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Ever since Igor Stravinsky and Bela Bartok used
asymmetrical rhythms in Petrushka, Le Sacre de
Printemps, Concerto for Orchestra and other works,
more and more composers have utilized such rhythms.
These rhythms give the music tension, diffraction and
various accent possibilities. The discovery of the
vast potential of the marimba in recent decades
fostered the creation of an unprecedented volume of
literature written specifically for the instrument.
Marimbists are constantly being challenged
technically and musically by new compositions, which
often include challenging asymmetrical rhythmic
combinations. A study in asymmetrical rhythms will
fill a gap in the marimba and percussion pedagogy
materials. It will facilitate the process of learning
and enable a better understanding of the various
accent possibilities embodied in these rhythms.
asymmetrical rhythms in Petrushka, Le Sacre de
Printemps, Concerto for Orchestra and other works,
more and more composers have utilized such rhythms.
These rhythms give the music tension, diffraction and
various accent possibilities. The discovery of the
vast potential of the marimba in recent decades
fostered the creation of an unprecedented volume of
literature written specifically for the instrument.
Marimbists are constantly being challenged
technically and musically by new compositions, which
often include challenging asymmetrical rhythmic
combinations. A study in asymmetrical rhythms will
fill a gap in the marimba and percussion pedagogy
materials. It will facilitate the process of learning
and enable a better understanding of the various
accent possibilities embodied in these rhythms.