Dear Reader:

While studying, a growing interest in rhythm took a hold of me (one that has not abandoned me to this day).

As I composed music, I would run across ideas that did not seem to fit anywhere within my spectrum of rhythmic knowledge. Eager to learn as much as possible, I picked the brains of many musicians, and studied the works of Gardner Read (1978), Gary Chaffee (2000), Peter Magadini (1968, 1983), Brett Willmott (2002), Gavin Harrison (1996), Frank Zappa (1983), Abdy Williams (1909), and Curt Sachs (1953) – among many, many others.

Thanks to these works (among other things), I would become better acquainted with metric modulations, polyrhythms and polymeters. However, I never did find an exact method for dissecting and constructing polyrhythms (i.e., one that would unveil both the micro and macro pulsations of each hit) – so I decided that it was time to create one.

This is how the concepts of Fraction and Ratio that are explained in the book came to be.

Trying to make things easier – and out of the need to find answers to my own questions – the Tempo Manipulation Postulates where born; a guideline to the creation of Metric Modulations.

Just when I thought the work was just about done, the idea to incorporate a template for Polymetric Accompaniment and Improvisation came through. This just goes to show you, there's no end to music…

After three years of research, I decided to write this book. Three years further on, you finally hold the book in your hand.

After much consideration, I opted to discuss the following subjects:

• Metric Modulation​
• Polyrhythms (Dissection and Construction)
• "Ratio" Polyrhythms
• Dividing Polyrhythms/Polyrhythms within Polyrhythms (With an Alternate View, and an Attack Visualization Display)
• Intrinsic Polymeters (Construction and Identification)
• Extrinsic Polymeters (Construction and Identification)
• Polymetric Accompaniment
• Polymetric Improvisation

All of these subjects are very near and dear to me, as each idea I discuss comes from a personal experience – while composing, discussing with fellow musicians/educators, and practicing. To be honest, I associate each one of these subjects with a specific time in my life, because in a sense, they made up different epochs of my life.

It is my wish that you – and others that share an interest/curiosity in rhythm as you and I do – will be able to use this book as a shortcut, in order to advance through your musical journey. Nothing would make me happier than to see this subject that I love so much, spread – even if only through one person.

Hoping that you discover new beauty in rhythm, and it's never ending possibilities, every day of your life,

Jan Rivera

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