Introduction to Polyrhythms This concept continues from last week’s study of triplet divisions of undotted note values and duplet divisions of dotted note values. This week, we will add the concepts of “two against three” and “three against four” to our vocabulary of complicated rhythms. In all cases, good subdivision is the key to success.
Secondary Dominants We have recently begun studying the concept of secondary dominants in tonicizations in the ear training portion of this class. Now we will sing some too. This involves finding a pivot point at which you can move your solfege to that of the new key. In this case, we choose the secondary dominant chord as the starting point for the tonicization. This concept takes most learners some time to get used to, so don’t be discouraged if you find yourself singing off-key at first. As always, find some signposts and stepping stones to help you navigate successfully from note to note.
To better understand the sound-world of polyrhythms in classical repertoire, please listen to the Spotify playlist “UI Aural Skills IV Polyrhythms” by “mirandawilson” (below). The selected repertoire shows a number of ways in which composers can use polyrhythms to create interesting colors, textures, and rhythmic impetus.