Just a beat - Just a beat

Japanese: 只拍子 - ただびょうし

A term from Japanese gagaku theory. A type of term that describes rhythm, meaning additional rhythm or mixed rhythm. There are three types of Hayatada byoushi, Hayatada byoushi, Nobetada byoushi, and Yatara byoushi, but in the narrow sense it can also refer to Hayatada byoushi only. Hayatada byoushi is a mixed rhythm in which 2 and 4 beats are repeated alternately (2 + 4 = 6), while Yatara byoushi is a mixed rhythm in which 2 and 3 beats are repeated alternately, with the last beat of the Tada byoushi shortened (2 + 3 = 5). Nobetada byoushi is no longer performed today, and its true nature has been lost. Tada byoushi pieces are included in Tang music. Originally, in Bugaku, the dances with Hayatashi rhythm, "Bato" and "Genjoraku", were passed down by musicians from the Nara side, while the dances with Yatara rhythm, "Bato", "Genjoraku", "Somakusha" and "Bairo", were passed down by musicians from the Tennoji side. Both are rhythmic and unique dances. On the other hand, in the form of orchestra, they originated from the variations of music with Raku rhythm performed at the Imperial Court's entertainments into Hayatashi or Nobushi rhythm. Rhythmic variations from easy beats to simple beats were easy enough to be done on the spot, so there are few pieces that have sheet music exclusively for simple beats. In addition, such variations were no longer performed when Oyu was discontinued, so today the pieces are fixed and there are only seven remaining: "Heiro," "Ryukaen," "Seioraku," "Butou," and "Ryugokodatsu."

Source: Encyclopaedia Britannica Concise Encyclopedia About Encyclopaedia Britannica Concise Encyclopedia Information

Japanese:

日本の雅楽理論用語。リズムを表わす用語の一種で，付加リズムまたは混合拍子の意。楽拍子に対する早 (はや) 只拍子，延 (のべ) 只拍子，夜多羅 (やたら) 拍子の3種があるが，狭義には早只拍子のみをいうこともある。早只拍子は2拍子と4拍子が交互に繰返される (いわば2＋4＝6の) 混合拍子，夜多羅拍子は2拍子と3拍子が交互に繰返され，只拍子の最後の一拍が縮められたものと考えられる (2＋3＝5の) 混合拍子で，延只拍子は今日行われず，その正しい実態は失われてしまった。只拍子の曲は唐楽に含まれている。もともと，舞楽においては，『抜頭 (ばとう) 』と『還城楽 (げんじょうらく) 』という早只拍子の舞が奈良方の楽家によって伝承され，『抜頭』『還城楽』『蘇莫者 (そまくしゃ) 』『陪臚 (ばいろ) 』という夜多羅拍子の舞が天王寺方の楽家によって伝承された。いずれもリズミカルで独特の舞である。一方管弦の形態においては，宮廷の御遊 (ぎょゆう) で行われた楽拍子の曲から早只拍子あるいは延只拍子への変奏に由来する。楽拍子から只拍子へのリズム的変奏はその場ですぐできるほど容易であったので，只拍子専用の楽譜が残っている曲は少く，またこのような変奏は御遊がなくなるとともに行われなくなったので，現在は曲も固定し，『陪臚』『柳花苑』『西王楽』『抜頭』『輪鼓褌脱 (りゅうごこだつ) 』の7曲を数えるのみである。

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