Usually, when a composer writes a rhythm, they fit it to a time signature so that the notes which fall on the strong beats of the bar are given a little emphasis, or slight accent, when they are played. This little “push” on the strong beat helps us to feel the beat and to understand how many beats per bar there are as we listen or play.
In all time signatures the beat which is strongest (or has the most accent) is beat 1.
In 4/4 time, the 3rd beat of the bar is also quite strong, but not as strong as beat 1. Beats 2 and 4 are called the weak beats.
In 2/ and 3/ time signatures, beats 2 and 3 are both weak.
Most rhythms are not syncopated. This means they are written so that notes that are worth more than one beat fall on the strong beats, and not on the weak beats. Here is an example:
As you can see, the notes which are worth more than one beat are the minim (half note), dotted minim (dotted half note) and semibreve (whole note). They fall either on beat 1 or beat 3, which are the strong beats in 4/4.
In syncopated music, the long notes are moved onto the weak beat of the bar. In 4/4 this means the long note is pushed onto beat 2. (It can also be pushed onto beat 4 and tied over the bar line, but you don’t need to understand this type of rhythm for grade 2).
Rhythms can also be syncopated if a note which is worth one beat or more is placed between the beats of the bar.
Look at this un-syncopated rhythm in 2/4 – the crotchets (quarter notes) fall squarely on the beat.
Now compare this syncopated rhythm, also in 2/4. This time, the crotchets (quarter notes) fall between the beats – this “in between place” is called the offbeat. The music sounds different because we hear a relatively “important” note (because of its length) in a normally “unimportant” place (between the beats).
Syncopation was not used very often in melodies written in classical times, (although it was quite common as a element of the accompaniment to a tune). In more modern times, syncopation became more and more used, especially in popular music like jazz, pop and rock, as well as modern art music.
The two syncopated rhythms to look out for in the Trinity grade 2 exam are these:
Syncopation Exercises
Point your mouse at the staves to reveal the answers (tap on mobiles).
Exercise 1
Circle the syncopated bars in each of these melodies.
Exercise 2
Copy out these syncopated rhythms. Pay attention to the spacing between the notes.
