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    Any mathematical sequence can be imagined as any musical pattern. What’s the practicality here, though?

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      Polyrhythms can be used to introduce a metric modulation. So the author could be clicking away in 5-4 time, play the 3-over-5 polyrhythm, then discard the 5-pulse. Now they’re in 3-4 time.

      Another one I enjoy is using the polyrhythm to give interesting snare backbeats (in metal music).

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        Not sure what that adds to what I said, but I play the drums so I know what polyrhythms are. Still nothing unexpected if you agree that any mathematical sequence can be represented this way 🤷🏻‍♀️

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          The post seems like it was just for fun and interest.

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            Oh, well you asked for practical applications.

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              I did assume that people would take my question specifically in this context. Meaning practical applications for using fizz buzz as a polyrhythm, which seem no different than polyrhythms in general.

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        I can think of exactly two drummers who would dare starting a polyrhythm as wide as five over three that far away from the downbeat.

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          Not Tony Allen?

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            Never heard of him. Listening now and he sounds good, but it’s not quite the same thing as Vinnie.

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              Yeah, different approaches. But the ‘70s Afrobeat records have some amazing polyrhythms on them. There’s a great Fela Kuti, Tony Allen, and Ginger Baker live record worth checking out.

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                Sorrows, Tears, and Blood is still great. Many other funk records of the time aged poorly, but the rawer nature of afro-funk of the time gives it a timeless quality beyond samples for 90’s hip-hop.

                And how can we neglect to mention Remain In Light?

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          Steve Reich would like to have a word.

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            Pass the golden butter.