Any mathematical sequence can be imagined as any musical pattern. What’s the practicality here, though?
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).
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 🤷🏻♀️
The post seems like it was just for fun and interest.
Oh, well you asked for practical applications.
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.
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.
Not Tony Allen?
Never heard of him. Listening now and he sounds good, but it’s not quite the same thing as Vinnie.
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.
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?
Steve Reich would like to have a word.
Pass the golden butter.