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As seen in Everlasting Motion (feat. Hamid El Kasri) by Jacob Collier(Djesse, Vol. 2)
Analysis by Andrew Alvarado
I have recently been studying examples of what is known as Gnawa music, a repertoire of ancient
African Islamic song and rhythm currently popularized within Indian music - also strongly seen within
Everlasting Motion by Jacob Collier. It is mainly distinguished by the instrumentation of a three-string
lute known as a hajhuj, as well as iron castanets known as a qraqeb, which I am mainly focusing on to
deconstruct the rhythmic elements Jacob uses throughout the song.
The strongest aspect of gnawa music, along with the main reason it’s so complex and grooves so hard is
its use of micro-time. This functions the same way that negative harmony works, where instead of
having microtonal pitches in between two ‘set’ tones, you slightly morph the place of each note within
the rhythm while staying consistent to its two parent rhythms - an example being the image at left
where the rhythm played at 100% phrasing is perceived as an eighth note followed by two sixteenth
notes, morphing until reaching 0% phrasing where the original rhythm fully alters into three evenly
distributed eighth notes - or one triplet. This concept can easily be displayed in a rhythm circle
diagram as seen with multiple examples at right.
Some terminology used within this mini-dissertation that may be confusing may be words like
“partial”, which in this context represents the individual notes of a full rhythm. For example, the full
rhythm of a triplet contains three partials, clearly seen when sounding out its name in a triplet rhythm
(tri-pl-et, tri-pl-et and so on). You can then reference the first partial when sounding out the triplet t ri-,
the second partial as -pl, and the third as -et. Another method of visualizing partials would be in the
notation of a triplet where three eighth notes are seen beamed together with a 3 above them. In this
context, the first partial is the first eighth note, the second partial is the second eighth note, and the
third partial is the third eighth note. It is important to note that the use of the term partial is not
exclusive to understanding triplets alone, but may also be used with other groups of rhythms. For
example, a quintuplet would contain five partials, a septuplet would contain seven partials, an eighth
note followed by two sixteenth notes would contain three partials, and so on and so forth. As will be
seen in the images throughout this analysis, the large black lines represent the “downbeat” of each
rhythmic phrase (and the first partial of said rhythm), whereas the small black lines represent the
remaining notes of the suggested rhythm.
The explanations of the rhythms and their partials suggested in this paper will require some use of your
imagination to visualize how they appear when notated on paper. It may help to write these rhythms
out as they are brought up to use as an aid when referencing their respective partials and their
relationship to one another (I understand how trying to see some rhythms through the use of
soundwaves as well as large and small black lines may make the concepts difficult to understand).
Rhythm A is most commonly felt in 9/4 with an eighth note subdivided qraqeb that pulls between
equally divided eighths, and an eighth note followed by two sixteenth note rhythm. The space
between the downbeat (full black line) and first partial (first small black line) marked by A anticipates
the following two sixteenth notes between A and B which are marked by the small black lines. The
space between these two lines (represented in the next phrase by C) slightly rushes in comparison to
the previously determined pulse set the space at A, which then emphasizes the following space at B -
which is the largest amount of time heard between pulses, further delaying the next downbeat, only to
repeat the tension and release cycle again and again. This lopsided rhythm continues to create and
slightly ease the 25% eighth and two sixteenth note pattern, adding a shit ton of gravity to the groove,
making it extremely uneasy, yet appealing to the ear.
Rhythm B (seen above as R hythm C) works with groupings of 5 felt as 3+2. This is most reasonably
notates as two sixteenth notes followed by an eighth, and two eighth notes leading to the next
downbeat. The method of tension and release used in Rhythm A is the same here, but on a much more
complex scale because of the mathematical relationships between pulses within space A, the space
between the second partial of A and the first partial of B, and the entirety of space B. Starting with A,
the smallest space seen between the first downbeat and second partial of A is almost exactly half of the
space seen from the second partial of A to the third partial (much as a sixteenth note takes half the
space of an eighth note). Following that, the space from A’s second partial to B’s first partial is exactly
the same size as all of space B. Lastly, the space from B’s second partial to the next downbeat is exactly
two times the size of the first downbeat to A’s second partial.
All this becomes increasingly more interesting when gnawa rhythms create patterns that are, in a way,
designed to satisfy the brain. As uneasy as it may feel, this particular gnawa rhythm creates a lot of
symmetry in places you may not even focus on. In the same way that you’re brain evaluates this image
and gains satisfaction from filling in the blanks to form a shape you are familiar with (hopefully a
triangle), Rhythm B proposes a similar problem in its complexity from a surface, but even though
there are no perfect quantized eighth notes, you’re brain fills in the blanks and subdivides on its own
using the patterns it finds. The brain also gains more enjoyment solving this itself, rather than the
music giving it even subdivisions, making a very unstable rhythm pleasing to listen to. Even though
I'm going much deeper into physiological aspect, the same tension and release effects from Rhythm A
are present in Rhythm B.
Rhythm C is approached from the previous Rhythm B by leaving out the last two eighth notes to
return to a 3 note grouping over what could be considered a 4/4 time signature if seen as a triplet
(Jacob plays with the meter as the accented bass, vocal and orchestral attacks vary through the end of
the song). Although it naturally feels like a triplet grouping, microtime is still being used as the rhythm
lies about 40% between an eighth followed by two sixteenths and a perfect triplet. The eighth &
sixteenths rhythm is re-enforced by keeping a large space between the downbeat and the second partial
of A, followed by smaller space between A’s second and third partial, as also seen in B. The triplet
however is reinforced by the slight increase in length between A’s last partial and B’s first partial in the
hidden triplet found from the second partial of A to B’s first (seen again from B’s second partial to the
downbeat of the next phrase). These two intertwined rhythms justify the morphed 40% pattern to
allow the listener to latch on to whichever they choose without affecting the overall momentum of the
groove (see West African or Afro-cuban triplet circle diagram).
At first glance, the rhythms used within Everlasting Motion seem familiar, yet just complex enough to
spark interest in the listeners ear. Gnawa music proposes a slightly altered image of traditional western
music by incorporating the concept of micro time to give greater depth to what was previously known
as somewhat simple and rudimentary rhythms. Jacob Collier, being the musical and rhythmic genius
that he is, takes advantage of the subtleties of micro time found within gnawa rhythms by
orchestrating a multitude of other instruments that highlight components of the parent rhythms of
each gnawa pattern. This adds to the complexity of the groove while still reinforcing the satisfaction it
brings to the listener’s ear. From the semi-walking bass line, to the punches of vocals and orchestral
attacks, he presents a work that effortlessly displays the broad spectrum of intricacy this style of music
is capable of, leaving both myself and the world in complete and utter astonishment of his abilities.
REFERENCES
Braff, Malcolm. “Basic Principles.” General Theory Of Rhythm, WordPress, 5 July 2015,
general-theory-of-rhythm.org/basic-principles/.
Roos, Dave. “Why Do We Get So Much Pleasure From Symmetry?” H owStuffWorks Science,
HowStuffWorks, 8 Mar. 2018,
science.howstuffworks.com/why-do-get-so-much-pleasure-from-symmetry.htm.
Author, Unknown. “The Kanizsa Triangle.” W hat Is Psychology?, Cognitive Psychology, 1 May 2012,
www.whatispsychology.biz/kanizsa-triangle-illusion-explanation.