The phrase "a rhythm with which" is correct and usable in written English.
It can be used when describing a specific rhythm that is associated with or used in conjunction with something else, such as music or movement.
Example: "The dancer moved gracefully, embodying a rhythm with which the audience could not help but sway."
Alternatives: "a rhythm that accompanies" or "a rhythm to which".
The puppeteers seem to have spent five centuries (that is the genre's estimated age, at minimum) working out the precise rhythm with which a weeping woman would dab her eyes with her sleeve, or the exact wobble with which a drunken god would raise to his mouth his fourth, as opposed to his third, cup of sake.
The three singers — Emilio Florido, Manuel Gago and (replacing Carmina Cortes Miguel Rosendoo — make a marvelous ensemble, not least in the rhythm with which their clapping and foot-tapping accompanies both guitar and dance.
The rhythm with which she phrases a dance is glorious: it's capable of all kinds of dynamic contrasts and brilliant details, but it shapes each number like one coherent thought.
Granted, it is impossible to separate the off-course from the on-course, but what should be celebrated in Maryland is the rhythm with which he swings his driver, the panache he shows with a wedge.
I wouldn't look necessarily at what we did so much as the rhythm with which we did it".
The relentless rhythm with which the show shifts between story lines, and between past and present, gives it a metronomic quality that grows increasingly wearying.
However, there are two things I love about this song: one is the propulsive rhythm with which the band chugs away, and the other is the way this song is a medley of sorts, going from one song right into the next, which is unusual.
You marvel at the height and ease of each jump, at the flashing brilliance with which his legs and feet crisscross in the air and — perhaps best of all — at the perfect rhythm with which he alights every time on the downbeat.
The way its protagonist, May, crosses the stage from side to side, turns and recrosses it, identically and obsessively, recalls the rhythm with which the Wilis in the ballet's second act cross the stage, and May's sleepless brooding, her persona like Miss Havisham in Dickens's "Great Expectations" dwelling on a long-ago trauma, resembles the nocturnal rituals of the man-punishing Wilis.
Several factors can influence the rhythm with which babies perform the sucking runs and pauses, including age, hunger, baby's mouth position on the breast, sucking time and pressure, fatigue and satiation, and milk flow.
