8 Sets of Notes on Rhythm

From Text 1

On the comprehensibility of rhythm

First of all we have to realise that rhythms have expressive qualities. The sentiments expressed, graceful or sad, can be clearly distinguished. The will, either quiet or menacingly, also shows itself fairly easily. There are also the rhythms of mentality, characterised just like the rhythms of sensations. These are not vague analogies; the essence of rhythm being the living or vital will which carries within these combinations of logic the endless variations of the force that engendered it. Ideas also fall under a rhythmic order but they tend to be more harmonic and melodic.

The rhythm coheres with space, form, direction, pitch etc. Above all, it contains the harmonic system, and the spatial differences are of a rhythmic order, but of a squared, cuboid or spherical rhythm; the life force reveals itself in a simply linear rhythm, in a series of explosions, but these explosions are made up of directions, paths, returns, contrasts, collisions, tensions and forms. All existent forms are products of rhythm. The forms of our intelligence as well as our sensory mechanisms.

The rules of functioning are not as easy to grasp as the number play of mathematics. Mathematics and geometry are a small part of rhythm. The most complete language of the life of the will is dance, which can communicate the word as well as the arts or science. It is more primitive than the word, which is made up of resonating rhythm of space, spatial rhythm, and the rhythm of intelligible ideas and sensory objects and mechanisms. Dance speaks all the ideas that are not yet objects, that are names of objects, and it is this immaterial purity that emanates from its manifestations. Dance is the language which is predestined for philosophy.

The different rhythms or rhythms of the will

The simple explosion

The series of rhythmic explosions

The counterpoint or polarisation of explosions

Metric, planimetric, squared, cuboid, spherical and formal.

A combination of implosion and explosion: rhythms acting on rhythmic forms

The implosion, sensation, intelligence, ideas, complicated order of wills, organic will, logical will, free will.

[Text No. 2]

We could say: Rhythmic events seek to document or [illegible] the victory of strength over weakness (crescendo) or vice versa (decrescendo), where we define strength as a dance-like, life-affirming, plastic element as opposed to a negative, doubtful element. In terms of the expression of force it is fundamentally of no importance which temporal relations are used. The temporal difference only needs to occur in a general differentiation between quick or short and slow or long in order to be [illegible] in a rhythm. […] Another important Temporal [illegible] of the step exercises for rhythm, is whether the short measures to the long measures occur in a ratio that is paired or unpaired, i.e. 3:4 or 2:4. It is also not unimportant.

In this sense we must see temporal relationships as nuances of force; they exist in the service of the expression of force, of the dynamic expression, and of the will. It should be noted here that simple harmonic sound relationships, which in both in terms of spatial and temporal relationships are derived by the ratio of the resonance factors [Schwingungszahlen n.b. the ‘swing’ element] of 1:2 : 3:4, are fundamentally purely dynamic and carry no further emotionally relevant musical meaning. Harmonic or chordal music is music of the mind [Verstandesmusik], music of logic. Only the melodic element is feeling expression, music of movement, and in so far purely musical. Dissonant sound music with its disregard for pitch and its strong emphasis on rousing, rhythmic elements is an expression of the will (roaring music) [rauschende musik]. Counterpoint is building, structuring in the form of dance, an expression of force but through dance; however, this independent art form is as ill-suited to be used as dance accompaniment as structural dance would be to rhetorical pathos. 

A rhythmic example such as [notation] in its pure temporal and spatial relationship can tell us more about rhythm than any piece of theory. Rhythm is the basis of force [Gewalt]. In music, rhythm is only a subordinate occurrence. Music which emphasises rhythm, body beating, is deviating from its original purpose, mind? [Gemuetschaft?] Rhythm that is inherent in music has come about through the laws of movement.

[Text No. 3]

Music for dance is sounding rhythm, in the same way that dance is swinging rhythm. Each sound has its own force, spatial dimension, its own temporal span and its intrinsic power. Small tones, high-ringing, have short duration and little power, while low tones have long duration and strong power. The high-pitched tone carries an intrinsic tension, a kind of spasm, while the low-pitched tone carries a strong impulse and a relaxing and a ringing, fading out (in the case of percussion, silence instead of fading out).

The harmonic and melodic refinement is a diversion in music because it moves in spatial directions rather than spatial [word illegible]. Individual sounds, which are the target points, relate to us through different spatial relationships, which are not as easily definable as these target points of the movement. Sound affects us by 3 means: the duration, the power and the relationship of pitch (consonance), relative and absolute pitch.

When more dissonant sounds are produced we move towards expansion, because the spatial, temporal and power distance of the dissonant note to the root note is bigger. Fading out usually describes a downward motion, ringing describes an upward motion. Small notes (higher [pitch]) vibrate with higher intensity and more ringing than lower tones. Absolute vibrational resonance and vibrational resonance in relation to the previous note.

In a sense, harmony can be seen as a product of force and rhythm.

The rhythmic element of force (while striving for spatial, temporal and energetic expansion) materialises in different [lines of] directions that are governed by laws of geometry, and creates movement which can either be swinging [vibrating], resonating, or form creating. The finiteness of the manifestation defines the volume and limits of its force, as well as the series and the relationship of the newly occurring force element to the one preceding it and the one following it etc. This relationship, this ratio, we encounter as rhythm.

Things that do not show any change in direction, where there is, in a sense, a single-directionalism, are purely rhythmical things, things of force. Examples for this are rhythmic or violent music, noise, violent dance, step dance, mathematical thinking, the violent word.

[Text No. 4]

Rhythm is an expression of force [violence!], measurable in the distance covered, as soon as it flows freely from the centre. Its impact will take up more or less time, which within a sequence of movement stands in natural and direct relation of size to the space and force. A delay in the natural duration of a force/space range always relates to a holding back of power/strength [Kraft], while an acceleration of the natural force/space range necessitates a sudden [illegible] and an augmentation, an over-increase of power/strength. The purpose of the strength/power exertion is in the spatial pathway, particularly when we focus on the visible form of movement rhythm. (In the case of percussion rhythm, tone, the main purpose is in the temporal difference, in the case of concept rhythm it is the difference in power/energy, where the stress falls, the [illegible] of one word.) The spatial rhythm is influenced by the natural expanse of the directions. […]

The harmonic body will always keep to these natural measures, they feel self-evident. Because of the directional qualities of spatial dimensions, physical effort and time remain the same, which led to the establishment of time rhythm as the basis for the art of movement in dance. There would be nothing wrong with this, if it didn’t mean that the actual movement, spatial rhythm and spatial harmony, didn’t lose out or was ignored altogether, as is the case in many music classes. At least in this case there is no sign of [or never] coherent, independent structure to the spatial movement, and it creates an [added] spatially multidisciplinary, chaotic, automatic, and movement technologically imperfect image, which we are often offered by today’s [illegible] dancers. [Classical] Ballet disappeared in the one-sided emphasis on time, despite the attempt to limit spatial movement through the establishment of laws which govern the movement of the step. Movement in which time, space and force do not come together in a natural order, or in which the naturally occurring force structure is being subverted through the manipulation of time, space and power, seems deformed and grotesque, just as is the case in movement which employs a disregard for the natural striving towards a harmony of movement and the link to directionality (swing). The inner link between the inherent conformity of force and the directional harmony is so strong, that forces which are distorting will produce directions that are disharmonious (distorting) themselves, and vice versa, so that we can speak of conforming movement in which forces and directions follow coherent laws, just as distorting movement in terms of forces and direction will always produce distorting results. This disharmony can be notated by the use of additional characters which change conforming [coherent] movement into distorting movement. Here, too, the limits and admissibility of the grotesque are governed by the laws of expression. We shall investigate these laws later.

[…]

When melodic-rhythmical movement can be subdivided into parts of equal measure, which always start with a stress on force (time, power, space) it can be said to be metric.

The dancer will often only dance the stressed parts, the additional parts consist more of a ringing, resonating continuing movement, which is often accompanied by footsteps in order to complete the previous swinging momentum and prepare the next. The metric can contain a multitude: 1,2,3,4,5, up to infinite divided bars. Most commonly used are 2 and 3 measures (4, 6, 8 are all built on these), in which only the first force of the first part is stressed. In the paired bars of 2 and 4 the second beat is also lightly stressed. A beat bar with stresses in both parts is called a 6/8 measure.

Through sound rhythm can be made audible, and by measuring or counting it can be intellectually tangible, conceivable.

The pairing or unpairing has different methods of expression.

Pairing will evoke notions of light, brightness; while unpairing evokes notions of darkness, sombreness. The character of pairing is upward-flowing, radiating lightness, the character of unpairing is inward-flowing depth. These rhythm patterns form nuances that are formed from these elements. Rhythm in itself has its own inner workings, in every bar, through every power ratio [force relationship]. Within the composition of movement these inner workings are subordinate to the overall creative work [Gesamtwerk]. Rhythm by itself, just like harmony in itself, does not automatically constitute art. A rhythmic sequence without harmony, just like a harmonic sequence without rhythm is unthinkable. In the seemingly pure rhythmic sequence the role of harmony or melody is being filled by where the stress falls. In the seemingly purely melodic or harmonic sequence the element of rhythm is metric. In 1/1 time signature we see the purest expression of harmony.

Practice sequence

Metric exercises (in 3 different time signatures) (running, walking, striding)

Exercise 1: Running and clapping in 3 and 4 time:

Hands and feet same

Hands and feet different

Rhythm with feet, hands metric and opposite

Writing rhythms

Exercise 2: Swinging rhythm and metric

In one direction a.) metric, b.) rhythmic

In different directions, a.) metric, b.) rhythmic

And 2 writing rhythm with direction

Rhythm Teaching

Pure metric rhythm

1 – 2 – 3 – 4 – etc.

Mixed metric rhythm

6/8, 9/8, 12/8 [notation]

[…]

The aspiration/striving [movement] towards the light, upwards, ahead, is the most conforming [well-formed] most harmonious movement, at least in asymmetrical movement. The distorting movement towards darkness, downwards, backwards; this movement really fills the role of assisting or down swing direction, subservient to the upswing. The counter movement, leaning/tending towards darkness, is ruled by [the elements of] distortion/dissolution. The characteristics of these are concentration, the conservation of power. Regarding the [word missing] of the movement, appears as a minor key, an inhibited movement. The forward momentum is shorter, blocked. One covers smaller distances in front [of the body].

Movement ‘a’ in the middle is the balanced or parallel movement to its own scale and displays the biggest measure of still visible distortion [illegible]. While ‘u’ mostly occurs as residual momentum swinging or inhibition, whereas a usually signifies a balance point, calm, completion.

[Text No. 5]

Rhythm and harmony in movement

Spatial structures produce [their own] rhythm, in that bigger spatial structures produce more intense forces (in terms of space, duration and power combinations) than smaller spaces do. Irregular structured spaces increase the amount of force needed, regular spaces decrease the amount of force needed (proportionally?).

A different rhythm is created by the regulation or subdivision of time, which gives rise to spatial structures. This produces a freeing of the space, and often bears no relation to time, so that bigger and smaller spaces are “swung” at equal lengths of duration. Different emphasis in force can create different spatial forms, as will changes in pitch and also melody, to which dancers often create a spatial counterpoint, in that the higher notes – which are made up of the smallest and fastest vibrations – are often accompanied or visualised by the biggest expansions, which do, of course, fall towards the smallest spatial impulse point, as do the musical sounds. In terms of harmony, pitch can also have an impact, i.e. the formation of the space reacts to the harmonic of the base chord, the tonic, and its derivations. At the same time another important factor is the melody, that is, absolute pitch, (as opposed to relative pitch, where the actual place of the note in the scale is less important than the relation to the root chord, see music vibration/resonance), as well as the rhythm of time and force. One or the other will be emphasised more. There is often little attention on the space, until through a sequence of running or leaping a horizontal plane is created, whereas the highs and depths/lows as well as related directions are swung less. This is where we would place the phenomenon of step dancing which does have some artistic potential, but it is very one-sided. To follow the harmony, melody, rhythm of duration and force of a piece of music with one’s body in a way that embodies the qualities of dance but is also full of meaning is a very difficult art. Only a deep exploration of the parallels between movement harmony and music will allow the linking of movement and music. Often attempts deteriorate into a bit of dancing about to musical sounds and with some accompanying imaginings of musically inspired mime. Eternity, slowness, minor chords are all interpreted with exaggerated sad faces, major chords and speed provoke happy ones. There are occasional moments of dance steps from the repertoire of classical dance steps, but there is no sense of an actual dynamic space plasticity, which this most unique art form with its visual, sensory and therefore truly intellectual impact could offer. But as long as the link between spatial structure and harmony does not communicate to us, there is simply no meaningful art of movement and dance. Spatial dance is rhythm made visible, not through the more or less regular hopping about of a more or less regularly formed – and therefore pretty – body; nor through the mimicking of actions, but through the deliberate sequencing, linking, dissolving and transferring of spatial structures that are created and led following the laws of harmony and which can express in their entirety, within the dance piece a coherent idea of movement. (At our disposition we have a range of swinging motions of varying dimensions that we can use.)

[Text No. 6]

The conceptual rhythm caesura is the sentence, the thought. Sentences that are expressed through tonal metric are easier to remember. What is conceptual metric? Are there concepts of similar weight or duration with a regularity in the placement of values? A sentence is a directional section out of infinite knowledge.

In music the directional section of the infinite is the key signature. In movement, every direction (just as every concept, every sound), all these separate structures are in and of themselves works of art, artistic building blocks, elements of expression.

Equally, the thought, the content of a sentence, the rhythm, the sequence of movements are always an artificial limitation focusing on one detail within the universal.

A concept is a tension result with directional emphasis.

[Text No. 7]

The rhythm of time, space and force forms a direction with three-dimensional attributes. […]

Rhythm has become untethered as an independent structure which allows it to arbitrarily influence and explore new and previously unrelated paths and directions. Proliferation of organic stuff. At the same time, melodic patterns, i.e. the linear execution of a direction or path according to a scale and the inherent configurations thereof have become free, as has harmony (the relation of tension groupings) can be mixed freely and independently of the organic will. There are boundaries of perception, of circumstances; there are relative harmonic relationships (1 : 2 : 3), that are intuitively understandable. These [relationships] enable the regulation and notation of the means of expression.

[Text No. 8]

The rhythmic-harmonic arts consist of: 

Logic

Dance

Music

Dance – Sound - Word [“Tanz – Ton – Wort”]

The philosophies:

The term [concept] – knowing

Movement – feeling

Sound – willing

The [common] path of the[se] different forms of art is;

The spinning out or unrolling of shorter or longer components made up of inner combinations. When the word is used in a way that emphasises rhythm or the quality of the sound, the resulting form becomes semi musical, [this] also [applies to] movement. The rhythm and harmony within music can connect all three elements.

The action

Is not a simple term, not a simple movement, and cannot be contained in a simple sound. Action proclaims a judgement on what has been formed. Through the arts, action meets the thing as an object, a block that must be overcome.

The force of the artistic expression acts on the objective, the action, the creation or the destruction. The objective, the action returns in drama as the basic idea or motif, the path to its development is in the evolution of the basic idea towards its fulfilment. The whole composition becomes one phrase, one concept, one action.

In the rhythmic-harmonic work of art the basic idea is developed and repeated in order to create a greater whole. Elevating the action, the work of art contains a whole that is dissected and reassembled into a composition. The subsections of drama consist again of actions upon actions that are complicated by other actions, until the ultimate action is achieved. Perseverance, determination.

The rhythmic-harmonic representation of different concepts consists of a parallel understanding of infinite balance. In the representation of action the singular goal orientation leads to a finite revelation. Sound rhythm, concept and movement create drama, i.e. the elevation of action. While one or another factor may dominate, they must surely all be present.

The rhythmic-harmonic work of art can well be constructed on a single element (concept or sound or movement), but it is in the combination of the two or three elements that the artistic effect on the general public is achieved. (See: lyric poetry, song, musical dance. With the exception of sound, which has an inherent artistic immediacy but even here there are elements of movement – in rhythm.) In musical drama or the total work of art [= Gesamtkunstwerk] there is an overflow of the highest expression of all three elements. If none of the elements is reduced at any time, the effect can be overpowering.