Here we play with beats of 2, 3 and 4 divisions. I start with 3, which I am playing with a swing feel on the recording. At \u201chip\u201d I take a way a division (e.g. 3 divisions becomes 2), at \u201chop\u201d I add one (e.g. 3 divisions becomes 4). I am playing in a measure of 2 or a duple meter. \u201cReturn\u201d signals a change back to 3. It could be notated in 6\/8 with a dotted quarter beat for \u201c3\u201d; 2\/4 with a quarter note beat for \u201c2\u201d, and 2\/2 with a half note beat (and eight note subdivision) for \u201c4\u201d. The eighth note is kept at a constant tempo–or at least that is my intention! This is known as a “reaction” game or activity in Dalcroze parlance. In this case the signal is verbal (they can also be visual, musical or tactile). <\/p>\n\n\n\n
Try bouncing and catching a ball on the beat. Bounce from one hand and catch to the other, alternating hands each time. It becomes a short study in the relationship between time, space and energy.<\/p>\n\n\n\n
It is common practice in jazz to move between 2’s, 3’s, 4’s, however most often the beat stays constant (rather than the division or subdivision). I do remember Wynton Marsalis experimenting with this device on a couple early albums from the 1980’s, however. I’ll see if I can find it and update this post if I do. <\/p>\n\n\n\n
Or… maybe you have an example in any genre of music you’d like to share?<\/p>\n\n\n\n