Editing Polyrhythm (section)

== In popular music ==
Nigerian percussion master [[Babatunde Olatunji]] arrived on the American music scene in 1959 with his album ''[[Drums of Passion (album)|Drums of Passion]]'', which was a collection of traditional [[Music of Nigeria|Nigerian]] music for percussion and chanting. The album stayed on the charts for two years and had a profound impact on jazz and American popular music.{{citation needed|date=August 2015}} Trained in the [[Yoruba music|Yoruba]] [[Sakara drum|sakara]] style of drumming, Olatunji would have a major impact on Western popular music.{{citation needed|date=August 2015}} He went on to teach, collaborate and record with numerous jazz and rock artists, including [[Airto Moreira]], [[Carlos Santana]] and [[Mickey Hart]] of the [[Grateful Dead]]. Olatunji reached his greatest popularity during the height of the [[Black Arts Movement]] of the 1960s and 1970s.

[[Cuban music|Afro-Cuban music]] makes extensive use of polyrhythms. [[Cuban Rumba]] uses 3-based and 2-based rhythms at the same time. For example, the lead drummer (playing the [[rumba quinto|quinto]]) might play in {{music|time|6|8}}, while the rest of the ensemble keeps playing {{music|time|2|2}}. [[Afro-Cuban]] ''conguero'', or [[conga]] player, [[Mongo Santamaría]] was another percussionist whose polyrhythmic virtuosity helped transform both jazz and popular music. Santamaria fused Afro-Latin rhythms with [[Rhythm and blues|R&B]] and jazz as a bandleader in the 1950s, and was featured in the 1994 album ''[[Buena Vista Social Club (album)|Buena Vista Social Club]]'', which was the inspiration for [[Buena Vista Social Club (film)|the like-titled documentary]] released five years later.

Another form of polyrhythmic music is south Indian classical [[Carnatic music]]. A kind of rhythmic [[solfege]] called [[konnakol]] is used as a tool to construct highly complex polyrhythms and to divide each beat of a pulse into various subdivisions, with the emphasised beat shifting from beat cycle to beat cycle.

Common polyrhythms found in jazz are 3:2, which manifests as the quarter-note triplet; 2:3, usually in the form of dotted-quarter notes against quarter notes; 4:3, played as dotted-eighth notes against quarter notes (this one demands some technical proficiency to perform accurately, and was not at all common in jazz before [[Tony Williams (drummer)|Tony Williams]] used it when playing with [[Miles Davis]]); and finally {{music|time|3|4}} time against {{music|time|4|4}}, which along with 2:3 was used famously by [[Elvin Jones]] and [[McCoy Tyner]] playing with [[John Coltrane]].

[[Frank Zappa]], especially towards the end of his career, experimented with complex polyrhythms, such as 11:17, and even nested polyrhythms (see "[[The Black Page]]" for an example). The highly avant garde album produced by Frank Zappa, [[Trout Mask Replica]] by Captain Beefheart and his Magic Band found extensive use of polyrhythm and cross-rhythm. The [[Heavy metal music|metal]] bands [[Mudvayne]], [[Nothingface (band)|Nothingface]], [[Threat Signal]], [[Lamb of God (band)|Lamb of God]], also use polyrhythms in their music.{{citation needed|date=April 2011}} Contemporary [[progressive metal]] bands such as [[Meshuggah]], [[Gojira (band)|Gojira]],<ref>{{cite news|last=Hartmann|first=Graham|date=25 March 2019|title=Gojira's Mario Duplantier|url=https://loudwire.com/10-times-mario-duplantier-best-drummer-on-earth/|url-status=live|work=[[Loudwire]]|archive-url=https://web.archive.org/web/20201108002340/https://loudwire.com/10-times-mario-duplantier-best-drummer-on-earth/|archive-date=8 November 2020|access-date=19 April 2021}}</ref> [[Periphery (band)|Periphery]], [[Textures (band)|Textures]], [[TesseracT]], [[Tool (band)|Tool]], [[Animals as Leaders]], [[Between the Buried and Me]] and [[Dream Theater]] also incorporate polyrhythms in their music, and polyrhythms have also been increasingly heard in technical metal bands such as [[Ion Dissonance]], [[The Dillinger Escape Plan]], [[Necrophagist]], [[Candiria]], [[The Contortionist]] and [[Textures (band)|Textures]].{{citation needed|date=April 2011}} Much [[minimalism|minimalist]] and [[totalism (music)|totalist]] music makes extensive use of polyrhythms. [[Henry Cowell]] and [[Conlon Nancarrow]] created music with yet more complex polytempo and using irrational numbers like [[pi|{{pi}}]]:[[e (mathematical constant)|''e'']].<ref>Thomas, Margaret. "Nancarrow's 'Temporal Dissonance': Issues of Tempo Proportions, Metric Synchrony, and Rhythmic Strategies". Intégral 14/15 (2000–2001): p. 138.</ref>

[[Peter Magadini]]'s album ''Polyrhythm'', with musicians [[Peter Magadini]], [[George Duke]], David Young, and [[Don Menza]], features different polyrhythmic themes on each of the six songs.

#Doin' Time and a Half: Has the polyrhythmic theme of 6 over 4.
#Five For Barbara: Mostly in {{music|time|5|4}} with a recurring section in {{music|time|4|4|}} featuring 5 over 4.
#The Modulator: The beginning tempo modulates to two times faster and then modulates back to two times slower.
#Seventy Fourth Ave: In {{music|time|7|4}}, with different instruments playing a 4 over the 7 occasionally.
#Samba de Rollins: Includes a drum solo based on 3 over 4.
#Midnight Bolero: In {{music|time|3|4}}, has a continuous interlude of 2 over 3 and then 4 over 3.

[[King Crimson]] used polyrhythms extensively in their 1981 album [[Discipline (King Crimson album)|''Discipline'']].<ref>{{cite web|url=http://www.brutalprog.com/artrocktendencies/article/rock-meets-classical-part-6-analyzing-discipline|title=Rock Meets Classical, Part 6: Analyzing Discipline – Art Rock Tendencies|access-date=22 February 2017}}</ref> Above all [[Bill Bruford]] used polyrhythmic drumming throughout his career.

The band [[Queen (band)|Queen]] used polyrhythm in their 1974 song "[[Queen II#"The March of the Black Queen"|The March of the Black Queen]]" with {{music|time|8|8}} and {{music|time|12|8}} time signatures.<ref>{{cite web|url=http://queen.musichall.cz/index_en.php?s=sa&d=rhythm|title=Queen – Royal Legend|last=LG|access-date=22 February 2017}}</ref>

[[Talking Heads]]' ''[[Remain in Light]]'' used dense polyrhythms throughout the album, most notably on the song "The Great Curve".<ref>Olwell, Greg. "BP Recommends: Talking Heads – Talking Heads Brick'". Bass Player 17:2 (February 2006): 73.</ref>

[[Megadeth]] frequently tends to use polyrhythm in its drumming, notably from songs such as "Sleepwalker" or the ending of "My Last Words", which are both played in 2:3.{{citation needed|date=April 2011}}

[[Carbon Based Lifeforms]] have a song named "''Polyrytmi''", [[Finnish language|Finnish]] for "polyrhythm", on their album [[Interloper (album)|Interloper]]. This song indeed does use polyrhythms in its melody.<ref>{{cite web|url=https://www.youtube.com/watch?v=9eyg3QydFhE |archive-url=https://ghostarchive.org/varchive/youtube/20211211/9eyg3QydFhE| archive-date=2021-12-11 |url-status=live|title=Carbon Based Lifeforms – Interloper – 10 Polyrytmi|last=marco1601|date=25 July 2010|access-date=22 February 2017|via=YouTube}}{{cbignore}}</ref>{{citation needed|date=April 2011}}

[[Aphex Twin]] makes extensive use of polyrhythms in his electronic compositions.

Japanese girl group [[Perfume (Japanese band)|Perfume]] made use of the technique in their single, appropriately titled "[[Polyrhythm (song)|Polyrhythm]]", included on their second album ''[[Game (Perfume album)|Game]]''. The bridge of the song incorporates {{music|time|5|8}}, {{music|time|6|8}} in the vocals, common time ({{music|time|4|4}}) and {{music|time|3|2}} in the drums.<ref>{{cite web | url=http://musicbrainz.org/release-group/561396aa-eca7-339b-aef0-aaabb5003911 | title=Release group "ポリリズム" by Perfume - MusicBrainz }}</ref>

The [[Britney Spears]] single "[[Till the World Ends]]" (released March 2011) uses a 4:3 cross-rhythm in its hook.<ref>Pellerin, Adrien (2011). ''Britney Spears is using Tuplets?'' http://adrienpellerin.tumblr.com/post/6274133096/britney-spears-is-using-tuplets.</ref>

The outro of the song "Animals" from the album ''[[The 2nd Law]]'' by the band [[Muse (band)|Muse]] uses {{music|time|5|4}} and {{music|time|4|4}} time signatures for the guitar and drums respectively.

The [[Aaliyah]] song "Quit Hatin" uses {{music|time|9|8}} against {{music|time|4|4}} in the chorus.

The [[Japanese idol]] group [[3776]] makes use of polyrhythm in a number of their songs, most notably on their 2014 mini-album "[[Love Letter (3776 album)|Love Letter]]", which features five songs that all include several rhythmic references to the number 3776. A secret track on the album has the group's leader, Ide Chiyono, explain some of the uses of polyrhythm to the listener.

[[The National (band)|The National]] song "[[Fake Empire]]" uses a 4 over 3 polyrhythm.<ref>{{cite web|url=http://www.stereogum.com/1688121/the-nationals-bryce-dessner-explains-the-four-over-three-polyrhythm-of-fake-empire/mp3s/|title=The National's Bryce Dessner Explains The Four-Over-Three Polyrhythm Of "Fake Empire"|date=20 June 2014|access-date=22 February 2017}}</ref>

[[The Cars]]' song "[[Touch and Go (The Cars song)|Touch and Go]]" has a {{music|time|5|4}} rhythm in the drum and bass and a {{music|time|4|4}} rhythm in the keys and vocals.

Harpist and pop folk musician [[Joanna Newsom]] is known for the use of polyrhythms on her albums ''[[The Milk-Eyed Mender]]'' and ''[[Ys (Joanna Newsom album)|Ys]]''.<ref>{{cite news |last1=Weiner |first1=Jonah |title=Joanna Newsom on Andy Samberg, Stalkers and Latest Harp-Fueled Opus |url=https://www.rollingstone.com/music/music-features/joanna-newsom-on-andy-samberg-stalkers-and-latest-harp-fueled-opus-51062/ |access-date=4 December 2018}}</ref>

[[King Gizzard & the Lizard Wizard]] used polyrhythms extensively throughout their discography, most notably on the album ''[[Polygondwanaland]]''.

In [[Vietnam]], [[bolero]] songs are composed with {{music|time|3|4}} against {{Music|time|4|4}}.

The [[Britney Spears]] song "[[...Baby One More Time]]" contains a 16:9 polyrhythm in the beginning of the music video (the boot tapping 16 times every 9 times the clock ticks - a full cycle can be heard from 0:05 to 0:14).

The Sky Signals song "Amaterasu" is constructed around a 5:4 polyrhythm.