initial phrase of the fugue subject is expressed... with the accent thrown on to the second of the two minims (now staccato)": Haydn, Mozart, Beethoven, and Schubert used syncopation to create variety especially in their symphonies. The beginning movement of Beethoven's Eroica Symphony No. 3 exemplifies powerfully the uses of syncopation in a piece in triple time. After producing a pattern of three beats to a bar at the outset, Beethoven disrupts it through syncopation in a number of ways: (1) By displacing the rhythmic emphasis to a weak part of the beat, as in the first violin part in bars 7–9: Richard Taruskin describes here how "the first violins, entering immediately after the C sharp, are made palpably to totter for two bars". (2) By placing accents on normally weak beats, as in bars 25–26 and 28–35: This "long sequence of syncopated sforzandi" recurs later during the development section of this movement, in a passage that Antony Hopkins describes as "a rhythmic pattern that rides roughshod over the properties of a normal three-in-a bar". (3) By inserting silences (rests) at points where a listener might expect strong beats, in the words of George Grove, "nine bars of discords given fortissimo on the weak beats of the bar": See also Anacrusis Counting (music) Syncopation (dance) Syncope and epenthesis, analogous linguistic concepts where vocal rhythm causes the loss or addition of sounds to a word Hemiola Cross-beat Nu metal, a subgenre of heavy metal music created in the 1990s, utilizing syncopated rhythms. The Syncopated Clock References Sources Further reading External links Syncopation in dance and music On syncopation (in Dutch) Rhythm and meter Jazz techniques Musical techniques Musical terminology Jazz terminology