page_title: Cross-beat
section_title: 6:4
hierarchical_section_title: Cross-beat / Cross-rhythmic ratios / 6:4
caption_attribution_description: English: six against four cross-rhythm represented as six quarter notes of four dotted quarter notes
context_page_description: In music, a cross-beat or cross-rhythm is a specific form of polyrhythm. The term cross rhythm was introduced in 1934 by the musicologist Arthur Morris Jones. It refers to when the rhythmic conflict found in polyrhythms is the basis of an entire musical piece.
context_section_description: The primary cycle of four beats
  A great deal of African music is built upon a cycle of four main beats. This basic musical period has a bipartite structure; it is made up of two cells, consisting of two beats each. Ladzekpo states: "The first most useful measure scheme consists of four main beats with each main beat measuring off three equal pulsations [] as its distinctive feature … The next most useful measure scheme consists of four main beats with each main beat flavored by measuring off four equal pulsations []." (b: "Main Beat Schemes") The four-beat cycle is a shorter period than what is normally heard in European music. This accounts for the stereotype of African music as "repetitive." (Kubik, p. 41) A cycle of only two main beats, as in the case of 3:2, does not constitute a complete primary cycle. (Kubik, Vol. 2, p. 63) Within the primary cycle there are two cells of 3:2, or, a single cycle of six-against-four (6:4). The six cross-beats are represented below as quarter-notes for visual emphasis.
  Interacting the four recurrent triple structure main beat schemes (four beat scheme) simultaneously with the six recurrent two pulse beat schemes (six beat scheme) produces the first most useful cross rhythmic texture in the development of Anlo-Ewe dance-drumming.
  — Ladzekpo (c: "Six Against Four")
  The following notated example is from the kushaura part of the traditional mbira piece "Nhema Mussasa." The left hand plays the ostinato "bass line," built upon the four main beats, while the right hand plays the upper melody, consisting of six cross-beats. The composite melody is an embellishment of the 6:4 cross-rhythm. (Clave Matrix p. 35)
caption: Six-against-four cross-rhythm (note that this is identical to the three-over-two cross-rhythm above, played twice).
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