That’s happens here, though Adele quickly recovers and immediately finds her stride.Īnd what an odd stride it is! Notice that none of the naturally-stressed syllables lines up with a stressed beat. We desperately want to speak with confidence, but instead, we blurt. The upbeat placement of the words “I heard” makes them feel interruptive and a bit awkward – the way we feel when we don’t quite know to bring up a sensitive issue. The first note of Adele’s song comes in “too early” – before the 4-bar introduction finishes. MELODIC NOTES TAKE ON THE CHARACTERISTIC HEFT AND LIFT OF THE BEATS THEY INHABIT.
“Changing the metric placement of a rhythmic pattern,”
Versions A and C have different rhythmic patterns, but sound and feel very much the same. Versions B and C have the same rhythmic pattern, but don’t sound/feel much like each other. In version B, the notes are on afterbeats (with the rests on the beat).Īs a result, something really cool happens. But in version C, the notes fall on beats (with rests off the beat). Each melody alternates eighth notes with eighth rests. Version C has the same rhythmic pattern as version B. This time, I’ll add another version (C) between the two. Let’s compare versions A and B once more. In melody B, not one note lands on a beat. In melody A, we hear a short pickup note leading to a note on every beat. Their dissimilarity results from “metric placement”: how notes align with strong and weak beats. Yet it’s not the patterns themselves that create the contrast. Clearly, the two rhythmic patterns sound and feel quite different.
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