stress can shift by less than a whole beat, so it occurs on an offbeat, as in the following example, where the stress in the first bar is shifted back by an eighth note (or quaver): Whereas the notes are expected to occur on the beat: Playing a note ever so slightly before, or after, a beat is another form of syncopation because this produces an unexpected accent: It can be helpful to think of a rhythm in eighth notes and count it as "1-and-2-and-3-and-4-and". In general, emphasizing the "and" would be considered the off-beat. Anticipated bass Anticipated bass is a bass tone that comes syncopated shortly before the downbeat, which is used in Son montuno Cuban dance music. Timing can vary, but it usually occurs on the 2+ and the 4 of the time, thus anticipating the third and first beats. This pattern is known commonly as the Afro-Cuban bass tumbao. Transformation Richard Middleton suggests adding the concept of transformation to Narmour's prosodic rules which create rhythmic successions in order to explain or generate syncopations. "The syncopated pattern is heard 'with reference to', 'in light of', as a remapping of, its partner." He gives examples of various types of syncopation: Latin, backbeat, and before-the-beat. First however, one may listen to the audio example of stress on the "strong" beats, where expected: Latin equivalent of simple In the example below, for the first two measures an unsyncopated rhythm is shown in the first measure. The third measure has a syncopated rhythm in which the first and fourth beat are provided as expected, but the accent occurs unexpectedly in between the second and third beats, creating a familiar "Latin rhythm" known as tresillo. Backbeat transformation of simple The accent may be shifted from the first to the second beat in duple meter (and the third to fourth in quadruple), creating the backbeat rhythm: Different crowds will "clap along" at concerts either on 1 and 3 or on 2 and 4, as above. "Satisfaction" example The phrasing of "Satisfaction" is a good example of syncopation. It is derived here from its theoretic unsyncopated form, a repeated trochee (¯ ˘ ¯ ˘). A backbeat transformation is applied to "I" and "can't", and then a before-the-beat transformation is applied to "can't" and "no". 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & Repeated trochee: ¯ ˘ ¯