120 BPM 7/8 Beat

Описание: 120 BPM 7/8 Beat - Kalamatianos Rhythm
Recorded with Mid East Drummer: https://itunes.apple.com/app/mid-east...

Septuple meter or septuple time is a meter with each bar (American: measure) divided into 7 notes of equal duration, usually 7
4 or 7/8 (or in compound meter, 21/8 time). The stress pattern can be 2+2+3, 3+2+2, or occasionally 2+3+2, although a survey of certain forms of mostly American popular music suggests that 2+2+3 is the most common among these three in these styles.

A time signature of 21/8, however, does not necessarily mean that the bar is a compound septuple meter with seven beats, each divided into three. This signature may, for example, be used to indicate a bar of triple meter in which each beat is subdivided into seven parts. In this case, the meter is sometimes characterized as "triple septuple time".[2] It is also possible for a 21
8 time signature to be used for an irregular, or "additive" metrical pattern, such as groupings of 3 + 3 + 3 + 2 + 3 + 2 + 3 + 2 eighth notes.

Septuple meter can also be notated by using regularly alternating bars of triple and duple or quadruple meters, for example 4
4 + 3/4, or 6/8 + 6/8 + 9/8, or through the use of compound meters, in which two or three numerals take the place of the expected numerator 7, for example, 2+2+3/8, or 5+2/8.

In the Thai dance-drama genre lakhon nok and the masked dance-drama khon there is a unique group of songs based on a rhythmic cycle of seven beats, quite unlike the usual rhythmic structures of Thai traditional music. Portions of this repertoire of songs in additive meter date back to the Ayudhia period (1350–1767).

In the Carnatic music of south India, there are thirty-five tāla in five temporal species, multiplied by seven classes of measurement—one of the five species is septuple.[5] The classes of measurement in this "formal" system consist of seven basic tālas (called sūḷādi talas). Each of these is built from three types of component durations: the one-beat anudruta, the two-beat druta, and the variable laghu, which may have three (tisra), four (caturaśra), five (khaṇḍa), seven (miśra), or nine (saṅkīrṇa) beats, and accounts for the five temporal species of each tāla. Two of the resulting thirty-five forms have seven beats in all: the khaṇda form of Rūpaka tāla, with one druta and a five-beat (khaṇda) laghu: 2+5, and the tisra form of Tripuṭa, with a three-beat laghu and two druta: 3+2+2. Tisra Tripuṭa is one of the principal talas of the system, and so is often called simply by its basic name, Tripuṭa. Khaṇda Rūpaka, on the other hand, is a comparative rarity. The more common form, caturaśra Rūpaka, has a laghu of four beats and so a total beat pattern of 2+4.

Carnatic music also has an "informal" system of tālas, which uses a selection of the formal tālas. These include the septuple Tripuṭa, to which is added a Cāpu (fast) version of it, called miśra Cāpu (3+2+2, or 3+4). Miśra Cāpu is one of the most characteristic rhythms in the music of southern India, accounting for well over half of the padam compositions by the 17th-century composer Kshetrayya, and occurs in some of the best-known kīrtanam works by Tyagaraja (1767–1847). The Hindustani tālas used in the north also include septuple patterns. The tala Rupak, for example, has seven beats. Tīvra (also known at Gīt-tāl) is also a septuple tāla. Two tālas, Dīpcandī and Jhūmrā, have fourteen beats in all, but are divided symmetrically into two halves of 3+4 beats each. The tālas Ādā-cautāl and Dhamār are also fourteen beats long, but the former is divided asymmetrically, and the latter is only partially symmetrical: It has several different patterns, the most common of which falls into two seven-beat halves, but with different internal divisions: 5+2 and 3+4, where the khālī (empty) beat marks the division of the cycle into two halves.

Folk music in Turkey employs metres consisting of five, seven, or eleven pulses, as well as metres with irregular subdivisions. In Turkish art music, the system of rhythmic modes called usul consist of rhythmic cycles of two to ten counting units. The pattern of seven beats is called devr-i hindi (3+2+2) or devr-i turan (2+2+3)