Into the Gruev

In the early 20th century, Hungarian composer and ethnomusicologist Béla Bartók coined the term ‘Bulgarian rhythms’ to describe asymmetrical or ‘uneven’ rhythms that are a key component of Bulgarian folk music and dances. Bulgarian folk musicians think of beats as either ‘quick’ or ‘slow’, which correspond to the short and long steps of folk dancers. Essentially, the time signature is an amalgam of groups of these types of beats. And due to this link to folk dancing, it is imperative that the music grooves. Gruevs. Ahem.

Now it’s time to count, clap or tap along to the following (supposedly) relatively straightforward examples. A 5/16 time signature is quick (Q), slow (S): one-two, one-two-three. A 7/16 metre is Q, Q, S: one-two, one-two, one-two-three. Any discerning Leeds United fan will quite naturally be able to see the parallels between these Bulgarian rhythms and Ilia Gruev’s playing style.

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