Rhythm is a powerful force in the domain of music. It has the ability to captivate and enthrall listeners, drawing them into a spellbinding experience. In many ways, rhythm can be seen as a form of witchcraft, casting a spell over those who encounter it. Just as a witch uses incantations and potions to conjure magic, musicians use rhythm to create a mesmerizing effect. The repetitive and cyclical nature of rhythm can create a trance-like state, transporting listeners to another realm. It is as if they are under a spell, unable to resist the pull of the music.
In 1999, George Harrison was attacked in his home by a man who believed The Beatles were witches who flew around on broomsticks.
For his 1830 piece about a witches Sabbath, Hector Berlioz instructed violinists to strike the back of their instrument with the bow a technique known as col legno. With 232 pages and an expanded 12 by 12 format, our biggest print issue yet celebrates the people, places, music, and art of our hometown, including cover features on David Lynch , Nipsey Hussle , Syd , and Phoebe Bridgers Saddest Factory Records , plus Brian Wilson, Cuco, Ty Segall, Lord Huron, Remi Wolf, The Doors, the art of RISK, Taz, Estevan Oriol, Kii Arens, and Edward Colver, and so much more.
It is as if they are under a spell, unable to resist the pull of the music. Rhythm has the power to manipulate emotions and evoke strong reactions. It can make hearts race with excitement or slow down to a peaceful rhythm.
Witchcraft Explainer: The poly rhythm solution
Anyone losing their mind's listening to Witchcraft? There has been two discussions about the time signatures, but no one quite cracks the code. (Credits listed at the bottom. u/Bellyhands actually nailed it, but didnt get a single upvote. this one is for you.)
TLDR version: 35 beat phrase. Drums are 7/16 in groups of 5, and the guitar is total mixed meter, with a common time feel. The drummer is treating the first note we hear as the start of his count, but the guitarists are feeling that as a 2 beat pickup! From the drummer's POV, the guitar count feels insane: [2] + [16] + [15] + [2"WC!]
There are two Cheat Codes to understanding the time signature/poly meter:
- The first note of the song is a 8th note pickup! (well only for the guitarist, more on that)
- A pickup note is a note(s) that precedes the beginning of a musical phrase. Like "haaaapy |birthday to you". Bold is the downbeat.
Okay lets get into it!
Here is how you count (as the guitarist): Treat the first note of the song like two beats of 16, then start the phrase with the first lyric, not the guitar note and count:
- 1 e & a 2 e & a 3 e & a 4 e & a [16 beats] "In the fields once "
- 1 e & a 2 e & a 3 e & a 4 e & [15/16] " A supercell rage"
- 1 e & a [4/16] "WhichCraft!-[beat-beat]"
The main guitar/vox line feels like common time, but the second phrase is "missing" a beat. Then. there is an extra bar of 4/16, starting at Witchcraft. This is what makes the "Witchcraft!" stand out, because if you are just vibing with the song. you start feeling the long 4/4 phrase, then on the repeat of the phrase, "Witchcraft!" interrupts the 2nd phrase on the 16th beat. Then there is two more beats before the guitar starts again. But the drummer has already started without you.
"Witchcraft!" is the highlight and destination of the polyrhythmic phrase, accented by both Guitar and Drums. "Witchcraft!" is the last two beats of the drummer's phrase, but the beginning of the guitarist's last bar.
Here are the last four beats of the 35 beat phrase.
"Witch" - "Craft" - (Drummer starts 7/16) - [Rest] | (Guitar starts Common time, before devolving into madness)If you are a drummer, then I am lying when I said that the first note of the song is the pickup note, because that's where the the Drummer starts his count (even tho hes not playing for 10 bars, f**k me), but the guitarist treat that first note like a pickup 8th note.
The drummer, Cavanagh, plays in 7, in groups of 5.
To count the drum part, start your count immediately following "WhichCraft!". Drummers of REDDIT, please correct me. I have emboldened the beats where I guess the phrases start compared to the guitar line feel. [EDIT: The drummers have corrected me that I should have used the word poly METER]
Notes: You will notice that the snare is on the off beat of the guitars first phrase, then lines up more often on the second guitar phrase, which is very cool. Cavanagh appears to accent the beginning of "above the lyre", which makes me feel like my count is correct.
If the guitarist doesn't want to loose his mind but start where the drummer is, then they would feel:
[2] + [16] + [15] + [2"WC!] u/Bellyhands . you just didn't get the credit you deserve on this one.
Thank you for coming to my TED TALK!
Shout out to the people who got the ball rolling:
As you study music you will notice every style has its own set of unique rhythms. The rhythms are part of the language of each musical style. To master a style, you need to master its rhythms.
It can create tension or release, building up anticipation and then satisfying it with a well-timed resolution. These emotional journeys are orchestrated by the rhythmic patterns woven into the music. Furthermore, rhythm can also be seen as a form of communication. Like a secret language, it has the ability to convey messages and stir deep emotions within its listeners. It can transcend cultural and linguistic boundaries, speaking directly to the soul. In this sense, rhythm is not just a technical aspect of music but a deeply spiritual one. It taps into our primal instincts, connecting us to something greater than ourselves. It is a powerful tool that musicians wield to create a vivid and transformative experience. In conclusion, rhythm is the driving force behind the witchcraft of music. It has the power to enchant and captivate, taking listeners on a mystical journey. With its ability to manipulate emotions and convey messages, rhythm is truly a magical element of the musical domain..
Reviews for "The Witchcraft of Music: How Rhythm Can Create a Powerful Connection Between Listener and Sound"
1. Jake - 2 stars - I was really disappointed with "Rhythm witchcraft in music domain". The concept sounded intriguing, but the execution fell flat for me. The rhythm patterns were repetitive and boring, and there was a lack of creativity in the musical compositions. It felt like the composers were trying too hard to be unique and different, but it just didn't resonate with me. Overall, I found the experience to be underwhelming and would not recommend it.
2. Sarah - 1 star - I absolutely hated "Rhythm witchcraft in music domain". The music was chaotic and jarring, and it gave me a headache just trying to listen to it. The rhythm was completely off, and there was no structure or coherence to the songs. It just sounded like a bunch of random noises thrown together. I don't understand how anyone could enjoy this type of music. It was a complete waste of my time and money.
3. Emily - 2 stars - "Rhythm witchcraft in music domain" was a confusing and disorienting experience for me. The rhythms were so complex and intricate that it was hard to follow along, and it felt like the music was constantly changing direction without any rhyme or reason. I appreciate experimental music, but this was just too abstract and inaccessible for my taste. I couldn't find any enjoyment or connection with the music, and it left me feeling frustrated and unsatisfied.
Spellbinding Sounds: Harnessing the Power of Rhythm in Music