The Unnamed Rhythm that Unites Modern Music - Music Theory and Song Analysis

The Chord Progression Codex is NOW AVAILABLE! shorturl.at/bouLV
My pro theory + songwriting course bit.ly/2J2Nctn
Enroll in my Rhythm Training Course at ANY price! bit.ly/3wDacU4
A simple note pattern can be heard all over music, yet can't be described without notating it or playing it. Here how it fits in to four examples of relatively modern music.
Toto- Rosanna
All American Rejects- Move Along
System Of A Down - Aeriels
The Beatles - Here Comes The Sun
Have A Nice Day - Bon Jovi
Like this video? Thank my Patreon subscribers for sponsoring these lessons! They're the reason you don't see ads or sponsorships in the middle of my videos. You can join them here:
www.patreon.com/signalsmusicstudio
/ signals_music
/ signalsmusicstudio
www.signalsmus...
Free online guitar lessons for beginners, intermediate, and advanced players. Located in Crystal Lake, Jake Lizzio provides free jam tracks and video lessons for guitar players, as well as music theory videos and other music education content.

[@SignalsMusicStudio]

There seems to be some confusion- this is not hemiola, not by any common definition. Hemiola refers to the ratio of 3:2, both in pitch or rhythm. The only polyrhythmic ratio that occurs here is 3:4, and as demonstrated, it occurs for one cycle, then is followed by a full beat.

[@tanchwa3740]

I mean... in percussion music theory we're taught that a hemiola is ANY macro beat that is polyrhymic in nature to the time signature... It doesn't necessarily have to be 3:2.

[@DnmOrr]

'Hemiola' is a classical music term which refers to a temporary rhythmic grouping that implies a change in time signature. The modern equivalent to this would be 'polyrhythm'. The 3:2 ratio is just the most common variant of this.

[@b00i00d]

He didn't claim THIS is a hemiola - he just said there are other named rhythmic patterns... such as the hemiola. The confusion in the comments below is because people are people. Just wiki the sh*t and presto: all clear! No need for boring pretentious elaborations

[@DnmOrr]

Sadly, the wikipedia page on hemiola isn't complete . . . . There's no claim 33334 is a hemiola. To claim that 3:2, and only 3:2, is a hemiola is incorrect. i.e. 3:2 is a hemiola, but a hemiola is not only 3:2

[@blockhax6146]

Signals Music Studio fucken you have no idea do you.

[@Matt_Burns]

It’s got a name in eastern music: gati jatis. If you’re interested in eastern rhythmic concepts applied to western music there’s a book on it and it’s also taught at Amsterdam conservatory of music. The book is called: Karnetic rhythmic techniques to Western music by Rafael Reina. This specific example would be called Chatusra gati 3. Peace!

[@zecaaabrao3634]

Eastern?

[@avijitsadhukhan8371]

We Indian Instrument players use this, you can hear this rhythm in Indian classical music, it's pronounced As "Darada Darada Darada Darada DaraDara" with the Darada part being 123 and daradara 1234. It's a cycle of 16 this is broken down with a change in the accent note to keep stuff interesteing.

[@SignalsMusicStudio]

Interesting- I've been studying konnakol for a few years on the side, and actually count the rhythm with TaKiTa-TaKiTa-TaKiTa-TaKiTa-TaKaDiMi. Is "darada" solkattu or language for tabla or mridangam?

[@avijitsadhukhan8371]

Signals Music Studio No, actually it's used in any melodic instrument like Sitar, Sarod etc. And usually the teacher teaches the raga or Taans by singing them in Dara Dara form like Da Diri Dara, Ra Da Ra, Dara DiriDiri( qtr notes) DaRaDaRaDa. In context of Sarod and sitar the upstrokes and downstrokes are called Da and Ra. And by singing this way the students learn the pitch (in Indian System so there is no concept of fixed notes, just Sa Re Ga Ma system where Sa can be any note from the 12 notes) and as well as strokes and time. This form of teaching can also help in memorize the Ragas as I have seen my Guruji singing or humming something to remember very old or obscure lessons he got from his guruji 45 years ago. And back then he used no have no notebook to write those down.

[@avijitsadhukhan8371]

Signals Music Studio And tabla and Mridangam have their different 'Bols' usually tabla and Pakhwaj bols are Ta Dhin Te Tete Thin Tak Dhim Tun etc. And all taals are made using these notes which the instruments are able to produce. And the notation you are referring here is the standard most way to learn these rhythms. But it's kinda fascinating to see this rhythm doesn't actually have a name. Not in the Indian System also. I would still love to dive deep and see if I can find a name. Will let you know. Nice channel, keep up the good work.

[@SignalsMusicStudio]

Fascinating, thank you for that! I really want to learn more about Indian systems of music, considering it is literally a completely different system than the one I was raised in. Indian music is much more rich in terms of rhythms, and the simple fact that they don't limit themselves to 12 notes means there's many more options for harmony. The problem is there's not a lot of English resources for general Indian music theory, fortunately there are a few KZbinrs out there that are translating occasional lessons and tidbits for me to gleam from. Specifically Henrik Andersen and Manjunath B.C.

[@bobfrog4836]

This gal is pretty good at explaining classical Indian music: kzbin.info/door/s6OTIFV53Z-EGT84lxTvqQ

[@1994savvas]

If you rearrange the groups in this way: 123 123 1234 123 123, this is a standard Bossa Clave rhythm.

[@eduardogoncalves9311]

It's like modal thing

[@beerboermantv1386]

Radiohead pyramid song

[@tracefleemangarcia8816]

exactly what i thought lmao. sounds like cumbia

[@leocomerford]

Yes: kzbin.info/www/bejne/h3e5hGqvlN96iNk&lc=Ugwbr_ywoE9Ib42Il_N4AaABAg

[@johnsilva-henebry5819]

We should call this the Lizzio Beat. (Thank you for your videos. I watch every time your videos come up. I go back and watch again to learn more. I am very grateful for you taking your time to share what you've learned with everyone. You help me to become a better musician, and to become a proper musician.) Thank you sincerely. Popo.

[@Midiman741]

Latin music has a lot of "named" rhythms...starting with the Son clave and Rhumba clave. Son clave = Bo Diddly beat.

[@SignalsMusicStudio]

Good to know, and of course you know Indian music as well has a rich nomenclature for rhythm. I did not want to venture into the scheme of the 32 talas in this video but it may make an appearance one day.

[@singthelongswansong]

American Rythms only please!

[@barakiji]

please please please please please PLEASE check out the conga breaks in Juan Luis Guerra - La cosquillita, particularly around the two minute mark

[@MorganWallaceMusic]

Glad someone else already mentioned this so I didn't have to ^_^

[@JuanAMatos-zx4ub]

You'd be missing out from a lot of amazing rhythms.

[@goji7273]

The riff from “Closer to the Heart” by Rush is just this pattern.

[@davidzamora9973]

Great video. I noticed this pattern and the 3+3+2 pattern around the same time and went from not being able to write a coherent guitar riff to save my life to having a friend call me the riff master within a couple months. Some metal band's entire catalogue are based almost exclusively on these two patterns. It's seriously EVERYWHERE.

[@rogeralleyne9257]

Love the fact that you spend so much time on rhythm explaining different rhythmic values!!!🙏🙏🙏

[@GelatinousPineapple]

What you talk about at 2:40 with the polyrhythm continuing forward is why i LOVE part of Gojira song The Cell. Listen out for it right after the first couple of bars - you can't miss it

[@Toastrz97]

Great video! Slowly as I've grown used to analyzing songs over the years I've seen this rhythm literally everywhere. I think my favorite use of it though is in The Mars Volta's "Day of the Baphomets". This rhythm is used as a motif that pops up over and over again in the song.

[@AndriyVasylenko]

I believe, we're getting the same signal from space)) I've recently noticed that too, when doing stuff on the kitchen and listening to music on TV. And every other song had the 3:4 pattern. The syncopated rhythm slightly breaks the easy-to-get order that is typical for pop. That mix of expected+unexpected tweaks you on subconscious level. An average listener consumes it, and artists (actually, their authors) replicate this pattern, since it's a proven formula. Btw, 'Master of Puppets' main riff could be another example)

[@SignalsMusicStudio]

I can't believe I didn't think of MoP... I guess I never felt it that way because I feel the accent on the 3's instead of the 1's but you're right, it's the exact same rhythm. I totally agree with you, and have for a while believed that the "best" music is the stuff that is complicated on the inside but simplistic on the surface, it seems to have wide appeal and is also rich from an analytical standpoint. I try to write like that but it's easier said than done =D

[@josea2123]

Signals Music Studio kinda late but also the solo in Hotel California has the same rythmic pattern! Great video btw, just subscribed today

[@ronrocker7131]

+Signals Music Studio +Andriy Vasylenko I would have to disagree. Some of the riffs of Master Of Puppets can probably fit into a 3:4 polyrhythm scheme with just a slight accent change, but the original accentuation is different. For the verse riff(which, i think, we can agree to consider it the main riff), for example, it feels something more like 4+4+1+3+2+2 in the first half of the verse riff and then 4+4+1+2+2. Correct me, if i'm wrong, I MIGHT have missed some detail, but i'm 99% sure you guys have misread this one.

[@EthanRadell]

Ron Rocker no the 2nd riff in the song. Da da duh, da da duh, da da duh, da da duh, da da duh duh. 123 123 123 123 1234.

[@ronrocker7131]

Ethan Radell Ah, right... The 2nd intro riff.

[@Sk8rocka]

when you get used to it, the 3/4 polyrhythm without the added quarter note is a really cool groove.

[@justinbouchard]

There's a problem with your channel. I can only sub once. I'm confused.

[@real_Nadventures]

I think it's the Mandela Effect. I remember years ago subscribing multiple times... and now... just.. once. I hate when that happens.

[@wyrlismike]

dude I'm really starting to love your channel. this was pretty great

[@gvaberage]

when you said about SOAD, i thought you were gonna tell about "banana banana banana banana terracota pie" It's the same thing, heh

[@Queer_Nerd_For_Human_Justice]

hahahaha omfg youre right XD

[@despa7726]

i think the verse of revenga uses it too

[@giulienk]

Me and my friends always called it TAPUPU-TAPUPU-TAPUPU-TAPUPU-TAPUTAPU :) Actually, we made fun of a local grunge band cause they only had songs in that pattern.

[@davidviljanen4311]

And "Tapu" is the onomatopoetic equivalent of the clap of hands in finnish.

[@dewinmoonl]

Puta madre. . .

[@yoverale]

La Puta rhythm

[@leocomerford]

"E(5,16) = [x. . x . . x . . x . . x . . .] is the Bossa-Nova rhythm necklace of Brazil. The actual Bossa-Nova rhythm usually starts on the third onset as follows: [x. . x . . x . . . x . . x . .] [31]. However, there are other starting places as well, as for example [x . . x . . x . . x . . . x . .] [3]" Godfried Toussaint, "The Euclidean Algorithm Generates Traditional Musical Rhythms" cgm.cs.mcgill.ca/~godfried/publications/banff.pdf [I corrected an obvious typo in the notation in the quoted passage.]

[@auedpo]

I was actually going to quote this text as well! An excellent read on rhythm and classifications for anyone interested. Have you done much work with the other ideas in his text?

[@leocomerford]

It's great, but I've barely skimmed it so far. I have the Hoffman /Rhythm Book/ takadimi.net/ and I'm intending to use it to start studying rhythm seriously.

[@auedpo]

The Hoffman book is excellent, especially for a self-guided course in rhythm. I have also found that Rafael Reina's text on Carnatic Rhythm as well as P. Nelson's on Solkattu are great for the learner and getting outside of the western rhythm track. Do you by chance have a copy of Toussaint's book? It is a true tome of knowledge and has so much on the particulars of codifying rhythms.

[@halasimov1362]

Excellent suggestions I went and got a copy of both!

[@yvesivo]

Something very similar happens at the end of the solo in Hotel California. One could argue that it is more like 3+3+3+3+2+2 but this counts as well

[@Hairibar]

Wonderful editing on this one, made me stay for a lesson on something I'd already nerded out for a year with.

[@drumbfounded]

This rhythm does have a name. It's the bossa clave. More accurately it's a bossa clave inversion. The bossa clave is a five note sequence that's spaced 3 3 4 3 3. If you start with the fourth note you get the inversion he's referring to 3 3 3 3 4. Or, if you take the inversion he's referring to and start with the third note you get the bossa clave in it's 3-2 clave position.. I do agree that this inversion of the bossa should have its own name. I like to refer to it as the rock clave. Like the vid points out it is often used in rock, pop music and drum circles. Often, the group of 4 is divided into 2 2. It's one of about five dotted 8th rhythms that are very popular in modern music. They're all ancient West African rhythms that are really hot right now and have been for a while. Tresillo (also known as Dembow in reggae and reggaeton)3 3 2, Son Clave (Bo Didley Beat) 3 3 4 2 4, Rumba Clave 3 4 3 2 4, Bossa Clave 3 3 4 3 3 and the Rock Clave (bossa iverson). 3 3 3 3 4 btw, I don't think I've ever seen a singer song writer perform a set without tresillo (3 3 2) being the stumming pattern for at least 2 other their songs..

[@piggy201]

I am pretty sure that It's a Beatiful Day by U2 also is in this rythm

[@Anty7]

Great video. I think my only criticism is that you did not accurately explain why this rhythm is so effective: tension and release. The tension created by the polyrhythm is released on the last beat. It is a concept that (as you kind of alluded to with the vocabulary gap) is commonly theorised for harmony and melody but not rhythm.

[@Trombinha_jooj]

Exactly. Rhythmic tension and release is rarely talked about, to be honest it's something I even forget sometimes. The way people see rhythm seems like something cool that works and stays there from the beginning to the end of the song, when you really learn rhythm it's game changing.

[@markcoren2842]

When you first mentioned Bon Jovi, I thought for sure that you were going to mention their first single from back in the 80s, Runaway. If memory serves me correctly, the main keyboard riff uses this rhythm through the whole song.

[@clintt5266]

I was struggling to find some inspiration for a beat and stumbled across this video. I programmed it into Logic, tweaked it a little, played around, and had a nice captivating little rhythm going before I knew it. I added a nice minor chord progression and before I knew what was happening a song arrived. So much fun. Dude, you're a great teacher and you're doing some wonderful work here.

[@duniagiana]

Damn! You're definitely deserve much much more subscribers!

[@coquio]

I loved the song right at the end and well, I had to like and subscribe.

[@Fleetato]

I use this rhythym a lot can't believe theres no name for it... Its great for drum fills and guitar riffs

[@SylviusTheMad]

Bon Jovi's Runaway is the most obvious example of this rhythm I've heard.

[@Criminal.Lawyer]

This is also in the bridge to Everlong by Foo Fighters

[@Ramshackled17]

U2 uses it so much that I used to call it "the U2 rhythm" ( Beautiful Day, Miracle Drug and others) Coldplay "Clocks" has a shorter version (3+3+2) and it's very common in Bossa-nova rhytms too. But to me the greatest example of this is on Glen Miller's "In the Mood". As a drummer, I like, and in fact, use a lot an Alan White idea: to play this rhythm on the bass drum while playing a regular 4/4 beat on hi-hat and snare. This always works when the bass player is playing steady 8 notes. Alan is the fantastic drummer from the band Yes. Examples of Yes music with this idea is on many tracks: Into the Storm, Dreamtime, and others. Nowadays I just call this rhythm "3 inside 4".

[@trevordallas]

Dude! I am so freaking impressed by your innate ability to effectively teach and with your level of music acumen. Thank you sir for your presence here on KZbin and for your videos.

[@Branesurfer]

I named it: DOUBLE-TRESILLO. The Tresillo is a 3-3-2-Pattern. If you double first the two 3-groups and then the single 2-group, you get an 3-3-3-3-2-2-Pattern, which is the same then 3-3-3-3-4. The group of 4 at the end anyway can be seen and often appears as two groups of 2. So, let´s name it Double-Tresillo, support me in this and we have finally a name for that veeeery popular rhythm. It´s also a derivation of the bossa-bova-structure: 3-3-4-3-3, so actually it´s a brazlilian pattern. For more information, just ask. I made up a complete systematic 2-3-group-rhythm-system with all possibilities which exist.

[@despa7726]

yeah. i agree with this

[@drummermomcjs]

Clever use of the concept you taught at the end of the video. I like that. :-)

[@jeffrogers210]

Moog Lee already mentioned this, but the Bo Diddley beat is called the Clave in many parts of the world. It's also called the Burundi beat, and here in new Orleans I think of it as the Mardi Gras beat, see Iko Iko. The 3+3+3+3+4 is also popular with drum corps. Flam the accents and replace the last four sixteenths with sixteenth triplets (Swiss army style).

[@von_Apa]

You are one of the very best teachers on the net! Thank's for all your great sharings!

[@colleenforrest7936]

I've written things in this pattern instinctively but had no idea how to write it down. Was trying 4:4 and it went wonky fairly quickly. I settled on using triplets, which also wasn't quite right. Thanks so much for this!

[@christossid]

On drums we call it 3 on 4, the last quarter note is because it needs something to make it easy to return to 1 when you grouping.. It's very common on the Drums to make illusions like this by accents and its very fundamental lesson on the drums , especially if you want to build your accents... The 3 on 4 supposed to be one of the basic groupings and one of the most common to be played ( like a beat or a break ) ... The trickiest in this is not the grouping but the feeling... It's 16th notes in group of three on a 4/4 count nothing more nothing less but it must be played with a loose feeling like triplets be playing.. Also for a beat is better to be playing with lay back feeling...

[@nolansimard27]

I incorporate this rhythm into my drumming a lot, mainly into fills to kind of throw the song off a little but keep it easy enough to follow

[@spirallove5946]

the song i'm working on now has this rhythm! i didn't even know it was a thing, the rhythm just emerged and felt groovy!

[@felipewainer1833]

Amazing video! I have watched almost all your videos.

[@starvio97]

You are the musical Mr. Rogers.

[@erikw4193]

Ironically I was just thinking about this pattern the other day... What really sticks out to me about this rhythm: Without the quarter note drum beat behind it; it's a subdivision of four measures of 4/4 that yields a 3-3-3-3-4 hypermeter. With the quarter note drum beat you have a 4 measures of a 3-4 poly-rhythm and an additional measure of 4/4 which is really just a more convoluted hypermeter, but looking at this more simply: it's just a mutation of the bossa clave 3-3-4-3-3, which I'm glad to see others have pointed out.

[@pentalarclikesit822]

I noticed something similar in a lot of 90's rock/metal/grunge/alternative. In 4/4 1 and 2 and 3 triplet. Implying a 7/4 every two bars.

[@ACDCisNiCe]

Interesting video. Even though I have not encountered this beat many times, having studied the Indian rhythm cycles, I would suggest another rhythm - Keherwa taal. It is a 8 beat cycle, which, in its variations, reminds me of so many western rhythms from songs.

[@godfreydegrut]

Kia ora. This is simply a "mode" of a bossa clave rhythm. It's a 3/2 Bossa starting on the 4th accent. Clave rhythms (like melodic scales) all have possible modes. There are no defined names for these but you can easily describe them to other musicians. In this form, it sets up the tension for the first 3 counts of a common time measure and releases on the fourth. Useful tool. Nothing mysterious though.

[@Chrispheh]

@@ThatWasPrettyFunny "It doesn't have a name, which is very *strange* because in western music nearly everything has a name" - the first 20s of this video.

[@Somiten]

ending is genius

[@xydamage9754]

literally every progressive house track ever

[@wadeguidry6675]

How about we have a name that rythym contest? I vote to call it: Fred.

[@DerEchteBold]

I'd be ok with that ...but is the rhythm necessarily male? How about Goldie?!

[@wadeguidry6675]

Goldie Wapplesnapper, I know her, she played flute at band camp.

[@DerEchteBold]

Oh... 'played flute', that's a euphemism, right?!

[@georgemckenna7570]

Rhythmy McRhythmface

[@tiki_trash]

@@georgemckenna7570 Hey, that works! - Rhythmy Rhythmy Rhythmy Rhythmy McRhythmface

[@chemicalcarlos]

That 3:4 polyrhythm is something seen quite a bit in Moroccan music, namely the style called Aissawa. I was taught this very cadence by repeating the phrase, "Eat your goddamn spinach/Eat your goddamn spinach". One hand taps out a 3-count, the other a 4-count. Certainly hypnotic after a while, especially with other cadences layered over it. The emphasis between a 3- and 4-count can shift, to really neat effect.

[@riddmkidd]

In drumming I call it a double baiao. The single baiao ("bye-ow") is 3+3+2. It's also the the first half of the 3-2 clave.

[@omnipop4936]

For me, three examples that immediately come to mind are the intro beat to 'Jazzie's Groove' (by Soul II Soul), 'Lovers Live a Little Longer' (by ABBA), and the part of the verse in 'Get Mine, Get Yours' where Christina Aguilera sings _"...Now I don't mind us being in some kind of casual thing"_ . That line always struck me as being super _super_ funky. Thanks for explaining partly why. 👍

[@jsamc]

When you played Rosanna the drummer of the group Toto mentioned Bernard Purdie the originator of the Purdie Shuffle.

[@DicionariodeRitmo]

The name is Motif 3+3+3+3+4, derived from Quaternary-4 (32.768 motifs), Dictionary of Rhythm, page 17: kzbin.info/www/bejne/bp6kYox-epaAqtk "The Dictionary of Rhythm is a fantastic resource for any musician or music educator. There have been many attempts to create a rhythm dictionary, starting with Ted Reed's classic Syncopation for the Modern Drummer. What sets this book apart is that Jack Lima includes the metrical context. Rhythms, like words, do not stand alone and most have more than one meaning depending on the context. Jack Lima creates a new and elegant system for understanding not just the rhythm itself but the context the rhythm lives in. As a performer and an educator, I find the book an inexhaustible resource for new challenges for both me and my students. The way Jack Lima organized the book makes it easy to use and understand. As a music composer, the book gives me a supply of themes and ways to vary them that I might not think of myself. In this way, he could call it a Thesaurus of Rhythm as well as a Dictionary of Rhythm." John Lamb (www.johnlambdrums.com)

[@victoreijkhout6146]

"Motif 3+3+3+3+4" That's not really a name. That's just the description.

[@DrJoshGuitar]

Sounds like a cool book. I'm gonna check that out

[@nemonixniemann]

You mean the "name" you came up with is: "Motif 3+3+3+3+4". Wich is just one unnecessary word more then to just sticking with the numbers and plusses.

[@TheStuF]

long name

[@faupel]

Very interesting. I knew immediately what rhythm you were talking about once I saw aerials, but not when I say the title of the video. Thinking about it, it is amazing how many songs use this rhythm. A common one is also the 123, 123, 123, 123, 12, 12

[@saveursound4now364]

Dude you are the new Orical of music theory your videos will be watched for the next hundred years and so on!😎🍺👽👊

[@Mufozon]

In our band we call it 3:4 (three to four), and its for example also in Chopin's Fantasie Impromptu as a ratio of time signatures between the hands.

[@DLee1100s]

It's called the Double Tresillo. The Tresillo is an eight beat pattern 123,123,12.

[@Branesurfer]

Who does it call so? Thought, it was my idea ;-)

[@badrmukhtar809]

I used to hear this beat on one of Nine Inch Nails songs and couldn't figure out how to translate it on paper, thank you for sharing this knowledge. Awesome vids BTW

[@sterisharms1468]

It happens in Muse's Butterflies & Hurricanes right before the line "your number has been called"

[@KingTabor]

In Brazil this is called FREVO. A popular groove found in many regions, mainly on northeastern states like BAHIA and PERNAMBUCO. But with a faster tempo, like 140 bpm

[@garyh444]

When I came back and watched this vid again I noticed the accented beat moves along in a very predictable way,1xxx,x1xx,xx1x,xxx1.Thats why it sounds so loose and tight at the same time.Pretty nice.

[@twincitiestara]

I believe you have that backwards. After the downbeat, the next accent is at the end of the beat and with each beat gets closer to the beginning. 1xxX,xxXx,xXxx,Xxxx.

[@sazarod]

I would call it an "aborted hemiola"

[@wardesu2120]

yep.

[@stxxcrisler]

haha! I thought of "Truncated Hemiola", but it's the same idea.

[@mondayjr]

or hemiolus interruptus?

[@MyNameIsNeutron]

Maybe "pop clave"?

[@Lehmann108]

The "Bo Didley" beat is the Latin Son clave. 3 beats in one measure and four in the next, but only 2 and 3 in the four beat measure are played.

[@AndyVonal]

That was brilliant! Now I know what it is that drives so many house and techno tunes, "The Unnamed" it will be from now on...thank you for this. I have used it by "feel" for years. Now I know that "Theory" and am so much the wiser for it. Thank you.

[@bert88sta]

I think another thing to note with this pattern is that Trap/Bass music, which has now leaked well into rap other popular genres, was born out of this pattern. They don't follow it strictly, but if you listen to where the bass hits are, they're almost some variation of this pattern.

[@Nae_Ayy]

Wow, this is neat. It's so satisfying to listen to. The last 1234 provides so much relief, it seems like this would be more utilized because of how powerful it is.

[@SeveralGhost]

Chuck testa reference made this video dank way to go capturing my soul

[@rossnicol1376]

Drift Away by Dobie Gray intro and repeated through song took a while to get my head around it so your explanation is very good confirmation Thanks

[@jamestaylor3595]

You, Sir, have earned a like.

[@revtrweberjr.924]

the rhythm is called a "hemiola." a hemiola is a triplet feel (Triple Meter feel) over any grouping of notes, usually associated in 4/4 (common time) or in what we call Duple Meter. this concept is learned by or taught usually to drummers that attend marching band and or practice/audition/play for drum corps international, DCI for short. counting this is simple: 1E&A 2E&A 3E&A 4E&A Accenting on the: 1 - - A - - & - - E - - 4 - - - or over a longer grouping such as: 1- - - - E - - - - & - - - - A - - - - 2 - - - - E - - - - & - 1 - - - - - - - - - - - - - - -

[@CarlosMartinez-gr1rp]

I just added it to the song I was working on, thanks!

[@jordiibrahim]

Dude how could you be this good at transferring your knowledge

[@deviant6string]

This is the first video of yours I've seen. I enjoyed it very much, you just got yourself a sub.

[@thepsychedelicmystic2003]

In percussion ensemble we nicknamed the 3:4 polyrhythm “Pass the peanut butter,” in 4/4 it became “Pass the peanut butter here” (quarter note on count 4 for “here”)

[@MarioAtheonio]

I thought it was pass the goddamn butter

[@ffggddss]

+ SMS: I *do* have a name for that 16-beat pattern (3+3+3+3+4), and its 8-beat cousin (3+3+2), which is prevalent in a lot of Latin music. I call these, *false threes.* Because it starts out making you feel like it's going to be a 3-rhythm, but then it burps back into sync with a power of 2. Fred

[@stolte95]

Don't forget Intro of Long Cool Woman by The Hollies.

[@BasilisIoannou]

It's the "Bo Diddley" clave pattern. Jeff Porcaro (Toto's drummer) explain the Rosanna groove (half time shuffle)in a video at KZbin and mention the bass drum pattern as "The Bo Diddley", but he adds a sixteenth note every 2 bars at the end of the forth beat if i remember right.

[@joshryan3860]

It's a 12/8 to 4/4 mixed meter piece. Stravinsky composed pieces which prominently featured mixed meters as well as Bartok. Also look into the concept of a Rhythmic Necklace. en.wikipedia.org/wiki/List_of_musical_works_in_unusual_time_signatures

[@violetlight7]

The rhythm that you're talking about must be some type of Clave.. The Bo Diddley rhythm you mentioned is a 3 - 2 Clave, as opposed the the 2 - 3 Clave.. Both are used in Latin music..

[@avizokhatsu8793]

I've noticed this a lot. Glad I'm not the only one.

[@thomasthaarup2158]

We usually call that rhytm "claves rhytm", where i study music. You just make an accent on every 3rd 16th note, depending on when you start the accent in a measure, in this case on the first 16th note. So, 4 measures: 3 with claves rhytm, and lastly a normal 4/4 measure.

[@avaruustekniikka]

Thank you VERY MUCH ! you finally made me understand why all this modern music sounds so alike and to my "jazzloving" ears, so monotonous and uninspiring. I have performed as a one man band with YAMAHA keyboards for decades, and now finally I understand why the Bossa Nova was the last new thing I enthusiastically included in my repertoire. Your explanation was in deed EXCELLENT using easily understandable graphics. By the way, it seems our musical preferences are created in childhood. My father (b. 1891) loved waltzes, I (b. 1935) love what was played when I was young. Like Duke Ellington said: It ain't a thing if it ain't got no swing. I have used computer programs to find out what really makes a combo swing, and the graphs showed the base must pull and he drums keep pulling back. The base must run some 20 ms too early and the drummer stay, not let himself be dragged forward. If I remember correctly this advance timing of the base was not proportionate to the tempo, but constant in a large "window". It was amazing to start out with perfect timing = no swing and then electronically advance the base part and then suddenly be shocked: now it swings. The melody was best when it alternated in being ahead and delayed, which singers like Nat King cole were masters in. Maybe you could make a video about that just as good as the one I just had the pleasure to watch.

[@ssdipto9178]

The same rhythmic pattern occured in :Avicii - Wake Me UpSavage Garden - The Animal SongSwitchfoot - Dare You To Move...you help me a lot. Thanks! :)

[@rogercrane3315]

Other songs that include this rhythm: the intro to "Welcome to the Jungle," the chorus of "Livin' la Vida Loca," and parts of "My Sharona." I'm so happy I found this video. I put out a social media post years ago asking what the name of this rhythm is. Now I know why no one commented. 😂

[@certainlynotthebestpianist5638]

I was literally thinking about this rhythm today, with Adele's "Turning Tables" in my mind (mainly the bridge of this song). Tbh, I personally don't see this rhythm as 4x3+1x4, but rather as 4x3+2x2, as the last four is usually clearly split into 2 8ths

[@parachute3725]

Awesome video! I am aware if this rhythm but never gave it much thought. As a dummer, I would play this fill as RLL RLL RLL RLL RLRL And the reverse starting with the Left. Or flam on the snare and kick drum playing the other notes... Lots of possibilities!!

[@stephensmith799]

Love all your vids. Thanks again.

[@Texturas75]

Interesting. You can also hear this rhythm in Mr. Brownstone by GN'R and in the "Hyperspace" section of Natural Science by Rush, as well as others.

[@trDewy]

Very interesting video man! And it's been forever since I've seen a Chuck Tests meme...

[@SignalsMusicStudio]

It was the first name I blurted out to substitute for "Rosanna". Other candidates were "Burrito" and "Shrimp Tacos"

[@unexpected8166]

Outro song is amazing!

[@tomchristie3199]

Intro of Queen's 'Liar' also uses this rhythm.

[@Crrraanc]

On his thesis "Unlocking the rhythm" Mark Butler, following an antrhopologist (I dont remember his name), calls this kind of rhythms as "diatonic rhythms". So, from some year now, they do have a name. ;-)

[@sirloin7241]

Chuck Testa compelled me to shoot protein shake out of my nose... I'm gonna go fight crime with my new found talent, thanks. :)

[@reverberation_9]

I seriously wasn't expecting to see Chuck Testa again since like 2012.

[@Panufo]

I've always called it the 'Gringo Guaguancó', closely related to the clave-based Cuban son groove I named it after. It can be heard in Toto's 'I'll Be Over You' and 'Could This Be Love', lots of worship songs like 'Open The Eyes Of My Heart' and 'King Of Glory', and even the electric piano groove on Steely Dan's 'Peg'. You're right, it doesn't seem to have a name, though it's decidedly based on 3-2 son clave, like the Bo Diddley beat. Keep trying, man, and thanks for contributing to the quest.

[@harleensingh2531]

Man you are the best, full support for you. Keep rocking!

[@cosimobaldi03]

I heard it called the double tresillo because a tresillo is 3 3 2 and this is just 3 3 3 3 2 2. Honestly I feel it more like that than 3 3 3 3 4 because the 2 2 at the end lead you better into the next bar, I heard it described as a speeding up from the 3s and I definetly agree. Also Black sabbath uses this rhythm very often when they do a pentatonic scale run or a "transition riff".. Electric funeral is full of that stuff

[@VasilBelezhkov]

I'd suggest the song 'The Cut Runs Deep' from Deep Purple's album 'Slaves and Masters' (1991) as one of the countless examples

[@Criminal.Lawyer]

This was also in Season 10 Episode 4 of The Walking Dead