The syncopated measure, like the redundant, bears to the acatalectic group specific relations of duration, accentual stress, and position in the rhythmical sequence.  In position it is final.  This relation is independent of the factor of duration, on which the order of elements in the simple measure depends.  Even the excessive shortening which occurs in the trochaic form, when the full measure has a duration almost one and one half times as great as the syncopated, brings about no inversion of the order.

In duration the syncopated group is a shortened measure.  The amount of reduction necessary to preserve rhythmical proportion with the rest of the sequence is greater in the trochaic than in the dactylic form, as in the relation of accented to unaccented elements in the simple measure it is greater than in the case of the trochaic, a principle of structure which has already been pointed out.

There is similar evidence in beaten rhythms to show that when a full measure is elided, the pause which replaces it is of less value than the duration of a syncopated measure.  When trochaic rhythms were beaten out with a distinct pause after each measure, the relative values of the two intervals were 1.000:2.046.  Such a pause cannot be equivalent to a suppressed beat and its interval; I regard it as functionally equal to a whole measure.  If that value be allowed for the second interval which it possesses in the same rhythm type when no pause is introduced, namely, 1.000:0.920, the first two intervals will have a value—­in terms of linear measurement—­of 1.93 + 1.77 or 3.70.  The value of the suppressed measure would therefore be 2.15, a ratio of acatalectic to elided group of 1.000:0.581.

Iambic rhythm beaten out without separating pauses presents the following ratio between first and second intervals, 1.000:1.054; on the introduction of a pause between the measures the ratio becomes 1.000:2.131.  The assignment of these proportional values gives 1.68 + 1.77, or 3.45, as the duration of the first two intervals, and 1.81 for the pause, a ratio of 1.00:0.524.

In continuous dactylic tapping, the values of the successive intervals are 1.000; 0.756; 0.927; with a separating pause their relations are 1.000; 0.692; 1.346.  These being analyzed as before, the elided measure will have the relative value of 0.419.  This shows a decline in the proportional duration of the elision as the total value of the measure elided increases.  There can be little question that this principle applies also to the value of elisions of higher rhythmic structures as well.

In intensity the syncopated measure is a point of increased accentual stress.  This relation is not constantly maintained in the trochaic form, in which at one ratio the accent appears reduced;[10] in the dactylic form divergences are all in the direction of an apparent increase in accentuation.  In rhythms beaten out the form of succession
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