Rhythmic Dictation -- Syncopation in Compound Time

Reviewing the Principles of Syncopation

We first began to study syncopated rhythms in Unit 12. In that chapter, we used this explanation of the principle:

A syncopation is defined as a passage that displaces the normal accented beats of the meter, instead stressing a normally non-accented (“weak”) beat. In other words, when you perform a syncopation, you must place your articulations in a way that is “off-beat” with your conducting.

In Unit 13, we began to work on syncopated rhythmic dictations in simple time. You’ll recall the three broad types of syncopations that we practiced:

• a syncopation that crosses the barline
• a syncopation that crosses the beat
• a syncopation within the beat

These principles apply in compound time too. In this excerpt, we can find all three types of syncopation:

Tips for Success in Syncopated Rhythmic Dictation

• The basics – ensure that you take careful note of the beat note and number of beats in the measure.
• Use the usual notation conventions (beaming, etc) – the only thing that changes is the use of ties.
• Keep the beat strongly “in your mind’s ear.” If you know where the beat is at all times, you can easily assert where a syncopation has taken place. Try conducting along with your non-writing hand.
• …and all the usual tips, such as writing a “dummy rhythm,” focus on error detection, and so on.