I have a question in regard to the concept of “resolving” percussive phrases.

Question

So, I’ve always seen music theorists online discuss harmony in terms of its function, in relation to other notes, or the diatonic scale. You see things like cadence, consonance, and dissonance that are used to describe these relationships.

I feel like there are rhythmic concepts that apply in sort of the same way, as in, a “dissonant” groove is played, and then resolves to a more “consonant” or simplistic groove.

The best example I can think of is Alice In Chains’ “Them Bones”. The verses are in 7/8 time, and have a chromatic walkup, and the chorus “resolves” to a massive 4/4 groove with a more melodic hook.

But the hook feels extra “resolved” to me going from an odd time signature and immediately transitions into a very palatable 4/4 rhythm.

The best way I can describe this rhythmic feeling is a dominant V chord resolving to the I chord in functional harmony.

Is there a percussive school of thought as to how percussive notes or phrases are related to each other along the same lines of functional harmony? Or even defined in terms of dissonance based on mathematical ratios?

Answer 1

I can agree with the concept of rhythms as chords, as you've described. From my POV, the basic groove/rhythm of a particular song serves as a point of resolution that you can return to and lends to our expectations (comparable to a tonic chord). This idea of returning to the point of origin, a familiar place. Part of it is play between repetition and variation. Employing different colors, dynamics and rhythms, even silence are a couple ways you can spice it up. For instance, when I listen to Afro-Cuban music, those drummers will improvise polyrhythms or metric modulation based rhythms that, for me, create this great sense of dissonance. And once they return to the original rhythm there's this brilliant resolution that brings you back to reality.

Answer 2

The terms you are looking for are divisive and additive rhythmic patterns. Your example is that of an additive rhythmic pattern (or compound complex meter) resolving to a divisive one. You are absolutely right, music is all about tension and release and rhythm is no exception to that. Regarding schools of thought, I recommend looking into African or Indian drumming. The music of both of these cultures exemplify impressive rhythmic performances. You might come across some fascinating conversations about the layering of meters that are, on their own, compound complex (played by one musician, wildly impressive), or drumming patterns that take the pitch of every note based on where exactly the drum is hit into consideration. I think you will find the rhythmic "dissonance" you're talking about in both of these genres, and those masters and experts of playing may help you better understand where the layers of those complicated patterns do and don't meet for a strong beat, or moment of resolution as you say.