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Dancing denotes the total body movements where there is proper projection of the face to involve the emotion required by the dance. The expression of the dancer’s face should complete the whole dance.

Rhythm is the heartbeat of dance, and in this lesson, you'll synchronize your steps with the pulsating rhythms that define Philippine folkdance. Learn to decipher intricate patterns and timing, creating a symphony of movement that leaves your audience entranced.

Every dancer's journey begins with mastering the fundamental positions of arms and feet. These positions serve as the building blocks for more complex choreography. You'll refine your technique, ensuring precision and grace in your every movement.

Embark on this enlightening journey into the world of dance, where each step brings you closer to becoming a masterful choreographer, a rhythmic virtuoso, and a custodian of the rich cultural heritage of the Philippines. Let's dance our way to excellence!

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Traditional Valencian dances

A folk dance is a dance that reflects the life of the people of a certain country or region. Not all ethnic dances are folk dances. For example, ritual dances or dances of ritual origin are not considered to be folk dances. Ritual dances are usually called "religious dances" because of their purpose.

The terms "ethnic" and "traditional" are used when it is required to emphasize the cultural roots of the dance. In this sense, nearly all folk dances are ethnic ones. If some dances, such as polka, cross ethnic boundaries and even cross the boundary between "folk" and "ballroom dance", ethnic differences are often considerable enough to mention.

Traditional dancers and performance during the Pulljay festivities in Tarabuco

Folk dances share some or all of the following attributes:

Dances are usually held at folk dance gatherings or social functions by people with little or no professional training, often to traditional music.

Dances not generally designed for public performance or the stage, though they may later be arranged and set for stage performances.

Execution dominated by an inherited tradition from various international cultures rather than innovation (though folk traditions change over time).

New dancers often learn informally by observing others or receiving help from others.

More controversially, some people define folk dancing as dancing for which there is no governing body or dancing for which there are no competitive or professional institutions. The term "folk dance" is sometimes applied to dances of historical importance in European culture and history; typically originating before the 20th century. For other cultures the terms "ethnic dance" or "traditional dance" are sometimes used, although the latter terms may encompass ceremonial dances.

There are a number of modern dances, such as hip hop dance, that evolve spontaneously, but the term "folk dance" is generally not applied to them, and the terms "street dance" or "vernacular dance" are used instead. The term "folk dance" is reserved for dances which are to a significant degree bound by tradition and originated in the times when the distinction existed between the dances of "common folk" and the dances of the modern ballroom dances originated from folk ones.

Rapper Sword Dancers - Sheffield Steel

Folk Dancing at Jack in the Green May Day festival in Hastings, UK.

Turkey folk dance

Armenian dancers. HlushenkovFolkFest in Khmelnytskyi, Ukraine.

Varieties of European folk dances include:

Sword dances include long sword dances and rapper dancing. Some choreographed dances such as contra dance, Scottish highland dance, Scottish country dance, and modern western square dance, are called folk dances, though this is not true in the strictest sense. Country dance overlaps with contemporary folk dance and ballroom dance. Most country dances and ballroom dances originated from folk dances, with gradual refinement over the years.

People familiar with folk dancing can often determine what country a dance is from even if they have not seen that particular dance before. Some countries' dances have features that are unique to that country, although neighboring countries sometimes have similar features. For example, the German and Austrian schuhplattling dance consists of slapping the body and shoes in a fixed pattern, a feature that few other countries' dances have.

Folk dances sometimes evolved long before current political boundaries, so that certain dances are shared by several countries. For example, some Serbian, Bulgarian, and Croatian dances share the same or similar dances, and sometimes even use the same name and music for those dances.

International folk dance groups exist in cities and college campuses in many countries, in which dancers learn folk dances from many cultures for recreation.

Balfolk events are social dance events with live music in Western and Central Europe, originating in the folk revival of the 1970s and becoming more popular since about 2000, where popular European partner dances from the end of the 19th century such as the schottische, polka, mazurka and waltz are danced, with additionally other European folk dances, mainly from France, but also from Sweden, Spain and other countries.

Middle East, Central Asia and South Asia

Armenian dance

Assyrian folk dance

Azerbaijani dances

Bihu, an Assamese dance celebrating the arrival of spring, traditionally the beginning of the Assamese New Year

Attan - The national dance of Afghanistan. Also a popular folk dance of Pashtuns tribes of Pakistan including the unique styles of Quetta and Waziristan in Pakistan.

Belly Dance

Bhangra, a Punjabi harvest dance in Pakistan and India, and a music style that has become popular worldwide.

Chitrali Dance - Chitral, Khyber-Pakhtunkhwa in Pakistan.

Circassian dance

Circle dance

Dabke, a folk dance of the Levant

Domkach, folk dance of Bihar and Jharkhand, India

Garba Circular Devotional dance from Gujarat danced the world over

Israeli folk dance

Kalbelia is one of the most sensuous dance forms of Rajasthan, performed by the kalbelia tribe

Khattak Dance - Khyber-Pakhtunkhwa in Pakistan.

Khigga, a common folk dance among Assyrian people

Kurdish dance

Luri dances

Lewa (folk dance) - Baluch folk dance in Pakistan.

Mazanderani dances

Middle Eastern Dance

Chaap (traditional Baloch folk dance in Pakistan)

various dances such as tamang selo and many others

Cambodian Peacock dance

Javanese dancer performing Srimpi dance in Java, Indonesia

Singkil, traditional folk dance of the Maranao people of the Philippines depicting parts of the epic poem, Darangen.

Members from the Philippine Cultural Dancers group perform tinikling during the 2007 Asian Pacific Heritage Month celebration at the Kadena Air Base, Japan

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A folk dance is a dance that reflects the life of the people of a certain country or region. Not all ethnic dances are folk dances. For example, ritual dances or dances of ritual origin are not considered to be folk dances. Ritual dances are usually called "religious dances" because of their purpose.

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The elements of dance are the building blocks of all creative movements. It is also the science behind dance making. The following are the 5 elements of dance (B.A.S.T.E.)

1. Body

- This is WHO we move

- It is the dancer’s materials

- There must be a dancer for there to be a “dance”. Without at least 1 body motion, there is no dance.

- The dancer trains constantly to master and maintain body skills so they can accurately portray the choreographer’s intent.

- Head, hands, feet. Shoulder, arms, legs, torso. Eyes, fingers

2. Action

- This is WHAT we DO to move

- It is any movement of the body while dancing

- The dancers can stay in place (axial) or travel/in moving (locomotor)

- These can be described as “actions“

- Many of these actions have specific technical names such as “arabesque” or “jete”

- Open, close, stretch, twist, rise, fall, bend, turn, jump

3. Space

- This is WHERE we move.

- An area the dancers occupies

- This is the space in which the dancer can move in any dimension

- We can move in different places, sizes, levels, directions and pathways

- It is also our relationship with other dancers and/or objects within the dance.

- Right, left, high, low, backwards, forwards, circular, linear, vertically, diagonally

4. Time

- This is WHEN we move

- There is a beginning and an end

- The timing of the movements are largely dependent on the beat and rhythm of the music, the action that you select, the dancer’s ability to perform it and the choreographer’s intent

- Movements can be performed at various speed, durations, timings and sequences

- Short, long, fast, slow, steady, unpredictable, before, after, unison, patterned

- Rhythm, pulse

5. Energy

- This is HOW we move

- This relates to the dancer’s posture, effort, force, expression and feeling

- These energy components, combined with a superior facilitation of BODY movements, equates to one very powerful dancer

- Dynamics

o Sharp, smooth, tight, loose, sudden, sustained, light, heavy, gentle, strong, gracefulness

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The Elements of Dance are the foundational concepts and vocabulary that help students develop movement skills and understand dance as an artistic practice. The acronym BASTE helps students remember…

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MAJOR ELEMENTS OF RHYTHM

All movements are affected by the elements of rhythm. These elements which should be learned and understood in relation to dance are: underlying beat, measure, rhythmic pattern, tempo, accent, phrasing and intensity.

1. Underlying Beat or pulse Beat

- The underlying beat is the steady continuous sound that is heard or felt throughout any rhythmical sequence.

2. Measure

- Measure refers to the identical grouping of underlying beats. This group of note is between two bar lines.

3. Rhythmic Pattern

- A rhythmic pattern is a definite grouping of sounds or beats related to the underlying beat. A particular pattern or unequal sounds or beats must fit within or underlying beats. Sometimes, the rhythmic pattern is also called melody pattern because the rhythmic pattern follows the words of melody.

4. Phrasing

- A musical phrase is a group of measures that gives the feeling of unity. It can be likened to a sentence or an idea in itself. Learning to identify or recognize phrases is essential to learning and creating dances. The end of a phrase may suggest a change in direction of movement.

- Example:

Le ron leron sin-ta umak yat sa pa-pa ya

5. Accent

- Accent is the force of emphasis given to any one beat in a series of pulse beats in a measure.

6. Tempo

- Tempo is the rate of speed of movement, music or accompaniment. It may be fast as in running, it may be moderate as in walking or it5 may be as in ordinary sliding.

7. Intensity

- Intensity is the quality of movement or music. It refers to dynamics or force, such as heavy and light.

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This is "The Elements of Rhythm: Sound, Symbol, and Time", chapter 1 from the book Music Theory (v. 1.0). For details on it (including licensing), click here.

For more information on the source of this book, or why it is available for free, please see the project's home page. You can browse or download additional books there. To download a .zip file containing this book to use offline, simply click here.

Has this book helped you? Consider passing it on:

Introduction

The first musical stimulus anyone reacts to is rhythm. Initially, we perceive how music is organized in time, and how musical elements are organized rhythmically in relation to each other. Early Western music, centering upon the chant traditions for liturgical use, was arhythmic to a great extent: the flow of the Latin text was the principal determinant as to how the melody progressed through time.

As Western music moved from monody to polyphony ("single voice" to "multiple voices"), sets of symbols developed gradually that allowed musical time to be established against a recurring background pulse. This also allowed multiple elements in music to be established in tandem with one another. These symbols evolved into the durational values ("note values") that form the foundation for music notation.

1.1 Durational Values: Symbols Representing Time in Music

Learning Objectives

1. Describing durational values orthographically: how they are drawn.

2. Defining durational values in proportional relationship to one another.

3. Defining durational values in musical time and space.

Durational values Durational Values are those symbols ("note values") that are used to represent the relative length of a particular sound in music. are symbols that represent time and action in musical space: they delineate and mark off varying values of sound (and silence) in a composition. Additionally, they are proportional to one another as to how they may be divided from larger into smaller values.

There have been many differing notational systems throughout the history of music. In the context of other study, you may encounter these various and sundry systems from early Western notational traditions. Our current system of notation evolved from these early systems, incorporating aspects of many.

Components of Notes

Let us first examine how durational values are drawn:

Note values may be "open notes" (not filled in or blackened), or "filled-in notes." In the context of how musical time is organized (discussed below), these will have greater or lesser lengths or time spans. In the following example they are not yet assigned any particular value: only proportional values in relation to each other.

Figure 1.3 Durational Value Chain

Dotted Values

Durational values may have small periods ("dots") appended to them. Originally, this evolved as a notational "convenience," a proportional division indication, or as a segment boundary. Dotted values Durational Values may be non-dotted or dotted. Dotted Values have three interpretations: (1) The dot represents the addition of half the original value; (2) The dotted value may divide into two lower dotted values; (3) Or the dotted value may divide into three non-dotted values. This potential division into three is critical for comprehending Compound Meter. have three different interpretations:

1. A dotted value may be divisible into three non-dotted values:

2. A dotted value may be divisible into two smaller dotted values:

These varying uses of dotted values shall come into focus in subsequent discussions concerning meter and notational practice in Section 1.2 "Pulse, Tempo, and Meter" and Section 1.3 "Music Notation Practices" below. As with non-dotted values, dotted values are in proportion to one another as well. Figure 1.8 "Dotted Values" shows the proportional chain of dotted values.

Rests

Just as durational values represent the length of sound in music, symbols of equivalent value represent the length of silence. These are called restsRests are the symbols used to represent the relative length of silence in music. They are equivalent in value to durations. . Figure 1.9 "Rests" shows rests and their labels. As with durational values, rests are proportional to one another also.

The student should understand:

1.2 Pulse, Tempo, and Meter

Learning Objectives

1. Definitions of the elements of rhythmic organization.

2. Perception of Tempo and commonly used terms.

3. Mapping out meter (time signatures): the perception of Simple and Compound Time.

4. How these elements interact in music.

We perceive the organization of time in music in terms of three fundamental elements, Pulse, Tempo, and Meter. Use prompts to assist you in understanding these elements:

Pulse-"beat": the background "heartbeat" of a piece of music.

Tempo-"rate": the relatively fast or slow speed at which we perceive the pulse in a piece of music.

Meter-"ratio": how durational values are assigned to represent the pulse are organized in discrete segments in a piece of music.

Pulse and Tempo

PulsePulse (or beat) is the regularly recurring background pulsation in music. , or beat, is the regularly recurring underlying pulsation that we perceive that compels music to progress through time. Pulse makes us react kinesthetically to music: in other words, it compels motion. We tap our feet, we dance, we march, or we may just "feel" the pulse internally.

In a piece of music, some durational value is assigned to be the pulse. All other durations are proportionally related to that fundamental background pulse.

TempoTempo is the rate at which we perceive the pulse in time. This is indicated by metronome markings, pulse value markings and terms. (Latin: tempus-"time") is the rate (or relative speed) at which the pulse flows through time. This is determined by numerous methods:

1. Around the 17th Century (roughly!), Italian terms came to be used to indicate tempo. These terms were descriptive and therefore rather loosely interpreted as to exact tempo. These terms indicate a narrow "range" of metronomic speeds. For example, the term Andante means "going" or "a walking tempo." This usually equates to roughly 76 beats per minute, but may be interpreted at a slightly faster or slightly slower pace.

2. In an attempt to refine these terms, to make them more precise, diminutives were added: Andantino indicates a slightly faster pace than Andante. Other modifiers came into common practice as well. For example, Andante con moto ("going, with motion") is self-explanatory.

Beginning in the 19th Century, composers often used equivalent tempo and performance descriptions in their native languages, or mixed Italianate terms and vernacular terms within the same piece.

3. It is important to understand that the use of these terms exceeded mere indications of relative speed. Often, they also carry the connotation of style or performance practice. For example, Allegro con brio ("lively, with fire or brilliance") implies a stylistic manner of performance, not merely a rate at which the pulse progresses through time. Chapter 19 "Appendix A: Common Musical Terms" lists common terms and their commonly accepted meanings along with some equivalents in other languages.

Meter and Time Signatures

MeterMeter is the "ratio" of how many of what type of pulse values are grouped together. Simple Meter divides the pulse into two equal portions; Compound Meter divides the pulse into three equal portions. , expressed in music as a time signature, determines:

1. Which durational value is assigned to represent the fundamental background pulse;

2. How these pulses are grouped together in discrete segments;

3. How these pulses naturally subdivide into lesser durational values, and;

4. The relative strength of pulses (perceived accents) within segments or groupings of pulses.

Time signatures Meter is expressed as time signatures, indicating how many pulses (beats) are grouped together into cogent units. consist of two numbers, one over another, placed at the beginning of a composition. They may occur anywhere in a composition where a meter change is required. They are NEVER written as fractions!

1. For the Compound Duple time signature 6 8 list six eighth-notes in two groupings of three in the First Division row:

Figure 1.21 Compound Meter, First Division Groupings

2. Next, sum these groupings of three into dotted values ("two eighth-notes equal a quarter-note, the additional quarter-note represented by a dot"); list the two resulting dotted quarter-notes in the Pulse row:

Figure 1.22 Sum to Find Compound Pulse Value

3. Lastly, draw subdivisions of the First Division values in the Subdivision row:

Figure 1.23 Subdivision

1. Using the Time Signature Table, map out all examples of:

1. Simple Duple and Compound Duple.

2. Simple Triple and Compound Triple.

3. Simple Quadruple and Compound Quadruple.

Note: At the Subdivision level, draw one layer of subdivisions only.

2. Using the Time Signature Table map out the following time signatures as both Simple and Compound Meters:

3. In class (or some group), practice tapping a slow beat with your left foot. Against that beat tap two equal ("even") divisions with your right hand (simple division). Next, keeping that same slow beat in your left foot, practice tapping three equal ("even") divisions with your right hand (compound division). Lastly, switch hands and feet. Good luck.

4. The following exercises alternate between simple duple and compound duple. Tap these rhythms while keeping the same constant background pulse. Practice each segment separately at first: then practice in sequence, switching from simple to compound time as you go.

Figure 1.26 Rhythm Drill

1.3 Music Notation Practices

Learning Objectives

1. Defining and understanding measures and bar lines.

2. Defining and recognizing sectional directions: "Roadmaps" in music.

3. Learning basic conducting patterns.

In Section 1.2 "Pulse, Tempo, and Meter", when describing meter and time signatures, we spoke of "grouping pulse values together" to form discrete units. In music these groupings are delimited, or "bounded" by vertical strokes called bar lines. Bar lines serve as boundaries, defining a "measure" of music.

The crossover period between Renaissance and Baroque music at end of the 16th Century and the beginning of the 17th Century witnessed many changes as to how music was written. The rise of the "Second Practice," ( Seconda prattica) or "New Style" ( Stile moderno) of composition (early opera) and the concomitant rise of instrumental music necessitated changes in notational practice.

Since rhythmic durations in Renaissance music were organized in proportion to one another (differing forms of mensural notation), measures and their separating bar lines were not in use, nor were time signatures, as we know them. These elements came into gradual use. Scholars offer many explanations for this: practicality and ease of reading and interpretation, a shift away from multi-voiced music and toward solo or homophonic settings in dramatic music, the desire for segmenting music into discrete segments, and so forth.

Measure and Bar lines

This became common notational practice. A measure A measure of music is a span of music, bounded by a bar line. It is a discrete grouping of pulse values dictated by the time signature. of music constituted beat groupings (or their durational equivalents) within the context of the stated time signature, bounded by a bar-line. Composers may use a double bar line to denote sectional divisions in a piece. A final bar line ends the composition.

Within measures, specified beats received greater of lesser accentuation, referred to simply as " strong" or " weak " beats. This perception is based upon how the relative strength of beats is perceived in a given time signature.

Conducting Patterns

As performers, as teachers, and as potential ensemble leaders, all musicians must have a basic understanding of typical conducting patterns. In conducting, the terms arsis and thesis will be encountered. In this context, synonyms for these terms are " upbeat" (preparatory beat) and " downbeat" (commencement beat). The common conducting patterns are shown in Figure 1.29 "Two-Pattern" through Figure 1.33 "Six-Pattern".

The Basic Two-Pattern: for example any simple duple or compound duple time signature. When practicing this, think "away (from the body)-up, away-up...

The Basic Three-Pattern: any simple triple or compound triple time signature. Think "down-away-up..."

The Basic Four-Pattern: any simple or compound quadruple time signature. Think "down-across-away-up..."

The One-Pattern: depending upon tempo, triple meters may be conducted "in one." Refer to Section 1.2 "Pulse, Tempo, and Meter".

The Basic Six-Pattern:

Repeats and Endings

Numerous expedient shortcuts evolved to facilitate writing music efficiently, as well as eliminating the redundancy of writing a given passage over again. Specific symbols, called repeat signsSpecial symbols indicating that segments of the music previously performed are to be repeated. or repeats, came into use whereby a composer could indicate the repetition of a measure, a group of measures, or an entire passage.

A repeated section might end differently than its first iteration: the repeated section might end differently or it might make a transition to a new section. Composers employ "First and Second Endings" to serve this function.

A passage repeated multiple times is so indicated by listing the number of repetitions in the first ending. In Jazz notation and vernacular music, this may be accompanied by an instruction at the beginning of the passage that indicates the number of iterations, for example, 3x's, meaning "repeat this passage three times."

At times in a composition, it is desirable or necessary to repeat an entire earlier passage, or return to the beginning of the piece. Rather than re-write the particular passage, specific notational expedients evolved to accommodate this. These shortcuts employed Italian phrases, accompanied by specific symbols. These phases and symbols are directions to the performer as to what segment is repeated and how to conclude the piece.

1. Da Capo ("from the head..."): return to the beginning of the piece. Abbreviated as D.C.

2. Dal Segno ("from the sign..."): return to the "sign." Abbreviated as D.S. The segno is a special symbol, shown in Figure 1.37 "D.C. al Fine, D.S. al Coda".

3. ... al Fine ("to the finish"): Most often used in conjunction with Da Capo, the word Fine appears above the music at the point which tells the performer to end the piece.

4. ... Al Coda (" to the tail"): Most often used in conjunction with Dal Segno, this symbol (see Figure 1.37 "D.C. al Fine, D.S. al Coda") instructs the performer to "jump" to a final, separate, concluding section of the piece.

1.4 Additional Information

Learning Objectives

1. Slurs, phrase markings and ties.

2. Dynamics and common articulations.

3. Artificial division ("tuplets").

4. Syncopation

5. Introduction to Asymmetrical Meter

Slurs, Phrase Markings and Ties

Curves lines have several uses in music notation. Curves lines may be drawn above or below segments of a composition ( slurs or phrase markings). A curved line may also connect two note values across a bar-line ( ties).

1. A slur Slurs are curved lines above or below notes showing connection. is a performance indication in music, used to instruct the performer to connect those notes encompassed by the slur. A wind player will not articulate ("tongue") these notes, a string player will play them all in one bow stroke, a pianist will strive to connect the notes fluidly.

Slurs should be drawn connecting or encompassing note-heads. A common mistake by students is to draw slurs connecting stems. The exception to this general practice occurs when a slur is drawn over note stems that change direction. (See measure 1 of Figure 1.41 "Slurs".)

2. A phrase marking Phrase markings are curved lines over segments of music showing complete ideas or statements. is also a performance indication. A composer will encase a passage of music within a phrase marking to indicate a complete idea, a complete musical statement. This does not have any effect upon articulation: many times slurs may be found within the bounds of a phrase marking. Phrase markings are placed above the staff.

3. At times a durational value exceeds the bounds of a measure in a given time signature: the note value occupies more "beats" than the measure will allow. To accommodate this, we use a tie A tie is a short slur used to connect notes across a bar line. , a short curved line connecting one durational value to another in the succeeding measure.

Dynamic Markings and Articulations

Dynamic markings indicate relative degrees of volume in a composition or a passage of music. Articulations are common symbols (and their associated terms) directing how notes are performed. These are listed in Chapter 19 "Appendix A: Common Musical Terms" with other common musical terms.

The basic dynamic markings are:

1. pianissimo: very "soft" (quiet)

2. piano: "soft"

3. mezzo-piano: medium "soft"

4. mezzo-forte: medium "strong" or loud

5. forte: strong or loud

6. fortissimo: very strong or loud

Some composers expand this range, adding dynamic markings using three or four "p's" or three or four "f's."

Composers employ special markings that serve as performance "indicators," denoting how notes are to be performed. Those commonly used are listed below.

Legato: properly Tenuto ("held"), meaning held to full value and implying connection to the following note value.

Artificial Divisions

Review the fundamental attributes defining simple and compound meter. Simple meter divides the fundamental pulse into two portions, compound meter into three. At times it is desirable (or necessary) to insert a compound division into simple time, or a simple division into compound time. This process is called artificial divisionInserting a compound division into simple time (triplets) or simple divisions into compound time (duplet). , commonly called tuplets.

In a simple meter, inserting a compound division (artificially dividing the beat into three equal portions) is called a triplet and is written thus:

Conversely, inserting a simple division into a compound meter (artificially dividing the beat unto two equal portions) is called a duplet, and is written thus:

A triplet may occur across multiple beats in Simple Meter, called a super-triplet. In Compound Meter, a larger tuplet across multiple beats may occur.

Composers have employed many other tuplet figures, inserting larger artificial divisions within beats or groups of beats.

Artificial division is used as a process for making rigid time and beat division much more fluid and irregular. This technique is especially prevalent in music from the 19th Century onwards.

Syncopation

Syncopation is another common rhythmic device. The simplest definition of syncopation is:

1. An arrangement of durational values that places accents or "stress" where it is unexpected.

2. This translates to "accents on the off-beats" (or weak beats)."

3. Originating as a rhythmic device in early music, it has become an especially prevalent attribute of music after 1900.

4. Syncopation does occur in certain contexts throughout the evolution of Western music.

Here are some typical rhythmic patterns demonstrating this device:

Asymmetrical Meter

Asymmetrical meter has become a very common device in the composer's arsenal. Often called "Odd-meters" (a slang term) because the top number of such time signatures is an "odd number," these are time signatures that mix simple and compound beats within a measure or pulse grouping. Common examples are:

Triple meters and their multiples are not included in this category generally. Often these meters are treated in the same manner that we treat compound meters, that is, the written time signature represents First Division. So, for example, might be grouped as two eighth notes plus three eighth notes or the reverse.

A seven-meter might be grouped 2+2+3, 3+2+2, or 2+3+2, and so forth for other asymmetrical meters. It is possible to construct asymmetrical divisions from typical meters by irregular groupings. For example,

Until the 20th Century, there were relatively few examples of asymmetrical meter in the literature. A notable exception is the second movement of Tchaikovsky's Sixth Symphony ( Páthetique) (in 5).

Asymmetrical meter is a hallmark of 20th- and 21st-century music, in both classical and vernacular genre. Composers freely employed asymmetrical meters for entire segments and pieces or employed them incidentally as context demanded. Examples that come readily to mind include:

"Money," Pink Floyd (Dark Side of the Moon) in 7 (4+3);

"Solesbury Hill," Peter Gabriel, mostly in 7 (4+3);

"Back in New York City," Genesis (The Lamb Lies Down on Broadway), again mostly in 7 (2+2+3);

The wonderful compositions and arrangements by the legendary Jazz artist Hank Levy;

Béla Bartók, Concerto for Orchestra, IV, Intermezzo, simple duple alternating with 5;

Igor Stravinsky, the closing passage of L'Oiseau de feu (The Firebird), Le Sacre du Printemps

(The Rite of Spring);

There are many other examples.

It became customary for 20th-century composers to mix asymmetrical meters as needed, their use dictated by phrasing, text rhythm, and so forth. Concluding our discussion of rhythm, we are fully prepared to enter the realm of pitch in the next chapter.

The student should understand:

This chapter serves as a detailed survey to those elements of music that represent time and how it is symbolized. Unlike the Plastic Arts (painting, sculpture), music is not a temporally fixed entity: it exists in its own time, calculated by the progression of rhythm and meter across a compositionally predetermined time span.

An intimate and close understanding of rhythm and its attributes is the first essential skill any musician must acquire. From performance through analysis, aspects of rhythmic organization permeate the entire range of all skill-sets that serves as the basis for becoming a competent, literate, functional musician.

The next chapter will discuss the other half of this equation: pitch and its attributes. These skill-sets, in tandem with rhythm, will prepare the student for exploring first the grammar, then the syntax of the musical language.

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The Elements of Rhythm: Sound, Symbol, and Time

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This is "The Elements of Rhythm: Sound, Symbol, and Time", chapter 1 from the book Music Theory (v. 1.0). For details on it (including licensing), click here. For more information on the source of this book, or why it is available for free, please see the project's home page.

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Dance cannot be considered complete without the major element. To enhance the dance, three minor elements may be added, namely:

1. Music

- Music serves as an accompaniment for a dance performance. It could be as simple as hand claps, humming or chanting or as complicated as choral singing or musical ensemble as band orchestra.

2. Costume.

- This refers to the special clothing worn only for dance performance. Costumes usually defer from ordinary dresses worn daily in terms of cut, color and materials. Masks and accessories like headdressers, belts, footwear, jewelries, special hair styles, makeup and other beautification methods are utilized to give the performer a specific role of\r character for the performance.

3. Spectacle.

- From the term itself, a spectacle is a certain quality done to the dance top make it attractive for viewing by an audience. This means lavished costuming, choreography, movement enhancements, sets, props and other theatrical elements.

Unlike the major elements which would make dance impossible to exist if one id taken out, the dance could still be considered dance without the minor elements.

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FIVE FUNDAMENTAL DANCE POSITIONS OF THE ARMS AND FEET

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FIVE FUNDAMENTAL DANCE POSITIONS OF THE ARMS AND FEET

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There are Five Fundamentals positions in folk dancing which are commonly terms as 1st position; 2nd position; 3rd position; 4th position and 5th position of the feet and arm positions are also described here in order to facilitate the interpretation of dance instruction.

1st POSITION

Feet: Heels close together; toes apart with an angle of about 45 degrees.

Arms: Both raised forward in a circle in front of chest with the fingertips about an inch apart.

2nd POSITION

Feet: A stride sideward of about a pace or 1 foot distance.

Arms: Both raised sideward with the graceful curve about waist level.

3rd POSITION

Feet: Heel of the foot close to in-step of the other foot.

Arms: One arm raises sideward as in 2nd position; other arm raised overhead.

4th POSITION

Feet: One foot in front of the other foot of about a pace distance.

Arms: One arm rose in front of chest in a half circle as in 1st position; other arm raised overhead

5th Position

Feet: Heel of front feet close to big toe or rear foot

Arms: Both arms raised overhead

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FIVE FUNDAMENTAL DANCE POSITIONS OF THE ARMS AND FEET

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Five Fundamental Positions of The Arms and Feet | PDF

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Philippine folk dances incorporate five fundamental positions of the arms and feet that characterize their expressive movements, whether slow or fast paced. The arm positions include circling in front, opening sideward in a curve, and various overhead and angled positions. The foot positions range from heels touching and toes apart to bringing one foot to touch parts of the other foot.

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 Amplified - More open positions on first or fifth positions

Lateral - Both arm raised at one side parallel ton each other

 T Position - Both arms raised sideward; elbows bent so that the forearms fall downward parallel to the sides of the body, palms facing inward.

 Reverse T - Both arms raised sideward, elbows bent so that the forearms are raised upward parallel to the head; palms facing in.