Mastering Odd, Complex Time Signatures And Rhythms

4/4 Breath ~

"It's not complicated, we're just syncopated we can read each other's ....minds!

One love united Two bodies synchronising 

Don't even need to touch me, Baby just ....Breathe on me, 

Oh Baby just, Breathe on me! 

We don't need to touch Just Breathe!"

"Mathematical Measures of Syncopation: Music is emotional and has the power to create complex universes of psychological feelings. An important question brought up by psychologists, critics, musicologists, composers, interpreters and listeners in general is how music actually stirs the emotion, that is, what the specific processes that transform sonorous material into emotions are like" Source

Here's an approach to mastering Syncopation:

• internalizing,
• creating,
• counting them off to your band and
• playing them naturally so that you can
• improvise over them with ease and even
• superimpose them over more mainstream rhythms such as 4/4.

Complex syncopation has been used to overload the brain to induce abreaction and as a prelude to brain washing.

Abreaction (German: Abreagieren) is a psychoanalytical term for reliving an experience in order to purge it of its emotional excesses; a type of catharsis. Sometimes it is a method of becoming conscious of repressed traumatic events.

Early in his career, psychoanalyst Carl Jung expressed interest in abreaction, or what he referred to as "trauma theory", but later decided it had limitations concerning the treatment of neurosis. Jung stated that:

"though traumata of clearly aetiological significance were occasionally present, the majority of them appeared very improbable. Many traumata were so unimportant, even so normal, that they could be regarded at most as a pretext for the neurosis. But what especially aroused my criticism was the fact that not a few traumata were simply inventions of fantasy and had never happened at all."

Abstract

This study investigated cognitive and emotional effects of syncopation, a feature of musical rhythm that produces expectancy violations in the listener by emphasising weak temporal locations and de-emphasising strong locations in metric structure. To Sync or not To Sync