Rugs3 Urn v1
Short Description
Rhythm excersise....
Description
Really Useful Guitar Stuff - Part 3
Understanding Rhythm Notation by Justin Sandercoe & Justin Scott
© 2010 - justinguitar.com All rights reserved. Written by Justin Scott & Justin Sandercoe. Version 1.1 Please do not copy or distribute our work. The web site gives away a lot for free so please don’t abuse it.
Page 1
Table of Contents Introduction .............................................................................................................
5
Part 1: The Basics Lesson 1 The Notes
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9
Recognition Test 1 ......................................................................................................
10
Beaming .....................................................................................................................
11
Bars ............................................................................................................................
11
Time Signatures .........................................................................................................
12
Recognition Test 2 ......................................................................................................
14
Counting Systems ......................................................................................................
15
Clefs ...........................................................................................................................
16
Repeat Brackets .........................................................................................................
16
Exercise 1 ..................................................................................................................
17
Lesson 2 Quarter Note and Eighth Note Figures .......................................................................
19
Exercises ....................................................................................................................
20
Lesson 3 The Rests ...................................................................................................................
26
Counting Rests ...........................................................................................................
26
Recognition Test 3 ......................................................................................................
27
Exercises ....................................................................................................................
28
Lesson 4 Tied Notes ..................................................................................................................
33
Recognition Test 4 ......................................................................................................
34
Exercises ....................................................................................................................
36
Page 2
Lesson 5 Dots ............................................................................................................................
42
Quarter Note and Eighth Note Figures Involving Dotted Notes .................................
43
Exercises ...................................................................................................................
44
Lesson 6 Syncopated Quarter Note and Eighth Note Figures ..................................................
50
Exercises ...................................................................................................................
52
Lesson 7 Introducing Sixteenth Notes .......................................................................................
58
Basic Sixteenth Note Figures .....................................................................................
59
Exercises ...................................................................................................................
60
Lesson 8 Sixteenth Note Figures Involving Dots .......................................................................
72
Exercises ...................................................................................................................
73
Lesson 9 Sixteenth Note Figures Involving Rest .......................................................................
79
Exercises ...................................................................................................................
80
Part 2: Advanced Sixteenth Note Reading Lesson 10 Studies Involving Mixed Sixteenth Note Figures ........................................................
108
Exercises ...................................................................................................................
109
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Lesson 11 Studies Involving Mixtures Of All Figures ...................................................................
186
Exercises ....................................................................................................................
187
Lesson 12 Studies Involving Mixtures Of All Figures And Tied Notes .........................................
198
Exercises ....................................................................................................................
199
Lesson 13 Duet Exercises ...........................................................................................................
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Duet #1 .......................................................................................................................
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Duet #2 .......................................................................................................................
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Duet #3 .......................................................................................................................
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Bye Bye ......................................................................................................................
211
Appendices Recognition Test 1 Answers .......................................................................................
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Recognition Test 2 Answers .......................................................................................
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Recognition Test 3 Answers .......................................................................................
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Recognition Test 4 Answers .......................................................................................
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Practice Log ...............................................................................................................
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Introduction Music is a language, probably the most widely recognised language we have on this planet. It speaks to us all in different ways and often speaks louder than words. Music consists of melody and rhythm and in my experience as a teacher, it is rhythm that is most often overlooked. Everybody worries about what notes to play when perhaps, they should be thinking about where to play them! Without a proper understanding of rhythm you will only ever be half way there! This book is about fixing that balance. This ebook is written for you to learn about reading, as well as writing and understanding rhythm. Each of these three elements are very important to all musicians no matter which instrument they play. We are going to start by reading and counting, understanding how note values (durations) are written and how to read tap and count along. Learning to these basic skills will help your understanding, and you will find that practising reading rhythms will help your ʻinternal understandingʼ - you will find that just by playing (or hearing or tapping) a rhythm you will know how to write it and how to ʻfeelʼ it. Feeling the rhythms is the goal here - to have played the rhythms enough times that have been consolidated internally so that you know them instinctively. You should aim to recognise the rhythmic patterns in ʻblocksʼ, much the same way as we recognise words. When a child learns to read they must spell out each letter of the word one at a time until they have done it enough times that they recognise the word instantly. It is the same process here - you should be repeating the exercises over and over, without trying to memorise the exercises, but to recognise the ʻblocksʼ. I would recommend that all instruments start learning to read by tapping along, without regard to note duration. Drummers generally do not control the duration of the notes (ʻhit pointsʼ), but other instruments such as bass guitar have a great emphasis on the ʻrhythm of the silenceʼ. Once you have played through a given chapter you might like to go through the exercises and play them on your instrument if you are able. I have found playing scales is a good way to play the rhythms and can be a creative and fun way to do the exercises - but I would only recommend doing that after you are comfortable tapping or clapping them. You will almost certainly find that doing the exercises in this book will improve your general sense of time and your rhythm playing - and hopefully you will put these exercises into practice with transcriptions too. If you are a guitarist transcribing music (which you should be) and writing it in guitar tab, you will find it very useful to add rhythms, it will help you understand what is being played, help you see the bar lines and the underlying harmony of the song, and therefor help you analyse the song deeper too. You will find the transcription of rhythm as challenging as the notes, and equally as beneficial Iʼm sure.
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Practice Logs This book is highly structured and very thorough which does mean that there are a lot of exercises. To help you manage your studies effectively weʼve included a practice log (itʼs in the appendices section). Simply print it out and fill it in as you work through the book. Taking a few minutes to do this will help you track your progress, ensuring that you get the most out of the time you spend working through the book.
Itʼs also pretty cool to look back occasionally to see exactly what youʼve achieved. We all tend to underestimate this a little but you canʼt argue if if itʼs all recorded in your practice log. Itʼs a good feeling and itʼll inspire you to keep working. OK, enough chat for now - letʼs get learning! Good luck, Justin and Justin
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Part 1: THE BASICS
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Lesson 1
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The Notes There five note ʻvaluesʼ that we are going to explore in this book. Recognising each note and what it means is of course, essential. So weʼre going to start here. You will notice that there are two names for each note, one European name and one American name. Personally, I prefer the European names (I learned and used them at school in Australia), but the American names are more logical and possibly more commonly used in contemporary music. I would suggest being familiar with both and I am going to use both during the book, so that you are equally familiar with which ever you find! This chart shows you what the notes look like, their names and value (duration).
The first note on our chart is a semibreve or whole note and is worth 4 beats. The most common rhythms in Western music are in 4/4 time (weʼll come to this later) which means that there are 4 beats in a bar (western music breaks music into time lengthʼs called bars). The semibreve (having 4 beats) takes up a whole bar, hence the American term, whole note. There is a logic there. Worth noting that this note does not have a ʻstemʼ, itʼs just a hollow circle. The next note down, a hollow circle with a stem, is a minim or half note. This has a duration value of 2 beats, so of course in a bar of 4/4 (with 4 beats) a minim will take up half a bar. Half note. Get it? Now we have the solid note with a stem, called a crotchet. These are worth one beat each, so in 4/4 they take up a quarter of a bar each... so they are called... you got it, quarter notes. Weʼre going to be starting a lot of material with four of these... The quaver looks very similar to a crotchet but it has a ʻtailʼ. There would be 8 of these in a bar, so they are also called eighth notes, and they are worth half a beat each. Weʼll look at rests (silence) later on, for now I want to you to get familiar with the notes.
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Recognition Test 1 Stop reading for a moment and print off this page. Complete the following table below to see how well you know your notes. You can check by using the answer sheet in the appendix.
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Beaming In order to preserve the metric structure of the bar, eighth notes and sixteenth notes often have their tails ʻjoinedʼ together. This is called beaming. It makes them easier to read and once you become familiar with the way notes are grouped together you will recognise the certain rhythms very quickly. You will always make sure that the start of every beat is shown clearly by the start of a group of beamed notes. So one bar of 16th notes in 4/4 time will show the groups of 16th notes as four groups. Look at the example below and you will see that once beamed, the bar is becomes clearer, less ambiguous and therefore easier to read.
Bars Music is divided into smaller units of time called ʻbarʼs. A bar is a complete cycle of strong and weak pulses (or beats), the specific pattern of which is defined by the time signature. They help keep the groups of notes organised in chunks that are easy to read and after some practice you will start to recognise rhythms one or two bars at a time! They also help define “grooves” with most common styles having an accent on beat 1 (at the start of a bar). Bars are separated on the page by barlines and there are three types:
Single barlines are the most common and are generally used to separate bars. Double barlines are used to show the ends of sections. Fine (pronounced fee nay) barlines are used at the end of compositions.
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Time Signatures Time signatures define the contents of a bar- how many beats and pulses make up the groove of the song. The top number tells you how many counts there are in a bar
The bottom number tells you the value of each count The best thing is to think of them as fractions. The top number tells you how many counts there are in a bar, and the bottom number tells you the value of each count. So if we think of 4/4 as a fraction it would be ʻfour quartersʼ. This tells us that a bar of 4/4 contains four quarter notes. Compound vs Simple If you look at the examples on the next page, Youʼll see that some of the time signatures have an 8 on the bottom. Thinking of fractions, 6/8 would mean that there are 6 eighth notes in a bar. Look a little more closely and youʼll notice that these eighth notes are beamed in groups of 3ʼs. These types of time signatures are called compound time signatures. Time signatures where the notes are beamed in groups of 2 or 4 are called simple time signatures. I found this incredibly hard to understand when I first started learning. But itʼs all about the pulse. Weʼve established that there are 6 eighth notes in our bar of 6/8. But think about a bar of 3/4 in which each beat divided in half - there would also be 6 eighth notes.... huh? So why are they different? Well 3/4 has three main pulses (or beats), each one naturally dividing in two. It is counted ʻ1 + 2 + 3 +ʼ with accents on the 1, 2 and 3. One the other hand, 6/8 only has two main pulses, each one naturally dividing in three. It is counted ʻ1 2 3 4 5 6ʼ with accents on the 1 and the 4 only. Donʼt worry about this too much for now - it really just explains the difference between simple and compound time signatures. This book only deals with 4/4 time, and once youʻve worked through all the nasty stuff in it, understanding and playing compound time signatures is gonna be a breeze!! :)
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Some Common Time Signatures 4/4 - Four quarter notes (or equivalent) in a bar
3/4 - Three quarter notes (or equivalent) in a bar
6/8 - Six eighth notes (or equivalent) in a bar
12/8 - Twelve eighth notes (or equivalent) in a bar
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Recognition Test 2 Stop reading for a moment and print off this page. Identify the time signature of each of the following bars by writing it in the correct place on the staff. Once youʼve finished check your answers against the answer sheet in the appendix.
Example 1
Example 2
Example 3
Example 4
Example 5
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Counting Systems Counting rhythms correctly will enable you to learn rhythm reading quickly and easily. There are a few reasons, the most important is knowing where you are in a bar. After some time working on rhythm reading these things will become instinctive and you probably would not need to count, but will find it very useful if you encounter a new difficult passage. The most important part of any count is the numbers which in 4/4 would be ʻ1 2 3 4ʼ because these describe the main pulse. Notes played in between the main pulse will be counted too and sixteenth notes for example, would be counted using the sounds/words, ʻandʼ (written as ʻ+ʼ), ʻeeʼ (written as ʻeʼ) and ʻaahʼ (written as ʻaʼ). The important trick here is that the beat (numbers) will be counted even when there is a rest! but when there is a rest you would whisper the count. For example:
In the bar above the 1, 2 and the 4 will be counted out loud, but the 3 will be whispered because it is a rest! The reason is so that you always know where you are in a bar. Something that is very easy to get lost at when you are starting out with this rhythm reading stuff!
In the example shown above you would count the 1, the 2 would be whispered, then count and, 3 and, the 4 is whispered and then count and again. Practice this bar and get used to the idea of whispering on the beat. So just to make sure: You will always count the 1, 2, 3 , 4. It there is a rest on the beat you will whisper it. All other divisions are only counted when they are there! It wonʼt take long to get this feeling natural, but it takes a bit of getting used to. Itʼs worth it, I promise! :) Some things you just have to hear...
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Clefs A clef shows the reader how to interpret the notes on a stave. Guitar is usually written in a treble clef and bass guitar written in bass clef. Piano uses one of each. In this book, as we are dealing exclusively with rhythm, the clef is that we will be using is the percussion clef. It means that the lines of the stave do not represent specific pitch but rather different percussive sounds and timbres (such as the different parts of the drumset). Here it is:
All of the rhythms in this book are written on the third space, which in percussion clef is normally used to represent snare drum. Iʼd recommend working through all of the exercises by tapping them out at first before applying them to your instrument.
Repeat Brackets A thick line, a thin line and two dots make a up a repeat bracket. They are very commonly used. They can cover one bar, one page or a whole section. the ʻend repeatʼ (with the two dots and thin line on the left of the thick line) will look back to the first start repeat sign it finds. I always thought of the little dots as eyes looking back through the music and repeating back when it finds eyes looking forward! Sounds silly but might help you remember them.
Also worth noting is that if you find an end repeat and no start repeat, you will go back to the beginning of the song. Interesting fact... repeat brackets are not barlines. It is true that in contemporary music they most often occur at the ends of bars and so appear to act as barlines but in fact repeat brackets can be placed anywhere... even in the middle of bars! Iʼve only ever seen this used in classical music so youʼll probably never encounter it. I just thought Iʼd mention it because I find these kinds of things interesting!
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Hereʼs a short piece of music that shows how the different notes that youʼve learnt so far fit in a bar. Notice the other things that weʼve talked about too, such as the time signature, the clef, the staff, barlines and repeat markings:
Exercise 1.1 Single Barline
Time Signature
Percussion Clef
repeat Bracket
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Lesson 2
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Quarter Note and Eighth Note Figures So lets get going! Weʼre going to start by looking at a bar of 4/4 with a note on each beat, and then add in notes between the beats. Take a look at this first one and note the crotchets (quarter Notes) on each beat of the first bar, and that each beat has been ʻcut in halfʼ in the second bar and you find that you get the ʻandsʼ. You will only tap your foot on the numbers (never the ʻandsʼ). Tapping your foot is a really important skill.
Of course rhythms will rarely be that simple, you will most likely have some beats divided, and some not, so here are some easy examples where you have both:
As am sure you can imagine, there are many variations, and getting to grips with these basic patterns is important. So try out the following 5 simple exercises and get used to: • keeping steady time with a metronome (start at 50bpm if you can) • tapping your foot on the beat • counting the rhythms out loud • reading along and letting your eyes follow the music • tap the rhythm out with your hand (right hand is good to use if you play guitar!) Page 19
Exercise 2.1
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Exercise 2.2
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Exercise 2.3
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Exercise 2.4
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Exercise 2.5
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Lesson 3
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The Rests A rest is a symbol that represents a silence of a specific length. The most commonly used rests, their different names and their values (in beats) are shown in the table below:
Counting Rests On The Beat We have already looked at the importance of counting rhythms, but I want to remind you again here! And it is still important to count numbers when there is a rest on the beat. We count the rest with a whisper - if we counted fully out loud it might confuse our rhythm, and if we leave it out it would mean that you might get lost! In the examples that follow it is essential that you learn to whisper the count when a rest is on the beat. The only notes to whisper are the numbers (1, 2, 3 and 4) you do not need to count the ʻandsʼ - the reason we count the numbers is so that you will always know where you are in the bar. You will find that this helps a lot in the exercises where there are lots of rests, and this often happens in the “real world” too. The most common mistake I see in students learning these skills in that they forget where they are in the bar (not whispering the beat) and then getting properly lost. It is true that after some time doing this type of exercise it becomes less and less important - you will learn to ʻfeel the 1ʼ - but starting out it is essential. So next up we have a chart for you to fill in to help you remember them, and then go ahead and practice these exercises - SLOWLY. There is no rush here - just keep a steady beat with the metronome and work your way through them.
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Recognition Test 3 Stop reading for a moment and print off this page. Complete the following table below to see how well you know the rests. You can check by using the answer sheet in the appendix.
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Exercise 3.2
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Exercise 3.3
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Exercise 3.4
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Exercise 3.5
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Lesson 4
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Tied Notes If a note needs to be longer then we can tie it to another note! Itʼs really simple idea, and it even kinda looks like itʼs being tied to the next note. When two notes are tied together, the second one is not played, the first oneʼs sound continues for the length (duration) of both the notes. If you are tapping out rhythms (the best way to start out) then you would simply not play the second note. If you are playing the rhythms then you would have to make sure that the note or chord sustains for the duration of both notes. If you look at the examples below you can see the first one is a whole note (4 beats) tied to a half note (2 beats) giving you a total of 6 beats. Of course you wonʼt find this in 4/4 time because we only have 4 beats in a bar and 6 wouldnʼt fit!
= 6 Beats = 3 Beats = 2 Beats
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Recognition Test 4 Stop reading for a moment and print off this page. Complete the following table below to see how well you know the rests. You can check by using the answer sheet in the appendix.
Example 1
Example 2
Example 3
Example 4
Example 5
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Write your Answers below: Example 1 = _________ Beats Example 2 = _________ Beats Example 3 = _________ Beats Example 4 = _________ Beats Example 5 = _________ Beats Then try to play along with the following exercises and put them into practice!
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Exercise 4.1
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Exercise 4.2
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Exercise 4.3
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Exercise 4.4
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Exercise 4.5
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Lesson 5
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Dots Dots are used to increase note values, they increase the length of a note by half. So if a regular note was worth 4 beats, then a dotted note would be worth 6 beats. They are used to help keep reading as simple as possible and are faster to write too. Although at first it may seem more difficult, they are very useful for both reading and writing once you get familiar with them!
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Quarter Note and Eighth Note Figures Involving Dotted Notes Next up we are going to look at using some dotted notes with regular ones. The example below shows you a rhythm with all the beats and ʻandsʼ shown to help you try it out:
Remember to count the beat (if there is no note played on the beat you will whisper it!!). In the example below both the 2 and the 4 in the second bar will be whispered - and you will only say the ʻandʼ (+) when there is note.
Hereʼs the other figure that youʼll encounter in this lesson. First itʼs written with all of the beats and the ʻandsʼ:
Here it is again with the whispered counts in brackets:
Make sure you are clear with the concept and then have a go at the following exercises. Take it slow and take time to work out any that you donʼt understand clearly.
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Exercise 5.1
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Exercise 5.2
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Exercise 5.3
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Exercise 5.4
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Exercise 5.5
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Lesson 6
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Syncopated Quarter Note and Eighth Note Figures All of the exercises we have looked at so far have all of the rhythms shown very clearly - it is easy to see where the beat is - but this is not always the case. Itʼs now time to look at syncopation: “the displacement of the usual rhythmic accent away from a strong beat onto a weak beat”. Looking at this first example you can see that there is no beat on beat 2 (or beat 4), but there is no tie or rest. This is because there is a eighth note starting the bar, followed by a quarter note which runs over the beat line. This could have been done using a tie (all eighth notes with the 2nd and 3rd tied together) but many times it is easier to read and faster to write this way.
Rhythmic groupings like the following can be hard to read because the beat is ʻhiddenʼ by the writing. Personally, I donʼt like to see music written like this - but it happens often, so you are better of learning to read it than complaining that you donʼt like it!
In this rhythmic figure the beats 1 and 3 are missing. Because we are used to hearing them (they are the strongest beats in the bar) it sounds odd for us to hear a figure with out them.
Another example of beats 1 and 3 missing...
Now it starts to sound very strange, because all the notes are on the ʻandsʼ (the weak beats).
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Only notes on some of the weak beats...
And another...
And another way of having all the weak beats played...
As you can see from all the above examples there are often many ways of writing the same thing. At this stage it is important for you to calculate them, work out the beats, what the note values are and how they are fitting together. As you become more familiar with them (by doing the following exercises!) you will no longer need to calculate them - you will just see them and understand them instantly. Now itʼs onto some practical work. Syncopated exercises can be a little tricky at first, but are not hard if you remember to:
• Start slowly
• Count out loud
• Tap your foot on the beat
• Stop and work out a rhythm if you donʼt understand it
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Exercise 6.1
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Exercise 6.2
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Exercise 6.3
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Exercise 6.4
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Exercise 6.5
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Lesson 7
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Introducing Sixteenth Notes Weʼve spent the first part of this book looking at how the beat can be divided in half. Itʼs important that you are 100% comfortable with that now, because the next step is divide the beat into 4! This division is called 16th notes because in a bar of 4/4 there are 4 beats (but you knew that I hope) and when each one is divided by 4 you get a total of 16 notes in the bar. Now if you think about it you will realise that we now have hundreds of possible rhythms available, especially when we add in ties and dots too, so over the next pages we are going to look at each of the possible rhythms one at a time and combine them with the rhythms that you have done before. I have found that introducing the new rhythms gradually gives you the most solid understanding of each, and gives you a chance at using them without freaking out! It is very important that you develop the skill of reading these in ʻblocksʼ. If you are playing these fast then there is no time to count them, you should be aiming to look at the rhythm an know how it is going to sound instantly. It is very similar to learning to read. When children first start to read they look at the C...A...T.... then they say CAT and after a few reads they just see the word and they know it is CAT without having to read out the letters one at a time. This is the skill you need to develop now for your 16th note reading. One figure at a time. We are going to do it look at each and every way of combining 16th notes and 8th notes. Weʼre going to look at just one at a time and work them in with things that have already been covered. Try and memorise the figures as soon as you can, let them become ʻwordsʼ and they will become your friends! So lets get going...
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Basic Sixteenth Note Figures Weʼre going to start by looking at combinations that combine 16th notes and 8th notes.
Figure 1
To help you understand each of the 16th note blocks weʼll look at this grid showing the beat divided into 4 - the count is also shown. Notice that the + (and) is still at the halfway point - but weʼve added an E (said ee) and A (said like Ah). Practice saying: 1 ee and ah
2 ee and ah
3 ee and ah
4 ee and ah
Make sure you start your beat slowly when you check these out or your 16th notes will be too fast and you wonʼt be able to tap fast enough! 50 bpm or slower is suggested.
Once you feel confident with counting these, have a go (SLOWLY) at the following exercises. This is new and going to be a little difficult at first. This is normal, because itʼs new, but it wonʼt take long to get yourself familiar with these new ʻblocksʼ and soon youʼll be looking at them and reading them just as easily as 8th not patterns!
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Exercise 7.1
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Exercise 7.2
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Figure 2
Next up we are looking at two 16th notes followed by one eighth note. This is a very common pattern, not hard to recognise. Start now my counting and tapping along slowly and getting the rhythm in your ears and mind. Then get into the following exercises.
Recommended is that you count the first bar and tap the rhythm in the second. Make sure you are still tapping your foot on the beat too!
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Exercise 7.3
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Exercise 7.4
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Figure 3
Here we have Next up we are looking at one 8th note followed by two 16th notes. Make sure you count, the extra 16th note is coming after the ʻandʼ - personally I found it helpful to play 1 + 2 + 3 + 4 + and then insert the 16th note after the +
Play and count along SLOWLY and get it in your head. Then get into the exercises!
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Exercise 7.5
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Exercise 7.6
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Figure 4 This figure is missing the “and” and is a 16th note, followed by an 8th note, followed by another 16th note. Itʼs a common and fun pattern, when you first learn it do it VERY slowly, or you may feel rushed when you loop the pattern.
SLOWLY now play the pattern. Get this figure in your head. Of course count it for now, but you should be aiming to memorise the figure as a rhythm in your head!
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Exercise 7.7
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Exercise 7.8
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Lesson 8
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Sixteenth Note Figures Involving Dots We have already looked at dotted notes so you should have then sorted by now... if not - then go back to page to familiarise yourself with them.
Figure 5
This first dotted 16th rhythm is a dotted 8th note (worth 3 x 16th notes) and a 16th note at the end (we needed it of course to make up the beat. This rhythm pushes along, I always feel like itʼs moving forward... just how I perceive it... how do you feel it?
Count out loud... do it slowly. Get it in your head and then off into the exercises.
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Exercise 8.1
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Exercise 8.2
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Figure 6 Now we are looking at the reverse of the last figure, this time itʼs a 16th note followed by a dotted 8th note. I feel this one like a double hit - count and tap along and you will see what I mean, but make sure you are open to how YOU feel it, it really helps.
Do I need to say it again? SLOWLY, count along, get it in your head :)
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Exercise 8.3
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Exercise 8.4
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Lesson 9
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Sixteenth Notes Figures Involving Rests So now we get into silence and look at the various patterns that we get we we use rests.
Figure 7
This first pattern with rests has the rest on the beat. Your foot should be tapping on the beat so you get: foot, tap, tap, tap. Should be quite easy because you can hear every 16th notes...
Slowly of course, make sure you keep your 16th notes even... you will whisper the beat and count the rest at full volume!
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Exercise 9.1
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Exercise 9.2
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Figure 8
Now the first half of the beat is missing! You will whisper the beat and have the “and” “ah” tapped - I get a real up feeling from this figure, how are you feeling it?
Donʼt forget to whisper the beat, count the notes out loud, do it slow, work it in.
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Exercise 9.3
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Exercise 9.4
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Figure 9
This is the reverse of the last one! If the note is not sustaining (like you are taping or playing a drum) then this will sound the same as Figure 6, the difference that in Figure 6 the note sustains, and in this we have silence after the notes.
Sound like the double to me... if you are using a guitar or piano, then compare this with Figure 6.
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Exercise 9.5
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Exercise 9.6
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Figure 10
Some people find this one a little hard because itʼs not on the beat and feels a little strange. I struggled when I learned it, but I got to say - itʼs just practice. You need to do patterns like this a lot and really get then into your soul! Play them enough so that they feel natural and instinctive.
VERY SLOWLY and count along, then speed it up once you are comfortable so that you hear the ʻwordʼ correctly.
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Exercise 9.7
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Exercise 9.8
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Figure 11
This one is very similar to the last - but with silence at the end - if you are tapping the rhythms you wonʼt notice any difference, you will later if you start playing them for real, but more on that later. I recommend just learning to tap the rhythms and worry about the sustain later!
Make sure you see the figure - look at the bar and make sure you can see where the beat is!
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Exercise 9.9
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Exercise 9.10
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Figure 12
This is fun! :) this is the off beats of a 16th notes, just the ʻeeʼ ʻand the ʻahʼ - the beat will be whispered and the ʻandʻ is silent! I found this one a little tricky when I started combining it with other patterns, especially if the surrounding figures are on the beat... but you know the answer by now I suspect... practice.
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Exercise 9.11
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Exercise 9.12
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Figure 13
This one is just like the last but with a silence between the 16th notes. When you play it for real the notes will have to be very short, but because right now we are just tapping you donʼt have to worry about it!
When you play it, you keep the notes very short, but for now you just need to make sure that you keep the 16th notes even... itʼs fun once you get it!
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Exercise 9.13
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Exercise 9.14
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Figure 14
We just have one note now, on the ʻeeʼ. This can feel a bit odd because the note falls just after the beat and it can be a little confusing at first. It gives a very strong syncopated feeling if the figure is repeated, but itʼs quite common and essential to learn!
Of course get this one slow at first, once you speed it up, you will get the true feeling of the word!
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Exercise 9.15
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Exercise 9.16
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Figure 15
Like the last figure, this one feels a little strange... this one comes just before the beat - itʼs VERY important that you count slowly when you are learning this one or it will be very difficult. Take it easy and feel it coming just before the beat.
Count. Count. Count. Slow. Slow. Slower...
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Exercise 9.17
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Exercise 9.18
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Part 2: Advanced Sixteenth Note Reading
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Lesson 10
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Studies Involving Mixed Sixteenth Note Figures This lesson is the biggy! It features a series of studies that combine all of possible sixteenth note patterns. That means there are lots of exercises (seventy-six in fact!). But donʼt be discouraged... this is where you put it all together and really nail your understanding of all of the sixteenth note patterns. A final reminder of things to remember: • Use a metronome, start S L O W L Y . • Only speed up when you can do it few times through without a single mistake. • If you donʼt understand a rhythm, stop and work it out, go revise the previous section of this book that deals with that rhythm and then come back to these exercises. • Try and remember your groupings, learn to read them as blocks. • If you are getting stuck on the basic patterns, check out the web site lesson a using mnemonics. • Use your practice log to keep a track of your progress.
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Exercise 10.1
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Exercise 10.2
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Exercise 10.3
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Exercise 10.4
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Exercise 10.5
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Exercise 10.6
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Exercise 10.7
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Exercise 10.8
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Exercise 10.9
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Exercise 10.10
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Exercise 10.11
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Exercise 10.12
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Exercise 10.13
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Exercise 10.14
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Exercise 10.15
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Exercise 10.16
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Exercise 10.17
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Exercise 10.18
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Exercise 10.19
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Exercise 10.20
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Exercise 10.21
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Exercise 10.22
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Exercise 10.23
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Exercise 10.24
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Exercise 10.25
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Exercise 10.26
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Exercise 10.27
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Exercise 10.28
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Exercise 10.29
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Exercise 10.30
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Exercise 10.31
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Exercise 10.32
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Exercise 10.33
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Exercise 10.34
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Exercise 10.35
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Exercise 10.36
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Exercise 10.37
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Exercise 10.38
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Exercise 10.39
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Exercise 10.40
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Exercise 10.41
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Exercise 10.42
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Exercise 10.42
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Exercise 10.44
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Exercise 10.45
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Exercise 10.46
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Exercise 10.47
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Exercise 10.48
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Exercise 10.49
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Exercise 10.50
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Exercise 10.51
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Exercise 10.52
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Exercise 10.53
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Exercise 10.54
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Exercise 10.55
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Exercise 10.56
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Exercise 10.57
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Exercise 10.58
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Exercise 10.59
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Exercise 10.60
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Exercise 10.61
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Exercise 10.62
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Exercise 10.63
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Exercise 10.64
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Exercise 10.65
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Exercise 10.66
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Exercise 10.67
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Exercise 10.68
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Exercise 10.69
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Exercise 10.70
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Exercise 10.71
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Exercise 10.72
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Exercise 10.73
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Exercise 10.74
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Exercise 10.75
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Exercise 10.76
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Lesson 11
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Studies Involving Mixtures Of All Figures Congratulations... by now youʼve travelled a very long way on your journey to become a confident reader and you should be proud to have stuck with it and made it this far! Next, weʼre going to mix in all of the figures that you have seen so far. Same rules apply as before... In theses exercises you are going to see all the sixteenth note and eighth notes figures and all of the rests. itʼs going to be a challenge and lots of fun too - just remember to take it slow and stop when you donʼt understand something.
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Exercise 11.1
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Exercise 11.2
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Exercise 11.3
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Exercise 11.4
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Exercise 11.5
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Exercise 11.6
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Exercise 11.7
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Exercise 11.8
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Exercise 11.9
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Exercise 11.10
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Lesson 12
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Studies Involving Mixtures Of All Figures and Tied Notes Now we are going to throw tied notes back into the mix which means that the following exercises include everything that you have seen in this book, all mixed together into a big blender! When you nail these (and you will if you remember the rules) you can pat yourself on the back because youʼll have acquired some pretty serious reading chops! In the meantime, welcome to the real world, she said to me, condescendingly...
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Exercise 12.1
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Exercise 12.2
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Exercise 12.3
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Exercise 12.4
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Exercise 12.5
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Lesson 13
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Duet Exercises As a last bit of fun for you guys, we have included some duet exercises. You can play these with your friend, itʼs a great way to practice getting your rhythms solid and playing with other people will always help you lift your game. To make things less cluttered these rhythms are written on a single line for ease of reading.
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Duet #1
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Page 1/1
Duet #2
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Page 1/2
Duet #2
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Page 2/2
Duet #3
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Page 1/2
Duet #3
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Page 2/2
Bye Bye Congratulations for making it to the end of this book. To get this far has taken discipline and dedication and you should be proud of your accomplishment. We sincerely hope that you have enjoyed working through the exercises and that youʻve truly understood all of the areas covered so far. Weʼre going to have a couple of days away from our laptops (well earned we think) and then get stuck into writing the next volume, which will cover other rates such as triplets, compound time signatures, odd times and a section combining those things with everything in this book. If you have any problems them please come to the forum on justinguitar.com and weʼll do our best to help you out! www.justinguitar.com/forum Wishing you all the best and thanks for reading!
Justin and Justin
www.justinguitar.com
www.justindrums.com
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Appendices
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Appendix 1 - Recognition Test 1 ANSWERS
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Appendix 2 - Recognition Test 2 ANSWERS
Example 1
Example 2
Example 3
Example 4
Example 5
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Appendix 3 - Recognition Test 3 ANSWERS
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Appendix 4 - Recognition Test 3 ANSWERS
Example 1 = 4 Beats Example 2 = 5 Beats Example 3 = 1½ Beats Example 4 = 7 Beats Example 5 = 3½ Beats
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Appendix 5 - Practice Log
Date
Exercise
Tempo
Comments
Exercise 1.1
Exercise 2.1 Exercise 2.2 Exercise 2.3 Exercise 2.4 Exercise 2.5
Exercise 3.1 Exercise 3.2 Exercise 3.3 Exercise 3.4 Exercise 3.5
Exercise 4.1 Exercise 4.2 Exercise 4.3 Exercise 4.4 Exercise 4.5
Exercise 5.1 Exercise 5.2 Exercise 5.3 Exercise 5.4 Page 217
Exercise 5.5
Exercise 6.1 Exercise 6.2 Exercise 6.3 Exercise 6.4 Exercise 6.1
Exercise 7.1 Exercise 7.2 Exercise 7.3 Exercise 7.4 Exercise 7.5 Exercise 7.6 Exercise 7.7 Exercise 7.8
Exercise 8.1 Exercise 8.2 Exercise 8.3 Exercise 8.4
Exercise 9.1 Exercise 9.2 Exercise 9.3 Exercise 9.4 Exercise 9.5 Exercise 9.6 Page 218
Exercise 9.7 Exercise 9.8 Exercise 9.9 Exercise 9.10 Exercise 9.11 Exercise 9.12 Exercise 9.13 Exercise 9.14 Exercise 9.15 Exercise 9.16 Exercise 9.17 Exercise 9.18
Exercise 10.1 Exercise 10.2 Exercise 10.3 Exercise 10.4 Exercise 10.5 Exercise 10.6 Exercise 10.7 Exercise 10.8 Exercise 10.9 Exercise 10.10 Exercise 10.11 Exercise 10.12 Exercise 10.13 Exercise 10.14 Exercise 10.15 Page 219
Exercise 10.16 Exercise 10.17 Exercise 10.18 Exercise 10.19 Exercise 10.20 Exercise 10.21 Exercise 10.22 Exercise 10.23 Exercise 10.24 Exercise 10.25 Exercise 10.26 Exercise 10.27 Exercise 10.28 Exercise 10.29 Exercise 10.30 Exercise 10.31 Exercise 10.32 Exercise 10.33 Exercise 10.34 Exercise 10.35 Exercise 10.36 Exercise 10.37 Exercise 10.38 Exercise 10.39 Exercise 10.40 Exercise 10.41 Exercise 10.42 Exercise 10.43 Page 220
Exercise 10.44 Exercise 10.45 Exercise 10.46 Exercise 10.47 Exercise 10.48 Exercise 10.49 Exercise 10.50 Exercise 10.51 Exercise 10.52 Exercise 10.53 Exercise 10.54 Exercise 10.55 Exercise 10.56 Exercise 10.57 Exercise 10.58 Exercise 10.59 Exercise 10.60 Exercise 10.61 Exercise 10.62 Exercise 10.63 Exercise 10.64 Exercise 10.65 Exercise 10.66 Exercise 10.67 Exercise 10.68 Exercise 10.69 Exercise 10.71 Exercise 10.72 Page 221
Exercise 10.73 Exercise 10.74 Exercise 10.75 Exercise 10.76
Exercise 11.1 Exercise 11.2 Exercise 11.3 Exercise 11.4 Exercise 11.5 Exercise 11.6 Exercise 11.7 Exercise 11.8 Exercise 11.9 Exercise 11.10
Exercise 12.1 Exercise 12.2 Exercise 12.3 Exercise 12.4 Exercise 12.5
Duet 1 Top Part Bottom Part Duet 2 Top Part Bottom Part Page 222
Duet 2 Top Part Bottom Part
Page 223
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