
beat off
beat all
[Middle English beten, from Old English bēaten.]
SYNONYMS beat, baste, batter, belabor, buffet, hammer, lambaste, pound, pummel, thrash. These verbs mean to hit heavily and repeatedly with violent blows: was mugged and beaten; basted him with a stick; was battered in the boxing ring; rioting students belabored by police officers; buffeted him with her open palm; hammered the opponent with his fists; lambasted every challenger; troops pounded with mortar fire; pummeled the bully soundly; thrashed the thief for stealing the candy. See also synonyms at defeat.
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A variation in the intensity of a composite wave which is formed from two distinct waves with different frequencies. Beats were first observed in sound waves, such as those produced by two tuning forks with different frequencies. Beats also can be produced by other waves. They can occur in the motion of two pendulums of different lengths and have been observed among the different-frequency phonons in a crystal lattice.
One important application of beat phenomena is to use one object with an accurately known frequency to determine the unknown frequency of another such object. The beat-frequency or heterodyne oscillator also operates by producing beats from two frequencies. See also Oscillator.
1. Underlying rhythm in music.
2. Pause for a count of one; terminology used by a director when shooting or overseeing the editing of a commercial.
3. Pulsations of amplitude produced by radio waves of different frequencies. See also frequency modulation.
verb
phrasal verb - beat down
phrasal verb - beat off
noun
adjective
Idioms beginning with beat:
beat the Dutch
beat back
beat it
beat off
beat one's brains out
beats me
beat someone at his or her own game
beat the air
beat the bushes for
beat the clock
beat the drum for
beat the meat
beat the rap
beat time
See also dead beat; heart misses a beat; if you can't beat them, join them; march to a different beat; miss a beat; off the beaten track; pound the pavement (a beat); to beat the band.
Definition: very tired
Antonyms: rested
v
Definition: defeat, surpass
Antonyms: cede, lose, relinquish, retreat, surrender
v
Definition: injure by striking
Antonyms: aid, assist, guard, help, protect
v
Definition: strike
Antonyms: caress, pat, pet
The throbbing or ‘beating’ effect heard when two notes very close in pitch are heard simultaneously. This acoustical phenomenon results from the interference between two sound waves of slightly differing frequencies. The number of beats per second equals the difference in frequency, so the beats disappear if the two are in perfect unison. Beats are thus useful for the tuning of instruments; they can also be useful when they are audible between the harmonics of two notes for tuning a temperament exactly.

The beat is the basic unit of time in music, the pulse of the mensural level[1] (or beat level).[2] In popular use, the beat can refer to a variety of related concepts including: tempo, meter, rhythm and groove. In modern pop music, the term "beats" has been used to describe whole pieces of composed music.[citation needed] This is a distinct and separate use of the term from the way "beat" is used traditionally as related only to the rhythmic element of music.
Rhythm in music is characterized by a repeating sequence of stressed and unstressed beats (often called "strong" and "weak") and divided into bars organized by time signature and tempo indications.
Metric levels faster than the beat level are division levels, and slower levels are multiple levels. See Meter (music)#Metric structure.
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The downbeat is the impulse that occurs at the beginning of a bar in measured music.[3] Its name is derived from the downward stroke of the director or conductor's baton on the first beat of each measure. It frequently carries the strongest accent of the rhythmic cycle. However, in some cases, the downbeat may not be emphasized. Such departure from the normal stress pattern of a measure is a form of syncopation.
(Ger. Auftakt).
1. An unaccented beat or beats that occur before the first beat of the following measure. In other words, this is an impulse in a measured rhythm that immediately precedes, and hence anticipates, the downbeat. It can be the last beat in a bar where that bar precedes a new bar of music.[4]
2. An anticipatory note or succession of notes occurring before the first barline of a piece, sometimes referred to as an ‘upbeat figure’, section or phrase. An alternative expression is "anacrusis" (from Greek. ana: "up towards" and krousis: "to strike"; Fr. anacrouse). This term was borrowed from poetry where it refers to one or more unstressed extrametrical syllables at the beginning of a line.[4]
3. The upward stroke made by a conductor to indicate the beat that leads into a new measure.
N.B. This expression is sometimes loosely used outside the field of music to denote anything positive-sounding; e.g. an "upbeat assessment of a company's prospects"
In music that progresses regularly in 4/4 time, counted as "1 2 3 4, 1 2 3 4...", the first beat of the bar (down-beat) is usually the strongest accent in the melody and the likeliest place for a chord change, the third is the next strongest: these are "on" beats. The second and fourth are weaker - the "off-beats". Subdivisions (like eighth notes) that fall between the pulse beats are even weaker and these, if used frequently in a rhythm, can also make it "off-beat".[7] The effect can be easily simulated by evenly and repeatedly counting to four: Bold denotes a stressed beat. As a background against which to compare these various rhythms a bass drum strike on the downbeat and a constant eighth note subdivision on ride cymbal have been added, which would be counted as follows:
So Off-beat is a musical term commonly applied to syncopation that emphasizes the weak even beats of a bar, as opposed to the "normal" on-beat. This is a fundamental technique of African polyrhythm that transferred to popular western music. According to Grove Music, the “Offbeat” is [often] where the downbeat is replaced by a rest or is tied over from the preceding bar".[7] The downbeat can never be the off-beat because it is the strongest beat in 4/4 time.[8] Certain genres in particular tend to emphasize the off-beat. This emphasis is a defining characteristic of rock'n'roll and Ska music.
A back beat, or backbeat, is a syncopated accentuation on the "off" beat. In a simple 4/4 rhythm these are beats 2 and 4.[10] Emphasized back beat, a feature of some African styles, defined rhythm and blues recordings in the late 1940s and so became one of the defining characteristics of rock and roll and much contemporary Western popular music.
An early record with an emphasised back beat throughout was "Good Rockin' Tonight" by Wynonie Harris in 1948.[citation needed] However drummer Earl Palmer claimed the honour for "The Fat Man" by Fats Domino in 1949, which he played on, saying he adopted it from the final "shout" or "out" chorus common in Dixieland jazz. However urban contemporary gospel was stressing the back beat much earlier with hand-clapping and tambourines. There is a hand-clapping back beat on "Roll 'Em Pete" by Pete Johnson and Big Joe Turner, recorded in 1938. A distinctive back beat can be heard on "Back Beat Boogie" by Harry James And His Orchestra, recorded in late 1939.[11] Other early recorded examples include the final verse of "Grand Slam" by Benny Goodman in 1942 and some sections of The Glenn Miller Orchestra's "(I've Got A Girl In) Kalamazoo", while amateur direct-to-disc recordings of Charlie Christian jamming at Minton's Playhouse around the same time have a sustained snare-drum back-beat on the hottest choruses.
In the mid 1940s "hillbilly" musicians the Delmore Brothers were turning out boogie tunes with a hard driving back beat, such as the #2 hit "Freight Train Boogie" in 1946, as well as in other boogie songs they recorded.[13] Similarly Fred Maddox’s trademark back beat, a slapping bass style, helped drive a rhythm that came to be known as rockabilly, one of the early forms of rock and roll.[14] Maddox had used this style as early as 1937.[15]
In today's popular music the snare drum is typically used to play the backbeat pattern.[5] Early funk music often delayed one of the backbeats so as, "to give a 'kick' to the [overall] beat".[12]
Some songs, such as The Beatles' "Please Please Me" and "I Want to Hold Your Hand", The Knack's "Good Girls Don't" and Blondie's cover of The Nerves' "Hanging on the Telephone", employ a double backbeat pattern.[16] In a double backbeat, one of the off beats is played as two eighth notes rather than one quarter note.[16]
Cross-rhythm. A rhythm in which the regular pattern of accents of the prevailing meter is contradicted by a conflicting pattern and not merely a momentary displacement that leaves the prevailing meter fundamentally unchallenged—New Harvard Dictionary of Music (1986: 216).[17]
In Sub-Saharan African music traditions (and many Diaspora musics) cross-rhythm is the generating principle; the meter is in a permanent state of contradiction.
The cross-rhythmic ratio three-over-two (3:2) or vertical hemiola, is the most significant rhythmic cell found in sub-Saharan rhythms. The following measure is evenly divided by three beats and two beats. The two cycles do not share equal status though. The two bottom notes are the primary beats, the ground, the main temporal referent. The three notes above are the secondary beats. Typically, the dancer's feet mark the primary beats, while the secondary beats are accented musically.
The example below shows the African 3:2 cross-rhythm within its proper metric structure.
Novotney observes: "The 3:2 relationship (and [its] permutations) is the foundation of most typical polyrhythmic textures found in West African musics."[18] 3:2 is the generative or theoretic form of sub-Saharan rhythmic principles. Agawu succinctly states: "[The] resultant [3:2] rhythm holds the key to understanding . . . there is no independence here, because 2 and 3 belong to a single Gestalt."[19]
The three-against-four (3:4) cross-rhythm consists of a "slow" cycle of three beats over four main beats. The three-beat cycle is represented as half-notes in the following example for visual emphasis.
A hyperbeat is one unit of hypermeter, generally a measure. "Hypermeter is meter, with all its inherent characteristics, at the level where measures act as beats."[20]
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Dansk (Danish)
v. tr. - banke (på), slå
v. intr. - slå, banke
n. - slag
adj. - udmattet, udaset
idioms:
Nederlands (Dutch)
slaan, kloppen, uitkloppen, verslaan, klappen (vleugels), platlopen, een raadsel zijn, oplichten, uitputten/kammen, ontlopen, tempo aangeven, ritme, tel (muziek), klap, uitgeput
Français (French)
v. tr. - frapper, fouetter, battre (des ¯ufs), (Mil) battre (en/la retraite), vaincre, triompher de, (Chasse) battre (des bois)
v. intr. - battre, taper, darder ses rayons, battre (c¯ur, pouls, tambour), (Naut) louvoyer
n. - battement, pulsation, roulement, battement (acoustique), (Mus) temps, battement de la mesure, rythme, ronde, secteur (policier), (fig) domaine, battue (à la chasse)
adj. - éreinté, claqué
idioms:
Deutsch (German)
v. - schlagen, klopfen, hämmern, ein Rätsel sein
n. - Schlag, Rhythmus, Runde, Revier, (Phys.) Schwebung
adj. - (ugs.) erschlagen, kaputt, Beat(generation)
idioms:
Ελληνική (Greek)
v. - χτυπώ, βαρώ, κοπανάω, δέρνω, νικώ, κερδίζω, υπερέχω, υπερτερώ, καταπολεμώ, κατανικώ, τιθασεύω, δαμάζω, πάλλομαι
n. - παλμός, χτύπος (της καρδιάς κ.λπ.), σφυγμός, χτύπημα, πλήγμα, (μουσικός) ρυθμός, χρόνος ή μέτρο, περιπολούμενη περιοχή, διαδρομή περιπολίας, (ΗΠΑ) μπίτνικ
idioms:
Italiano (Italian)
palpitare, frullare, battere, picchiare, essere un enigma per, sconfiggere, ritmo
idioms:
Português (Portuguese)
v. - vencer, bater, derrotar, superar, conquistar, palpitar
n. - batida (f), ritmo (m) (Mús.), pulsação (f), ronda (f), círculo eleitoral (EUA)
idioms:
Русский (Russian)
бить, колотить, биться, взбивать, выбивать, прочесывать, побеждать, ставить в тупик, смертельно устал, такт, ритм
idioms:
Español (Spanish)
v. tr. - latir, palpitar, pulsar, batir, sacudir, golpear, martillear, vencer, derrotar, ganar, rebasar
v. intr. - latir, palpitar, ganar, soplar, batir con violencia, golpear en
n. - latido, pulsación, ritmo, tiempo, compás
adj. - derrengado, rendido de cansancio
idioms:
Svenska (Swedish)
v. - slå, piska, bulta, hamra, smida, driva, vispa, slå rekord, övervinna
n. - slag, takt, bultande, rond, pass
中文(简体)(Chinese (Simplified))
打, 敲, 击, 拍打, 冲击, 扑动, 跳动, 吹打, 敲打, 巡逻区域, 拍子, 筋疲力尽的, 大吃一惊的, 垂头丧气的
idioms:
中文(繁體)(Chinese (Traditional))
v. tr. - 打, 敲, 擊, 拍打, 衝擊, 撲動, 跳動
v. intr. - 打, 敲, 擊, 衝擊, 吹打, 拍打
n. - 敲打, 巡邏區域, 拍子
adj. - 筋疲力盡的, 大吃一驚的, 垂頭喪氣的
idioms:
한국어 (Korean)
v. tr. - 치다, 부딪히다, 날개 치다
v. intr. - 계속해서 치다, 뛰다, 거세게 내리치다
n. - 구타, 치는 소리, 순찰 구역
adj. - 지쳐 빠진, 불시에 당하여, 비트족의
idioms:
日本語 (Japanese)
v. - 打つ, 打ち鳴らす, 打ち負かす, …より勝る, 取る, 刻む, 鼓動する, うなりを生じる, 打ち延ばす, 強くかき混ぜる
n. - 打つこと, 打つ音, 鼓動, 拍子, 指揮棒の一振り, 巡回路, ビート
idioms:
العربيه (Arabic)
(فعل) ضرب, دق, غلب, انتصر على, هزم, خفق, قرع, نفض (الاسم) نبضه, وحدة الأيقاع في الموسيقى, ضربه
עברית (Hebrew)
v. tr. - היכה, הלם, גבר על, ריקע מתכת, טרף (ביצה), בחש, כבש שביל ברגליו, תופף, סימן קצב
v. intr. - סחוט, בחש, פעם בקצב (לב), עלה וירד
n. - דפיקה, מכה, מיקצב, קיצבה, פעמה, מסלול, מקוף, נתיב קבוע
adj. - עייף, סחוט, של ביטניק, עלה וירד
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