes the notes A, C and E. Interspersed are some four-note chords, which include the root, third and fifth, as well as a sixth, seventh or ninth note of the scale. The most common chord with four different notes is the [[dominant seventh]] chord, which include a root, a major third above the root, a perfect fifth above the root and a flattened seventh. In the key of C major, the dominant seventh chord is a G7, which consists of the notes G, B, D and F.

[[Three-chord progression]]s are common in earlier pop and rock, using various combinations of the '''I''', '''IV''' and '''V''' chords, with the [[twelve-bar blues]] particularly common. A four chord progression popular in the 1950s is I–vi–ii–V, which in the key of C major is the chords C major, A minor, D minor and G7. [[Minor chord progression|Minor]] and [[modal chord progression]]s such as I–{{music|b}}VII–{{music|b}}VI (in the key of E, the chords E major, D major, C major) feature in popular music.
[[File:Power-chord-e.png|thumb|right|200px|A power chord in E for guitar. This contains the notes E, B (a fifth above) and an E an octave higher.]]
In [[heavy metal music]], rhythm guitarists often play [[power chord]]s, which feature a root note and a fifth above, or with an octave doubling the root, all without the third of the chord. Power chords are usually played with [[distortion (music)|distortion]].

===Arpeggios===
One departure from the basic strummed chord technique is to play [[arpeggio]]s, i.e. to play individual notes in a chord separately. If this is done rapidly enough, listeners will tend to hear the sequence as harmony rather than melody. Arpeggiation is often used in folk, country, and heavy metal, sometimes in imitation of older [[banjo]] techniques. It is also prominent in 1960s pop, such as [[The Animals]]' "[[House of the Rising Sun]]", and [[jangle pop]] from the 1980s onwards. Rhythm guitarists who use arpeggios often favor [[semi-acoustic]] guitars and [[twelve string guitar]]s to get a bright, undistorted "jangly" sound.

The [[Soukous]] band [[TPOK Jazz]] additionally featured the unique role of ''mi-solo'', (meaning "half solo") guitarist, playing [[arpeggio]] patterns and filling a role "between" the lead and rhythm guitars.<ref>{{cite web|url=http://kenyapage.net/franco/band.html|title=TPOK Jazz, members band members, guitarists, history|work=kenyapage.net}}</ref>

===Riffs===
In some cases, the chord progression is implied with a simplified sequence of two or three notes, sometimes called a "[[riff]]". That sequence is repeated throughout the composition. In [[Heavy metal music|heavy metal]] music, this is typically expanded to more complex sequences comprising a combination of chords, single notes and [[palm muting]]. The rhythm guitar parts in compositions performed by more technically oriented bands often include riffs employing complex lead guitar techniques. In some genres, especially metal, the audio signal from the rhythm guitar's output is often subsequently run through some form of effect pedal or overdriven [[guitar amplifier]] in order to create a thicker, crunchier sound for the palm-muted rhythms.

===Interaction with other guitarists===
In bands with two or more guitarists, the guitarists may exchange or even duplicate roles for various songs or several [[Section (music)|sections]] within a song. In those with a single guitarist, the guitarist may play lead and rhythm at numerous times or simultaneously, by overlaying the rhythm sequence with a lead line.

===Crossover with keyboards===
Electronic [[effects unit]]s such as delay pedals and reverb units enable electric guitarists to play arpeggios and take over some of the role of a synthesizer player in performing sustained "pads". These can serve as sonic backgrounds in modern pop. Creating a pad sound differs from usual rhythm guitar roles in that it is not rhythmic. Some bands have a [[synthesizer]] performer play pads. In bands without a synth player, a guitarist can take over this role.

===Replacing lead guitar===
Some rhythm techniques cross over into [[lead guitar]] playing. In guitar-bass-and-drums [[power trio]]s guitarists must double up between rhythm and lead. For instance [[Jimi Hendrix]] combined full chords with solo [[lick (music)|lick]]s, [[double stop]]s and [[arpeggio]]s. In recent years, "[[Tape loop#Loop Pedals|looping pedal]]s" have been used to supply chord sequences or riffs over which musicians can then play the lead line, simulating the sound achieved by having two guitarists.

===Equipment===

A rhythm guitarist usually aims to generate a strong rhythmic and chordal sound, in contrast to the lead guitarist's goal of producing sustained, often higher-pitched melody lines, that listeners can distinguish above the other instruments. As a result, rhythm and lead players often use different guitars and amplifiers. Rhythm guitarists may employ an electric [[semi-acoustic guitar|acoustic guitar]] or a [[humbucker]]-equipped electric guitar for a richer and fatter output. Also, rhythm guitarists may use strings of a larger gauge than those used by lead guitarists. However, while these may be practices, they are not necessarily the rule and are subject to the style of the song and the preference of the individual guitarist.

While rhythm guitarists in metal bands use distortion effects, they tend to use less of the modulation effects such as [[Flanging|flangers]] used by lead guitar players. Whereas the lead guitarist in a metal band is trying to make the solo tone more prominent, and thus uses a range of colorful effects, the rhythm guitarist is typically trying to provide a thick, solid supporting sound that blends in with the overall sound of the group. In alternative rock and post-punk, however, where the band may be aiming to create an ambient soundscape rather than an aggressive [[Motörhead]]-style "[[Wall of Sound]]", the rhythm guitarist may use flanging and delay effects to create a shimmering background, or (as in [[The Smiths]] song "[[How Soon Is Now?]]"), a reverberating tremolo effect.

==Jazz==
Rhythm guitar has been especially important in the development of jazz. The guitar took over the role previously occupied by the banjo to provide rhythmic chordal accompaniment.

Early jazz guitarists like Freddie Green tended to emphasize the percussive quality of the instrument. The ability to keep a steady rhythm while playing through complicated chord patterns made the guitar invaluable to many rhythm sections. Jazz guitarists are expected to have deep knowledge of harmony.

===Jazz harmony===
[[Jazz guitar]]ists use their knowledge of [[harmony]] and jazz theory to create jazz chord [[Voicing (music)|"voicings"]], which emphasize the 3rd and 7th notes of the chord. Unlike pop and rock guitarists, who typically include the root of a chord (even, with many open chords and barre chords, doubling the root), jazz guitarists typically omit the root. Some more sophisticated chord voicings also include the 9th, 11th, and 13th notes of the chord. A typical jazz voicing for the chord G7 would be the individual notes B, E, F, and A. This voicing uses the 3rd (the note B), the 7th (the note F), along with the 6th (the note E) and the 9th (the note A).

In some modern jazz styles, [[dominant 7th]] chords in a tune may contain altered 9ths (either flattened by a semitone, which is called a "flat 9th", or sharpened by a semitone, which is called a "sharp 9th"); 11ths (sharpened by a semitone, which is called a "sharp 11th"); 13ths (typically flattened by a semitone, which is called a "flat 13th").

Jazz guitarists need to learn about a range of different chords, including [[major 7th]], [[major 6th]], [[minor 7th]], [[minor/major seventh|minor/major 7th]], [[dominant 7th]], [[diminished seventh chord|diminished]], [[half-diminished seventh chord|half-diminished]], and [[augmented chord]]s. As well, they need to learn about chord transformations (e.g., altered chords, such as "alt dominant chords" described above), [[chord substitution]]s, and re-harmonization techniques. Some jazz guitarists use their knowledge of jazz scales and chords to provide a [[walking bass]]-style accompaniment.

Jazz guitarists learn to perform these chords over the range of different [[chord progression]]s used in jazz, such as the II-V-I progression, the jazz-style [[12 bar blues|blues progression]], the minor jazz-style blues form, the "[[rhythm changes]]" progression, and the variety of chord progressions used in jazz ballads, and [[jazz standard]]s. Guitarists may also learn to use the chord types, strumming styles, and [[effects pedal]]s (e.g., [[chorus effect]] or [[Distortion (music)|fuzzbox]]) used in 1970s-era jazz-Latin, jazz-funk, and jazz-rock fusion music.

===Big band rhythm===
In jazz [[big band]]s, popular during the 1930s and 1940s, the guitarist is considered an integral part of the rhythm section (guitar, [[drum]]s and [[Double bass|bass]]). They usually played a regular four chords to the bar, although an amount of harmonic improvisation is possible. [[Freddie Green]], guitarist in the [[Count Basie]] orchestra, was a noted exponent of this style. The harmonies are often minimal; for instance, the [[root (chord)|root note]] is often omitted on the assumption that it will be supplied by the bassist.

===Small group comping===
When jazz guitarists play chords underneath a song's melody or another musician's solo improvisations, it is called ''[[Comping (jazz)|comping]]'', short for ''accompanying''. The accompanying style in most jazz styles differs from the way chordal instruments accompany in many popular styles of music. In many popular styles of music, such as rock and pop, the rhythm guitarist usually performs the chords in rhythmic fashion which sets out the beat or groove of a tune. In contrast, in many modern jazz styles within smaller, the guitarist plays much more sparsely, intermingling periodic chords and delicate voicings into pauses in the melody or solo, and using periods of silence. Jazz guitarists commonly use a wide variety of [[Inversion (music)|inversions]] when comping, rather than only using standard voicings.<ref>{{cite web |url=http://eden.rutgers.edu/~pfelton/inversions.html |title=jazz guitar - advanced chords/inversions |website=eden.rutgers.edu |archive-url=https://web.archive.org/web/20110930075616/http://eden.rutgers.edu/~pfelton/inversions.html |archive-date=September 30, 2011}}</ref>

===Gypsy pumping===
[[File:La Pompe.png|thumb|''La Pompe''.<ref>Natter, Frank (2006). ''The Total Acoustic Guitarist'', p.126. {{ISBN|9780739038512}}.</ref> {{audio|La Pompe.mid|Play}}]]

[[Gypsy jazz]] is acoustic music, usually played without a drummer. Rhythm guitar in gypsy jazz uses a special form of [[strumming]] known as "[[la pompe]]", i.e. "the pump". This form of percussive rhythm is similar to the "boom-chick" in bluegrass styles; it is what gives the music its fast swinging feeling. The strumming hand, which never touches the top of the guitar, must make a quick up-down strum followed by a down strum. The up-down part of la pompe must be done extremely fast, regardless of the tempo of the music. It is very similar to a grace note in classical music, albeit the fact that an entire chord is used. This pattern is usually played in unison by two or more guitarists in the rhythm section.

===Jazz chord soloing===
Jazz guitar soloists are not limited to playing single notes by their instrument. This allows them to create "chord solos" by adding the song's melody on top of the chord voicings. [[Wes Montgomery]] was noted for playing successive choruses in single notes, octaves and finally a chord solo. This technique differs from chord-melody soloing in that it is not intended to be used unaccompanied

==Funk==
[[File:Funk & R&B vamp riff.png|thumb|left|400px|Vamp riff typical of funk and R&B.<ref name="Marshall">Marshall, Wolf (2008). ''Stuff! Good Guitar Players Should Know'', p. 138. {{ISBN|1-4234-3008-5}}.</ref> {{Audio|Funk & R&B vamp riff.mid|Play}}]]

Funk utilized the same [[extended chords]] found in [[bebop]] jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. However, unlike bebop jazz, with its complex, rapid-fire chord changes, funk virtually abandoned chord changes, creating static single chord [[vamp (music)|vamps]] with little harmonic movement, but with a complex and driving rhythmic feel. Some have [[jazz]] backgrounds. The chords used in funk songs typically imply a [[dorian mode|dorian]] or [[mixolydian mode]], as opposed to the major or natural minor tonalities of most popular music. Melodic content was derived by mixing these modes with the [[blues scale]].

In funk bands, guitarists typically play in a percussive style, often using the [[Wah-wah pedal|wah-wah]] sound effect and muting the notes in their riffs to create a percussive sound. Guitarists [[Ernie Isley]] of [[The Isley Brothers]] and [[Eddie Hazel]] of [[Funkadelic]] were notably influenced by [[Jimi Hendrix]]'s improvised solos. Eddie Hazel, who worked with George Clinton, is a notable guitar soloist in funk. Ernie Isley was tutored at an early age by Jimi Hendrix himself, when he was a part of The Isley Brothers backing band and lived in the attic temporarily at the Isleys' household. [[Jimmy Nolen]] and [[Phelps Collins]] are famous funk rhythm guitarists who both worked with [[James Brown]].

==Reggae==

{{See also|One drop rhythm}}
[[File:Backbeat chop.png|thumb|right|Reggae downstroke pattern<ref name="Snyder">Snyder, Jerry (1999). ''Jerry Snyder's Guitar School'', p.28. {{ISBN|0-7390-0260-0}}.</ref>{{audio|Skank on Em64.mid|Play}}.]]
{{multiple image
| direction = vertical
| width = 225
| header = Skank at different [[harmonic rhythm]]s
| image1 = Reggae eighth note rhythm guitar pattern.png
| caption1 = Reggae guitar pattern<ref name="Peretz">Peretz, Jeff (2003). ''Zen and the Art of Guitar: A Path to Guitar Mastery'', p.37. Alfred Music. {{ISBN|9780739028179}}.</ref> {{audio|Reggae eighth note rhythm guitar pattern.mid|Play}}
| image2 = Reggae sixteenth note rhythm guitar pattern.png
| caption2 = Reggae guitar pattern<ref name="Peretz"/> {{audio|Reggae sixteenth note rhythm guitar pattern.mid|Play}}
| image3 = Ska sixteenth note rhythm guitar pattern.png
| caption3 = Ska guitar pattern<ref name="Peretz"/> {{audio|Ska sixteenth note rhythm guitar pattern.mid|Play}}
| footer =
}}

The [[guitar]] in reggae usually plays the chords on beats two and four, a musical figure known as [[skank (guitar)|skank]] or the 'bang'. It has a very dampened, short and scratchy [[chop chord|chop]] sound, almost like a percussion instrument. Sometimes a double chop is used when the guitar still plays the off beats, but also plays the following 16th or 8th beat on the up-stroke. Depending on the amount of swing or groove, this next secondary stab is often the 16th note sounding closer to an 8th placement in the rhythm. An example is the intro to "[[Stir It Up]]" by [[The Wailers]]. Artist and producer [[Derrick Harriott]] says, "What happened was the musical thing was real widespread, but only among a certain sort of people. It was always a down-town thing, but more than just hearing the music. The equipment was so powerful and the vibe so strong that we feel it."<ref>Bradley, Lloyd. ''This Is Reggae Music:The Story Of Jamaica's Music.'' New York:Grove Press, 2001</ref> Reggae chords are typically played without overdrive or distortion.

==See also==
* [[List of rhythm guitarists]]
* [[Flamenco guitar]]
* [[Steel guitar]]
* [[John Lennon]]

==References==
{{reflist}}

==External links==
* [http://www.fretjam.com/rhythm-guitar-lessons.html Multimedia Rhythm Guitar Lessons]
* [https://www.jazzguitar.be/blog/jazz-guitar-chord-rhythms/ Jazz Guitar Rhythms]
* [https://www.rhythmguitar.org Rhythm Guitar Articles]

{{Guitars|Playing}}

{{DEFAULTSORT:Rhythm Guitar}}
[[Category:Guitar performance techniques]]
[[Category:Popular music]]
[[Category:Accompaniment]]
[[Category:Guitars]]
[[Category:Rhythm and meter]]

[[it:Chitarra#Chitarra ritmica]]

Appoggiatura

2025-06-20T18:28:36Z

2A00:23C6:139A:B601:B736:6AE6:104A:2B27:

{{Short description|Musical ornament}}
{{Listen|type=music|filename=Apog no-apog.ogg|title=Appoggiatura|description=A passage with two phrases ending in appoggiaturas, followed by these phrases without them (160 KB)}}

An '''appoggiatura''' ({{IPAc-en|ə|ˌ|p|ɒ|dʒ|ə|ˈ|tj|ʊər|ə}} {{respell|ə|POJ|ə|TURE|ə}}, {{IPA|it|appoddʒaˈtuːra|lang}}; {{langx|de|Vorschlag}} or {{lang|de|Vorhalt}}; {{langx|fr|port de voix}}) is a [[ornament (music)|musical ornament]] that consists of an added non-chord note in a [[melody]] that is resolved to the regular note of the [[Chord (music)|chord]]. By putting the [[Nonchord tone|non-chord tone]] on a strong beat, (typically the first or third beats of the measure, in {{music|time|4|4}} time) this accents the appoggiatura note, which also delays the appearance of the principal, expected chord note. The added non-chord note, or '''auxiliary note''', is typically one [[degree (music)|degree]] higher or lower than the principal note, and may be chromatically altered. An appoggiatura may be added to a melody in a [[Human voice|vocal song]] or in an instrumental work.

The term comes from the Italian verb {{lang|it|appoggiare}}, "to lean upon". The appoggiatura is often used to express emotional "yearning". It is also called a '''long appoggiatura''' to distinguish it from the short appoggiatura, the [[acciaccatura]]. An ascending appoggiatura was previously known as a '''forefall''', while a descending appoggiatura was known as a '''backfall'''.

==Notation==

The appoggiatura is often written as a [[grace note]] prefixed to a principal note and printed in small character, usually without the oblique stroke:

:<score lang="lilypond"> {
\override Score.TimeSignature
#'stencil = ##f
\relative c'' {
\time 2/4
\grace { d4( } c2)
}
}
</score>

This may be executed as follows:

:<score lang="lilypond"> {
\override Score.TimeSignature
#'stencil = ##f
\relative c'' {
\time 2/4
d4( c)
}
}
</score>

The same notation can be used for other interpretations of the grace note; therefore determining that an appoggiatura is intended depends on [[performance practice]].

An appoggiatura may also be notated precisely as it should be performed, with full-size notes, to reduce ambiguity.

==Unaccented appoggiatura==
{{unreferenced section|date=August 2020}}
So-called ''unaccented appoggiaturas'' are also quite common in many periods of music, even though they are disapproved of by some early theorists (for example, by [[Carl Philipp Emanuel Bach|C. P. E. Bach]], in his ''{{Interlanguage link|Versuch über die wahre Art das Clavier zu spielen|de}}''). While not being identical with the [[acciaccatura]], these are almost always quite short, and take their time from the allocation for the note that precedes them. They are more likely to be seen as full-size notes in the score, rather than in small character – at least in modern editions.

==Double appoggiatura==
The double appoggiatura (Ital. ''Appoggiatura doppia''; Ger. ''Doppelvorschlag''; Fr. ''Port de voix double'') is an ornament composed of two short notes preceding a principal note, one placed above and the other below it. They are usually written as small [[sixteenth note]]s.

The first of the two may be at any distance from the principal note, but the second is only one degree removed from it. They have no fixed duration, but are generally slower when applied to a long note (Ex. 1) than when the principal note is short (Ex. 2); moreover, the double appoggiatura, in which the first note lies at a distance from the principal note, should always be somewhat slower than that in which both notes are close to it (Ex. 3). In all cases, the time required for both notes is subtracted from the value of the principal note.

:<score lang="lilypond"> {
\override Score.TimeSignature #'stencil = ##f
{ \new PianoStaff <<
\new Staff { \relative c'' {
\clef treble \time 2/4
\grace { b16(^\markup { 1. Written } d } c2) \bar "||"
\grace { b16(^\markup { 2. } d } c4) b8 r8 \bar "||"
\grace { e,16(^\markup { 3. } d' } c4) b8 r8 \bar "||"}
}
\new Staff { \relative c'' {
\tuplet 3/2 { b16(^\markup { Played } d c~ } c8~ c4)
b32( d32 c8. b8) r8
\tuplet 3/2 { e,16( d' c~ } c8 b8) r8 }
}
>> } }
</score>

The double appoggiatura is sometimes, though rarely, met with in an inverted form (Ex. 4), and [[C. P. E. Bach]] mentions another exceptional kind, in which the first of the two small notes is dotted, and receives the whole accent, while the principal note becomes as short as the second of the two small notes (Ex. 5)

:<score lang="lilypond"> {
\override Score.TimeSignature #'stencil = ##f
{ \new PianoStaff <<
\new Staff { \relative c'' {
\clef treble \time 1/4
\grace { d16(^\markup { 4. } b } c4) \bar "||"
\time 3/4
c4^\markup { 5. } \grace { c8.( e16 } d4) c \bar "||" }
}
\new Staff { \relative c'' {
d32( b c8.)
c4 c8.( e32 d) c4 }
}
>> } }
</score>

The dotted double appoggiatura, written as above, is of very rare occurrence.

== Appoggiaturas approached by step ==
[[File:Stepwise-appoggiatura.jpg|thumb|600px|Appoggiatura approached and left by [[step (music)|step]]]]
Although appoggiaturas are often approached by [[leap (music)|leap]] and resolved by step, there are examples of approach and resolution both taking place by step.

One such example is present in Schubert's "Wiegenlied" D. 867:
{{Clear}}

== Examples in popular music ==
Appoggiaturias can also be found in many popular songs as they grab a listener's attention especially when placed in the vocal melody.

Beatles' songs that make use of this technique (appoggiaturias underlined in the sung syllables below):

"Yesterday":

'''''Yes''' - ter - day, all my troubles seemed so '''far''' away.''

''Now it looks as though they're '''here''' to stay...''

-"Yes" (G note over F major chord)

-"far" (E note over D minor chord)

-"here" (B♭ note over F major chord)

"In My Life":

''There are '''pla''' - ces I'll re - '''mem''' - ber,''

''all my '''li''' - ife, though some have changed...''

-"Pla" (B note over A major chord)

-"mem" (E note over F♯ minor chord)

-"li" (B note over D major chord)

== References ==
{{Grove1900|wstitle=Appoggiatura, Double|ref=none}}

<references/>

{{music notation}}
{{Authority control}}

[[Category:Ornamentation]]

Motorik

2025-06-20T18:27:14Z

2A00:23C6:139A:B601:B736:6AE6:104A:2B27:

{{Short description|Musical rhythm}}

[[File:Motorik drum set beat.svg|thumb|upright=1.3|alt=Staff notation showing the motorik drum beat|The basic motorik drum beat pattern]]
{{Listen|type=music|filename=Motorik rhythm.mid|title=Motorik rhythm|description=A sample of a motorik rhythm}}
'''Motorik''' is the [[time signature|{{music|time|4|4}}]] [[beat (music)|beat]] often used by, and heavily associated with, [[krautrock]] bands. Coined by [[music journalist]]s, the term is [[German language|German]] for "[[motor skill]]". The motorik beat was pioneered by [[Jaki Liebezeit]], drummer with German [[experimental rock]] band [[Can (band)|Can]].<ref>{{cite book|title=Krautrock: German Music in the Seventies|year=2016|first=Ulrich|last=Adelt|page=18|publisher=[[University of Michigan Press]]|isbn=978-0-472-05319-3}}</ref><ref>{{cite news|title=Jaki Liebezeit: Can drummer dies aged 78|first=Mark|last=Savage|work=[[BBC News]]|date=23 January 2017|url=https://www.bbc.co.uk/news/entertainment-arts-38716464|access-date=26 January 2017}}</ref><ref>{{cite news|title=Love Time: Remembering Can Drummer Jaki Liebezeit's Otherworldly Groove|first=Kid|last=Millions|magazine=[[Rolling Stone]]|date=23 January 2017|url=https://www.rollingstone.com/music/features/remembering-can-drummer-jaki-liebezeits-otherworldly-groove-w462423|author-link=Oneida (band)#Current members|access-date=26 January 2017}}</ref><ref>{{cite news|title=Can drummer Jaki Liebezeit has died aged 78|first=Anton|last=Spice|date=22 January 2017|url=http://thevinylfactory.com/news/can-drummer-jaki-liebezeit-dies/|work=The Vinyl Factory|access-date=26 January 2017}}</ref> [[Klaus Dinger]] of [[Neu!]], another early pioneer of motorik, later called it the "[[Apache (instrumental)|Apache]] beat".<ref>{{cite web|title=Klaus Dinger interview transcript (2001)|first=Biba|last=Kopf|date=2002|work=[[The Wire (magazine)|The Wire]]|url=http://www.thewire.co.uk/in-writing/interviews/klaus-dinger-interview-transcript|access-date=26 January 2017}}</ref> The motorik beat is heard in one section of [[Kraftwerk]]'s "[[Autobahn (song)|Autobahn]]", a song composed to convey the feeling of driving on the German highway.<ref>{{cite book |last1=Albiez |first1=Sean |last2=Pattie |first2=David |year=2011 |title=Kraftwerk: Music Non-Stop |url=https://books.google.com/books?id=ZVDVrWyAk2YC&pg=PA102 |location=UK |publisher=[[Continuum International Publishing Group|Continuum]] |page=102 |isbn=978-1-4411-9136-6}}</ref> It is heard throughout Neu!'s "Hallogallo", from their self-titled album ''[[Neu! (album)|Neu!]]'', and used on all subsequent Neu! albums with differing [[Tempo|tempos]] and variations;<ref>{{cite book |last=Taylor |first=Steve |year=2006 |title=The A to X of Alternative Music |url=https://books.google.com/books?id=KPOsu8JOHO8C&pg=PA160 |location=UK |publisher=[[A&C Black]] |page=160 |isbn=978-0-8264-8217-4}}</ref> [[Hawkwind]] reproduced Neu!'s "Hallogallo" motorik beat on the track "Opa-Loka" on their 1975 ''[[Warrior on the Edge of Time]]'' album.

Some music critics observed that the motorik style conveys a similar sense of forward momentum as the music of [[Ludwig van Beethoven|Beethoven]] and [[Gioachino Rossini|Rossini]] and bears a resemblance to the rhythmic drumming in [[jazz]].<ref name="Bottà2020">{{cite book |last=Bottà |first=Giacomo |year=2020 |title=Deindustrialisation and Popular Music: Punk and Post-Punk in Manchester, Düsseldorf, Torino and Tampere |url=https://books.google.com/books?id=cejkDwAAQBAJ&pg=PA48 |location=Finland |publisher=[[Rowman & Littlefield]] |page=48 |isbn=978-1-7866-0738-6}}</ref> They opined that it initially evoked the "glorification of the industrial modern era".<ref name="Bottà2020"/>

The motorik beat is in {{music|time|4|4}} time, at a moderate tempo. The pattern is repeated in each bar throughout the song. A splash or crash [[cymbal]] is often hit at the beginning bar of a verse or chorus. Klaus Dinger emphasized that it was "very much a human beat," adding, "It's essentially about life, how you have to keep moving, get on and stay in motion."<ref>{{Cite web|url=https://www.independent.co.uk/news/obituaries/klaus-dinger-pioneer-of-the-motorik-beat-806964.html?amp|title=Klaus Dinger: Pioneer of the 'motorik' beat|website=[[Independent.co.uk]]|date=9 April 2008}}</ref>

==Etymology==
The word's use in music journalism may be derived from a punning modification of "motoric", a term long used by music critics to describe relentless [[ostinato]] rhythm,<ref name="Bottà2020"/> or simply from a combination of "motor" and "music" (German: "musik").<ref>{{cite book |last=Buckley |first=David |year=2015 |title=Kraftwerk: Publikation |url=https://books.google.com/books?id=JroSCgAAQBAJ&pg=PT86 |location=UK |publisher=[[Omnibus Press]] |page=86 |isbn=978-1-7832-3618-3}}</ref> In addition, Motorik is the German word for motor skills. The name may derive from the repetitive yet forward-flowing feel of the rhythm, which has been compared to the experience of driving on a [[Controlled-access highway|motorway]].<ref>{{cite web| url=http://www.allmusic.com/album/neu%21-mw0000004284 |last=Jurek |first=Thom |title=Neu! — Neu! |website=[[AllMusic]] |publisher=[[All Media Network]] |access-date=August 29, 2018}}</ref>

==Application==
The drumming style of [[Moe Tucker]], the drummer in [[the Velvet Underground]], has specifically been characterized by music critic Chris Jones as "proto-motorik".<ref>Chris Jones (21 June 2007). [https://www.bbc.co.uk/music/release/fq4h/ Review of "The Velvet Underground & Nico"] for the BBC. Retrieved 20 October 2007.</ref> Apart from the German krautrock bands, the motorik beat has been used by bands from many different genres, most often in [[psychedelic rock]], [[post-punk]], [[indie rock]], and contemporary non-German "krautrock" bands. The motorik beat was a characteristic feature in the music of [[Siouxsie and the Banshees]] through the involvement of drummers [[Kenny Morris (musician)|Kenny Morris]] and [[Budgie (musician)|Budgie]].<ref>{{cite book |last=Gillespie |first=Bobby |year=2021 |title=Tenement Kid: Rough Trade Book of the Year |url=https://books.google.com/books?id=ydchEAAAQBAJ&pg=PA112 |location=UK |publisher= |page= |isbn=978-1-4746-2209-7}}</ref><ref>{{cite news |author= |date=24 October 2014 |title=Siouxsie And The Banshees: 'We were losing our minds' |url=https://www.uncut.co.uk/features/siouxsie-and-the-banshees-we-were-losing-our-minds-2572/ |url-status=live |language=en-GB |work=[[Uncut (magazine)|Uncut]] |archive-url=https://archive.today/20220924174550/https://www.uncut.co.uk/features/siouxsie-and-the-banshees-we-were-losing-our-minds-2572/ |archive-date=24 September 2022 |access-date=24 September 2022}}</ref> Other notable artists include [[Joy Division]], [[Beak (band)|Beak]], [[The War on Drugs (band)|the War on Drugs]], [[Electrelane]], [[The Rapture (band)|the Rapture]], [[LCD Soundsystem]], [[King Gizzard & the Lizard Wizard]], [[Squid (band)|Squid]], [[Thee Oh Sees]], [[the Modern Lovers]], [[Iggy Pop]], [[Public Image Ltd]], [[Ultravox]], [[Stereolab]], [[Yo La Tengo]], [[Endless Boogie (band)|Endless Boogie]], [[Idles]], [[Moon Duo]],<ref>{{cite news |last=Arizuno |first=Lee |date=22 May 2009 |title=Motorikpop: A Secret History Spotified |url=https://thequietus.com/articles/01702-motorikpop-a-secret-history-spotified |url-status=live |language=en-GB |work=[[The Quietus]] |archive-url=https://archive.today/20120728230128/http://thequietus.com/articles/01702-motorikpop-a-secret-history-spotified |archive-date=28 July 2012 |access-date=24 September 2022}}</ref> and [[Sam Fender]].<ref>{{cite news |last=Petridis |first=Alexis |author-link=Alexis Petridis |date=7 October 2021 |title=Sam Fender: Seventeen Going Under review − music that punches the air and the gut |url=https://www.theguardian.com/music/2021/oct/07/sam-fender-seventeen-going-under-review-polydor |url-status=live |language=en-GB |work=[[The Guardian]] |archive-url=https://web.archive.org/web/20211120100349/https://www.theguardian.com/music/2021/oct/07/sam-fender-seventeen-going-under-review-polydor |archive-date=20 November 2021 |access-date=3 August 2022 |quote=clipped and taut, equal parts motorik beat}}</ref><ref>{{cite news |last=Merrick |first=Hayden |date=22 October 2021 |title=Middle England Woes and Glistening Guitars Collide on Sam Fender's 'Seventeen Going Under' |url=https://www.popmatters.com/sam-fender-seventeen-going-under |url-status=live |work=PopMatters |archive-url=https://archive.today/20220826193926/https://www.popmatters.com/sam-fender-seventeen-going-under |archive-date=26 August 2022 |access-date=24 September 2022 |quote=Here, again, is the driving motorik beat that doesn't let up}}</ref>

==References==
{{Reflist|30em}}

{{Rock music}}

[[Category:Krautrock]]
[[Category:Can (band)]]
[[Category:Neu!]]
[[Category:German styles of music]]
[[Category:Rhythm and meter]]
[[Category:Drum patterns]]

Accent (music)

2025-06-20T18:24:55Z

2A00:23C6:139A:B601:B736:6AE6:104A:2B27:

{{Short description|Emphasis on a note}}
{{Image frame|content=<score>
{
\override Score.TimeSignature #'stencil = ##f
\relative c'' {

b16-> b b b b b-> b b b b b-> b b b b b->
}

}
</score>|width=330|caption=The horizontal wedges on four of the [[sixteenth note]]s are accents. They instruct the musician to play those notes more forcefully.}}In [[music]], an '''accent''' is an emphasis, stress, or stronger attack placed on a particular [[note (music)|note]] or set of notes, or chord, either because of its context or specifically indicated by an '''accent mark'''. Accents contribute to the [[articulation (music)|articulation]] and [[Prosody (music)|prosody]] of a performance of a musical phrase. Accents may be written into a score or part by a [[composer]], or added by the performer as part of their interpretation of a musical piece.

Compared to surrounding notes:
* A '''dynamic accent''' or '''stress accent''' is an emphasis using louder sound or stronger sound; typically, most pronounced on the attack of the sound.
* A '''tonic accent''' is an emphasis on notes by virtue of them being higher in [[pitch (music)|pitch]], as opposed to higher in volume.<ref>"[http://www.vocabulary.com/dictionary/tonic_accent#word=tonic%20accent Tonic accent]", ''Vocabulary.com''. Accessed: 24 April 2020.</ref>
* An '''agogic accent''' is an emphasis by virtue of notes being longer in [[duration (music)|duration]].

Accents that do not correspond to the stressed [[Beat (music)|beats]] of the prevailing [[metre (music)|meter]] are said to be [[syncopation|syncopated]]. For example, in [[common time]], also called {{music|time|4|4}}, the most common metre in [[popular music]], the stressed beats are one and three. If accented chords or notes are played on beats two or four, that creates syncopation, since the music is emphasizing the "weak" beats of the bar. Syncopation is used in [[classical music]], [[popular music]], and [[traditional music]]. However, it is more prominent in [[blues]], [[jazz]], [[funk]], [[disco]], and [[Latin music (genre)|Latin music]].

==Agogic==
There are four kinds of agogic accents:
* Longer notated duration of a note, for example, a whole note/semibreve (four beats in common time) among quarter notes/crotchets (each of which gets one beat).
* Extended duration of a note within its full-time value (without altering the tempo). For example, players of organ and harpsichord (which do not allow the use of dynamic accents) can emphasize one of a sequence of ''staccato'' quarter notes by making it less ''staccato'' (that is, making one note longer to emphasize it).
* Extended duration of a note with the effect of temporarily slowing down the tempo (''rubato'' or ''rallentando'').
* Delayed onset of a note, for example by doing a pause before starting a note.

==Marks==
In [[music notation]], an '''accent mark''' indicates a louder [[dynamics (music)|dynamic]] and a stronger attack to apply to a single note or an [[Articulation (music)|articulation]] mark.
:<score> {
\override Score.TimeSignature #'stencil = ##f
\relative c'' {
\time 5/4
b-> b-^ b-. b-! b--
}

}
</score>

From left to right, the meanings of these articulation marks are explained below:

* The most common symbol is the horizontal wedge, the first symbol in the diagram above. This is the symbol that is most commonly referred to as "accent mark". It indicates that the marked note should have an emphasized beginning and then taper off rather quickly. Though it is usually simply referred to as an accent. In jazz articulation, it is stated as "dah".

* The vertical wedge, hat, or ''petit chapeau'',<ref name="hawkshaw" /> shown second, signifies that a note should be played ''[[marcato]]'' (Italian for "marked"). It is generally accepted to be as loud as an accent mark and as short as a ''[[staccato]]''. ''[[Martellato]]'', Italian for "hammered", also is denoted with the symbol, referring to a specific bowing technique used to create ''marcato''. In jazz articulation, ''marcato'' is typically stated as "daht", yet the performing musician may interpret the duration of the note differently depending on what style of jazz they are playing.

* The dot, shown third, signifies that a note should be played ''[[staccato]]''. It indicates that the last part of a note should be silenced to create separation between it and the following note. For example, a written quarter note should be played as an eighth note followed by an eighth rest. The duration of a staccato note may be about half as long as the [[note value]] would indicate, although the [[tempo]] and performers' taste varies this quite a bit. In jazz articulation, it is stated as "dit".

* The vertical stroke, (or sometimes an inverted wedge or inverted teardrop), shown fourth, is usually interpreted as ''[[staccatissimo]]'', shorter than ''staccato''. A ''staccatissimo'' crotchet (quarter note) would be correctly played in traditional art music as a lightly articulated semi-quaver (sixteenth note) followed by rests which fill the remainder of the beat. This mark was used by multiple composers, including [[Wolfgang Amadeus Mozart]], [[Anton Bruckner]], and [[Joseph Haydn]], and the composers' intentions often varied at different points in their careers, and even at different points within a single work. The marking was generally used to indicate that the articulation was ''different''. The marking was used to indicate various degrees of emphasis (ranging from accent to ''marcato''), brevity (ranging from detached to ''staccato'' to hooked bowing), or some combination of the two.<ref name="hawkshaw" /><ref>{{Cite journal |last=Neumann |first=Frederick |date=1993 |title=Dots and strokes in Mozart |url=https://www.jstor.org/stable/3128294 |journal=Early Music |volume=21 |issue=3 |pages=429–435 |doi=10.1093/em/XXI.3.429 |issn=0306-1078 |jstor=3128294 |accessdate=4 June 2024|url-access=subscription }}</ref> In the second half of the 19th century, German music (starting with Haydn's later works) began replacing the vertical stroke with the regular accent mark when the notes were to be emphasized but not abbreviated, and French music began replacing the vertical stroke with the ''staccato'' dot when the notes were to be both emphasized and abbreviated.<ref name="hawkshaw">{{Cite journal |last=Hawkshaw |first=Paul |date=2017 |title=Between a snowflake and a hailstorm: thoughts on Bruckner's staccato and accent markings |url=https://www.academia.edu/29016523 |journal=The Bruckner Journal |volume=21 |issue=3 |pages=4–14 |accessdate=4 June 2024}}</ref> In 1954, a competition was held to write an essay on whether engravers should differentiate between vertical strokes and dots found in Mozart's scores. Four of five of the essays published indicated a clear distinction in at least some passages. The same can be said of Bruckner's use of these symbols.<ref name="hawkshaw" /> Because of the problems associated with reading music with this accent mark, the once commonplace marking has fallen nearly into disuse today.

* Finally, the ''[[tenuto]]'' mark, shown fifth above, generally means that a note or chord is to be played at full length. In jazz articulation, it is stated as "doo".

Even when these symbols are absent, experienced musicians will introduce the appropriate gesture according to the [[Music genre|style]] of the music.<ref>{{usurped|1=[https://archive.today/20130218035506/http://readsheetmusic.info/accents_and_markings_-_how_to_make_sense_of_musical_symbols.shtml Accents and Markings - Making Sense of '^' and '.']}}", ''How to Read Sheet Music''. Accessed: 24 April 2020.</ref> Mark McGrain writes about articulation on page 156 in his book ''Music Notation: Theory and Technique for Music Notation'', where ''marcato'' accent in the third mark shown is referred to as the ''forzato'' accent, and the symbol as just an accent is referring to as the ''sforzando'' accent. "Neither of these accents alter the durational value of the note or voicing they attend."<ref>{{Cite book |last=McGrain |first=Mark |url=https://books.google.com/books?id=S_y7JAZqx6QC&dq=music+notation+accent+marking&pg=PA165 |title=Music Notation: Theory and Technique for Music Notation |publisher=Hal Leonard Corporation |year=1990 |isbn=978-0-7935-0847-1 |language=en}}</ref>{{Rp|pages=156, 165}}
[[File:Sfz own world.png|thumb|124x124px|Sforzando notation on a quarter note beat ]]
Another way to indicate accented notes (notes to emphasize or play louder compared to surrounding notes) is with ''sforzando'', ''sforzato'', ''forzando'' or ''forzato'' (abbreviated {{serif|'''''sfz'''''}}, {{serif|'''''sf'''''}}, or {{serif|'''''fz'''''}}) ("forcing" or "forced").

==See also==
* [[List of ornaments]]
* [[Sforzando (musical direction)|''Sforzando'']]
==References==
{{reflist}}

== Bibliography ==
* [[Rimas, Juozas]], Rimas Jr., Juozas. (2024). Agogics and ''Tempo Rubato''. In: ''[[Etudes on the Philosophy of Music]]''. Cham, Switzerland: [[Palgrave Macmillan]]. {{ISBN|978-3-031-63965-4}} Open Access: [https://link.springer.com/chapter/10.1007/978-3-031-63965-4_11]

{{Dynamics (music)}}
{{Musical notation}}

{{DEFAULTSORT:Accent (Music)}}
[[Category:Articulations (music)]]
[[Category:Rhythm and meter]]