The Music of Hindostan c13.s3.158

c13.s3.158

But the fact remains that we feel these things as elongations and truncations of rhythms which are familiar to us, and they could hardly be naturalized. Perhaps this is why in his variations on a Hungarian air in 7/4 (Tevra) Brahms drops in the fourth variation into common time beginning on an off-beat, in the fifth and sixth into 3/4 beginning on an off-beat, in the seventh into overlapping phrases, and continues from the ninth onwards frankly in 2/4 and 6/8. Perhaps he felt that he could best explain the nature of this rhythm by showing that it was like all these things which we have, but was not the same as any one of them.