A different way to visualize rhythm - John Varney

譯者: Coco Shen 審譯者: Helen Chang

We usually think of rhythm as an element of music,

我們一向認為節奏只是 組成音樂的一個元素，

but it's actually found everywhere in the world around us,

但事實上，節奏在世上無所不在。

from the ocean tides to our own heartbeats,

從海洋的潮汐，到我們的心跳，

rhythm is essentially an event repeating regularly over time.

節奏是隨著時間持續重複的事件。

即使是時鐘的滴答聲，也是一種節奏。

Even the ticking of a clock itself is a sort of rhythm.

但是音樂的節奏，

But for musical rhythm,

a steady string of repeating single beats is not enough.

不只是一連串有規律的重複單拍。

For that, we need at least one opposing beat with a different sound,

我們至少需另一不同聲音的相對拍，

which can be the unstressed off beat or the accented back beat.

可以是一個輕柔的弱拍， 或是一個加重的強拍。

有些方法能讓拍子明晰，

There are several ways to make these beats distinct,

whether by using high and low drums, or long and short beats.

用高低鼓製造不同的聲音， 或是長拍和短拍。

Which ends up being heard as the main beat is not a precise rule,

哪一拍會被聽成主拍， 並沒有確切的規則，

but like the famous Rubin's vase, can be reversed depending on cultural perception.

而像著名的魯賓花瓶， 可依文化認知而反轉。

In standard notation, rhythm is indicated on a musical bar line,

正規樂譜的節奏標示在小節中，

but there are other ways.

但另有其他的表示方式。

Remember that ticking clock?

還記得那個滴答作響的時鐘嗎?

Just as its round face can trace the linear passage of time,

如同圓鐘可表達直線進行的時間，

the flow of rhythm can be traced in a circle.

圓輪能表示持續的節奏。

用一個持續轉動的輪子 將節奏視覺化

The continuity of a wheel can be a more intuitive way to visualize rhythm

than a linear score that requires moving back and forth along the page.

比來回翻樂譜更為直觀。

We can mark the beats at different positions around the circle

我們可在圓輪的不同位置上 標示節拍，

using blue dots for main beats, orange ones for off beats,

用藍點表示主拍，橘點表示弱拍，

and white dots for secondary beats.

以及白點表示次强拍。

Here is a basic two beat rhythm with a main beat and an opposing off beat.

這是個基本的二拍節奏 包含一强拍和一對應的弱拍。

Or a three beat rhythm with a main beat, an off beat, and a secondary beat.

或三拍節奏: 强拍、弱拍、次强拍。

而節拍與節拍間的空檔，

And the spaces between each beat can be divided into further sub-beats

可用2或3的倍數進一步細分為子拍。

using multiples of either two or three.

Layering multiple patterns using concentric wheels

將同心輪分層加疊，

lets us create more complex rhythms.

我們可以創造更複雜的節奏。

For example, we can combine a basic two beat rhythm with off beats

例如，基礎的兩拍節奏 結合兩個弱拍，

to get a four beat system.

可得到四拍節奏。

This is the recognizable backbone of many genres popular around the world,

這是很多世上熟知的 流行音樂類型的骨架，

從搖滾樂，

from rock,

country,

鄉村音樂，

and jazz,

爵士樂，

到雷鬼音樂，

to reggae

and cumbia.

及昆比亞舞曲。

也可將兩拍的節奏結合三拍的，

Or we can combine a two beat rhythm with a three beat one.

刪除多餘的主拍， 轉動內側的同心輪，

Eliminating the extra main beat and rotating the inner wheel

leaves us with a rhythm whose underlying feel is three-four.

會得到一個像是三四拍的節奏。

這是迴旋舞的基本節奏，

This is the basis of the music of Whirling Dervishes,

也是廣泛拉丁美洲音樂的基本節奏，

as well as a broad range of Latin American rhythms,

such as Joropo,

像是霍洛波舞曲，

and even Bach's famous Chaconne.

巴赫著名的夏康舞曲。

若我們還記得魯賓花瓶， 並將弱拍聽成主拍，

Now if we remember Rubin's vase and hear the off beats as the main beats,

this will give us a six-eight feel,

我們會得到六八拍的節奏，

as found in genres such as Chacarera,

這節奏被運用於恰卡雷拉舞曲，

and Quechua,

和克丘亞曲，

波斯音樂和其他的音樂類型中。

Persian music and more.

In an eight beat system, we have three layered circles,

我們需要三層同心輪 構成一個八拍節奏，

每一節奏都由不同的樂器演奏。

each rhythm played by a different instrument.

(貝斯)

(吉他)

(鈴鼓)

We can then add an outermost layer

接著在最外另加一層加疊的節奏，

consisting of an additive rhythmic component,

reinforcing the main beat and increasing accuracy.

加重主拍，並提高節奏的精確度。

(直笛)

Now let's remove everything except for this combined rhythm

只保留這組合節奏 和基礎的兩拍節奏。

and the basic two beat on top.

This rhythmic configuration is found as the Cuban cinquillo,

這節奏型態常見於古巴音樂，

也被應用於波多黎各的朋巴，

in the Puerto Rican bomba,

and in Northern Romanian music.

以及北羅馬尼亞音樂。

And rotating the outer circle 90 degrees counterclockwise

再將外層的圓輪逆時針旋轉90度，

gives us a pattern often found in Middle Eastern music,

成為常見於中東音樂的節奏，

巴西的科羅舞曲，

as well as Brazilian choro,

和阿根廷的探戈。

and Argentinian tango.

In all of these examples, the underlying rhythm reinforces the basic one-two,

以上例子的基本節奏 都加重一、二拍，

but in different ways depending on arrangement and cultural context.

但依不同的文化背景 而有不同的加重方式。

事實上，圓輪不只是一個 將複雜節奏視覺化的俏皮方法。

So it turns out that the wheel method is more than just a nifty way

of visualizing complex rhythms.

By freeing us from the tyranny of the bar line,

除了以沈悶的五線譜小節表達法，

we can visualize rhythm in terms of time,

我們可用時間來視覺化節奏，

and a simple turn of the wheel can take us on a musical journey around the world.

簡單的轉輪就能帶我們 踏上世界的音樂旅程。