For other uses of the same name, see Syncopation (disambiguation).
More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur".
It is the correlation of at least two sets of time intervals.
Syncopation is used in many musical styles, especially dance music: "All dance music makes use of syncopation, and it's often a vital element that helps tie the whole track together".
Syncopation can also occur when a strong harmony is simultaneous with a weak beat, for instance, when a 7th-chord is played on the second beat of 4 measure or a dominant chord is played at the fourth beat of a 4 measure.
The latter occurs frequently in tonal cadences for 18th- and early-19th-century music and is the usual conclusion of any section.
A hemiola (the equivalent Latin term is sesquialtera) can also be considered as one straight measure in three with one long chord and one short chord and a syncope in the measure thereafter, with one short chord and one long chord.
Usually, the last chord in a hemiola is a (bi-)dominant, and as such a strong harmony on a weak beat, hence a syncope.
Types of syncopation
Technically, "syncopation occurs when a temporary displacement of the regular metrical accent occurs, causing the emphasis to shift from a strong accent to a weak accent".
"Syncopation is", however, "very simply, a deliberate disruption of the two- or three-beat stress pattern, most often by stressing an off-beat, or a note that is not on the beat."
For the following example, there are two points of syncopation where the third beats are sustained from the second beats.
In the same way, the first beat of the second bar is sustained from the fourth beat of the first bar.
Though syncopation may be very complex, dense or complex-looking rhythms often contain no syncopation.
The following rhythm, though dense, stresses the regular downbeats, 1 and 4 (in 8):
However, whether it's a placed rest or an accented note, any point in a piece of music that changes the listener's sense of the downbeat is a point of syncopation because it's shifting where the strong and weak accents are built.
Whereas the notes are expected to occur on the beat:
Playing a note ever so slightly before, or after, a beat is another form of syncopation because this produces an unexpected accent:
It can be helpful to think of a 4 rhythm in eighth notes and count it as "1-and-2-and-3-and-4-and".
In general, emphasizing the "and" would be considered the off-beat.
Timing can vary, but it usually occurs on the 2+ and the 4 of the 4 time, thus anticipating the third and first beats.
This pattern is known commonly as the Afro-Cuban bass tumbao.
"The syncopated pattern is heard 'with reference to', 'in light of', as a remapping of, its partner."
He gives examples of various types of syncopation: Latin, backbeat, and before-the-beat.
Latin equivalent of simple 44
In the example below, for the first two measures an unsyncopated rhythm is shown in the first measure.
The third measure has a syncopated rhythm in which the first and fourth beat are provided as expected, but the accent occurs unexpectedly in between the second and third beats, creating a familiar "Latin rhythm" known as tresillo.
Backbeat transformation of simple 44
Different crowds will "clap along" at concerts either on 1 and 3 or on 2 and 4, as above.
The phrasing of "Satisfaction" is a good example of syncopation.
It is derived here from its theoretic unsyncopated form, a repeated trochee (¯ ˘ ¯ ˘).
A backbeat transformation is applied to "I" and "can't", and then a before-the-beat transformation is applied to "can't" and "no".
This demonstrates how each syncopated pattern may be heard as a remapping, "with reference to" or "in light of", an unsyncopated pattern.
Syncopation has been an important element of European musical composition since at least the Middle Ages.
(See also hocket.)
The refrain "Deo Gratias" from the 15th-century anonymous English Agincourt Carol is also characterised by lively syncopation:
“The 15th-century carol repertory is one of the most substantial monuments of English medieval music...
The early carols are rhythmically straightforward, in modern 6/8 time; later the basic rhythm is in 3/4, with many cross-rhythms... as in the famous Agincourt carol 'Deo gratias Anglia'.
As in other music of the period, the emphasis is not on harmony, but on melody and rhythm.”
Composers of the musical High Renaissance Venetian School, such as Giovanni Gabrieli (1557–1612), exploited syncopation for both their secular madrigals and instrumental pieces and also in their choral sacred works, such as the motet Domine, Dominus noster:
Denis Arnold (1979, p. 93) says: "the syncopations of this passage are of a kind which is almost a Gabrieli fingerprint, and they are typical of a general liveliness of rhythm common to Venetian music".
The composer Igor Stravinsky (1959, p. 91), no stranger to syncopation himself, spoke of "those marvellous rhythmic inventions" that feature in Gabrieli's music.
Christopher Hogwood (2005, p. 37) describes the Hornpipe as “possibly the most memorable movement in the collection, combining instrumental brilliance and rhythmic vitality… Woven amongst the running quavers are the insistent off-beat syncopations that symbolise confidence for Handel.” Bach's Brandenburg Concerto No. features striking deviations from the established rhythmic norm in its first and third movements. 4
Boyd (1993, p. 85) also hears the coda to the third movement as "remarkable… for the way the rhythm of the initial phrase of the fugue subject is expressed… with the accent thrown on to the second of the two minims (now staccato)":
The beginning movement of Beethoven's Eroica Symphony No.
3 exemplifies powerfully the uses of syncopation in a piece in triple time.
After producing a pattern of three beats to a bar at the outset, Beethoven disrupts it through syncopation in a number of ways:
(1) By displacing the rhythmic emphasis to a weak part of the beat, as in the first violin part in bars 7–9:
Taruskin (2010, p. 658) describes here how "the first violins, entering immediately after the C sharp, are made palpably to totter for two bars".
(2) By placing accents on normally weak beats, as in bars 25–26 and 28–35:
This "long sequence of syncopated sforzandi" recurs later during the development section of this movement, in a passage that Antony Hopkins (1981, p. 75) describes as "a rhythmic pattern that rides roughshod over the properties of a normal three-in-a bar".
(3) By inserting silences (rests) at points where a listener might expect strong beats, in the words of George Grove (1896, p. 61), "nine bars of discords given fortissimo on the weak beats of the bar":
- Counting (music)
- Syncopation (dance)
- Syncope and epenthesis, analogous linguistic concepts where vocal rhythm causes the loss or addition of sounds to a word
- Nu metal, a subgenre of heavy metal music created in the 1990s, utilising syncopated rhythms.
Credits to the contents of this page go to the authors of the corresponding Wikipedia page: en.wikipedia.org/wiki/Syncopation.