Editing Rhythm (section)

==Composite rhythm==<!--[[Composite rhythm]] redirects directly here-->

[[File:Bach, Sinfonia in F minor BWV 795, mm. 1-3a composite rhythm.png|thumb|right|upright=1.35|[[Johann Sebastian Bach|Bach]]'s ''[[Inventions and Sinfonias|Sinfonia in F minor]]'' BWV 795, mm. 1–3
[[File:Bach, Sinfonia in F minor BWV 795, mm. 1-3a.mid|thumb|left|Original]]
[[File:Bach, Sinfonia in F minor BWV 795, mm. 1-3a composite rhythm.mid|thumb|left|With composite]]]]

A '''''composite rhythm''''' is the [[duration (music)|durations]] and patterns (rhythm) produced by amalgamating all sounding [[part (music)|parts]] of a musical [[texture (music)|texture]]. In music of the [[common practice period]], the composite rhythm usually confirms the [[meter (music)|meter]], often in metric or even-note patterns identical to the [[pulse (music)|pulse]] on a specific metric level. White defines ''composite rhythm'' as, "the resultant overall rhythmic [[articulation (music)|articulation]] among all the voices of a [[counterpoint|contrapuntal]] texture".{{sfn|White|1976|p=136}} This concept was concurrently defined as "attack point rhythm" by [[Maury Yeston]] in 1976 as "the extreme rhythmic foreground of a composition – the absolute surface of articulated movement".{{sfn|Yeston|1976|pp=41–42}}