Crossrhythms

Cross rhythms, or crossrhythms, are rhythmic patterns in which two or more layers of notes with different grouping or subdivision are played at the same time, producing accents that do not align with the main meter. The concept is broader than simple syncopation and is closely related to polyrhythm and hemiola, but it emphasizes the clash and interplay between contrasting subdivision levels within a musical texture. Cross rhythms can arise when a secondary layer subdivides a beat differently from the prevailing meter, creating shifting accents across the measure.

Common forms include two against three (2:3) and three against four (3:4), among other pairings. A 2:3 cross rhythm, for example, places three notes over the time normally occupied by two, yielding a cadence of interlocking pulses rather than a single, evenly spaced beat. These patterns are found in many musical traditions and are a central feature in various African drumming ensembles, as well as in Latin American, Caribbean, and contemporary jazz contexts.

In Western art music, cross rhythms have been used to create complex textures and to destabilize metrical expectations. Composers such as Stravinsky, Bartók, and Ligeti explored cross-rhythmic devices to generate rhythmic interest and structural momentum within a disciplined metrical framework. Notation often involves independent voices with contrasting subdivisions, or explicit tuplet markings to indicate the intended cross-subdivision relationship.

Cross rhythms remain a practical tool for rhythm players and composers alike, enabling intricate groove frameworks and textural variety within both traditional and modern repertoires.