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We usually think of rhythm as an element of music,
我们总是认为，节奏只是组成音乐的一个元素，
but it's actually found everywhere in the world around us, from the ocean tides to our own heartbeats,
但事实上，从海洋的潮汐到我们自身的心跳，节奏无处不在，
rhythm is essentially an event repeating regularly over time.
节奏的本质，是随着时间有规律地重复着的事件。
Even the ticking of a clock itself is a sort of rhythm.
即使是时钟的嘀嗒声，也是一种节奏。
But for musical rhythm, a steady string of repeating single beats is not enough.
但是音乐中所用到的节奏，并不只是一个节拍平稳而单一的线性重复。
For that, we need at least one opposing beat with a different sound,
至少要有一个不同声音的拍子与之相对，
which can be the unstressed off beat or the accented back beat.
那可以是一个轻柔的弱拍，也可以是一个加重的强拍。
There are several ways to make these beats distinct,
有几种方法可以让这些拍子各不相同，
whether by using high and low drums, or long and short beats.
比如用高低鼓制造不同的声音，或者用不同的时长制造出长短拍。
Which ends up being heard as the main beat is not a precise rule,
“结束拍听上去像主拍”并不是一个准确的规则，
but like the famous Rubin's vase, can be reversed depending on cultural perception.
就像著名的鲁宾之杯一样，不同的文化对节奏的规则有不同的定义和理解。
In standard notation, rhythm is indicated on a musical bar line, but there are other ways.
在标准的标记系统中，五线谱上方的横条表示节拍，但是有其它方法可以表达节奏。
Remember that ticking clock?
记得那些滴滴答答的时钟么？
Just as its round face can trace the linear passage of time, the flow of rhythm can be traced in a circle.
既然圆形的钟面可以用于表达线形的时间，圆环也可以用来表示线性的节奏。
The continuity of a wheel can be a more intuitive way to visualize rhythm
一个连续转动的轮子更能直观地将节奏视觉化，
than a linear score that requires moving back and forth along the page.
相对于需要来回翻页的谱子来说。
We can mark the beats at different positions around the circle using blue dots for main beats,
我们在圆轮上的不同位置标记节拍，蓝色的点表示主拍，
orange ones for off beats, and white dots for secondary beats.
橙色的点表示弱拍，白色的点表示次级拍。
Here is a basic two beat rhythm with a main beat and an opposing off beat.
这就是一个基本的二拍节奏：一个主拍和一个相对应的弱拍。
Or a three beat rhythm with a main beat, an off beat, and a secondary beat.
或者一个三拍的节奏：一个主拍，一个弱拍和一个次级拍。
And the spaces between each beat can be divided into further sub-beats using multiples of either two or three.
而每个节拍之间的空间，可以进一步地以2或者3的倍数分割以嵌入副拍。
Layering multiple patterns using concentric wheels lets us create more complex rhythms.
我们可以用分层同心环来表示多种的节奏模式的叠加，从而创造出更多复杂的节奏。
For example, we can combine a basic two beat rhythm with off beats to get a four beat system.
比如，我们可以将一个基础的两拍节奏和两个弱拍结合，得到一个四拍节奏。
This is the recognizable backbone of many genres popular around the world,
不难发现，世界上流行的很多音乐类型都使用这个节奏，
from rock, country, and jazz, to reggae and cumbia.
比如摇滚乐，乡村音乐，爵士乐，雷鬼音乐，比亚舞曲。
Or we can combine a two beat rhythm with a three beat one.
我们也可以将一个两拍节奏和一个三拍节奏结合。
Eliminating the extra main beat and rotating the inner wheel leaves us with a rhythm whose underlying feel is three-four.
去掉多余的主拍，并转动内侧的同心轮，我们会得到一个感觉像是三四拍的节奏。
This is the basis of the music of Whirling Dervishes,
这就是回旋舞的基础节奏，
as well as a broad range of Latin American rhythms, such as Joropo, and even Bach's famous Chaconne.
也是大量拉美音乐中的节奏，比如霍洛波舞曲，甚至巴赫所写的著名的夏康舞曲。
Now if we remember Rubin's vase and hear the off beats as the main beats, this will give us a six-eight feel,
现在，如果我们还记得鲁宾之杯--将弱拍听作主拍，我们将得到一个六八拍的节奏，
as found in genres such as Chacarera, and Quechua, Persian music and more.
这一节奏被运用于恰卡雷拉曲，凯楚阿曲，波斯音乐和其他音乐类型中。
In an eight beat system, we have three layered circles, each rhythm played by a different instrument.
构成一个八拍节奏，我们需要三层同心圆，每一层的节奏都由不同的乐器演奏。
We can then add an outermost layer consisting of an additive rhythmic component, reinforcing the main beat and increasing accuracy.
我们可以在最外面再加上一层，构成一个额外的节奏部分，以加强主拍并提高节奏的准确性。
Now let's remove everything except for this combined rhythm and the basic two beat on top.
现在让我们只保留这个组合节奏和顶端的两个基础的主拍。
This rhythmic configuration is found as the Cuban cinquillo, in the Puerto Rican bomba, and in Northern Romanian music.
在古巴音乐中，这个节拍配置是常见的节奏单位，它也被运用于波多黎各的邦巴曲和北罗马尼亚音乐。
And rotating the outer circle 90 degrees counterclockwise gives us a pattern often found in Middle Eastern music,
将外层的圆环逆时针旋转90度，则是一个经常在中东音乐中出现的节奏，
as well as Brazilian choro, and Argentinian tango.
它也经常出现在巴西科洛曲中和阿根廷探戈中。
In all of these examples, the underlying rhythm reinforces the basic one-two,
以上所有例子中的节奏，本质上都是对基础一二拍的加强，
but in different ways depending on arrangement and cultural context.
但由于组合和文化语境的差异，加强方式有所不同。
So it turns out that the wheel method is more than just a nifty way of visualizing complex rhythms.
所以，圆轮并不仅仅是一个将复杂的节奏视觉化的机灵方法。
By freeing us from the tyranny of the bar line, we can visualize rhythm in terms of time,
圆轮将我们从横条的粗暴表达中解放出来，我们可以用时间来视觉化节奏，
and a simple turn of the wheel can take us on a musical journey around the world.
只要简单地旋转圆轮，我们就可以进行音乐的环球旅行。
