THe RHYTHM BIBLE For Students $+ Professionals who evant to gain the ability to sight-sing and play rhythus, from the simplest to the most compler. syncopations. . or the first time in print, syncopations are explained, illustrated and classified, ImLubes ovER 1,000 ExamPLes OF -RAYTHINC FIGURES BASED OM JAZ2, ROCK, BLUES, SWING, LATIN FUNK, ‘BOOGALOO AND OTHER RHYTHMS. DAN FOXRiythua Bible 0 this Book is For The Rhythm Bible may be used to advantage by all students and professionals: Singers, Keyboard, Guitar, Bass, Woodwind, Brass and String players, Mallet players (Vibes, Marimba, Xylophone) and other Percussionists. Whether you're a student or a professional, performing today's music can be a real challenge. Most instruction books do not adequately prepare musicians to play complex rhythms, especially syncopation. The Rhythm Bible was written to help remedy this deficiency. It includes well over a thousand examples of rhythmic figures (based on everything from simple quarter and eighth notes to the most complex syncopations) ‘common in jazz, rock, Latin, blues, funk and other styles. And, for the first time in print, syncopations are explained, illustrated and classified, Vocalists and instrumentalists who make a thorough study of The Rhythm Bible will gain the ability to sing and play difficult syncopations and other complex rhythms at sight. The Rhythm Bible is organized by complexity of rhythm, from the easiest to the most difficult. It is advisable to start at the beginning and play through the book sequentially. However, if certain rhythms are particularly troublesome, you can start at the section that deals with them. Part One — Basic Rhythms (pages 11-39) Part One starts with the simplest rhythms in 4/4 time. It also explores areas that give even experienced players trouble, such as long held notes followed by rapid notes, starting a measure with a rest, and ties over the barline. Eighth-note, quarter-note, and halfnote triplets plus their variations are introduced as well as various combinations of 16th notes. Part Two — Single Syncopation (pages 40-87) After a brief history and explanation of syncopation (pages 40-41), there are many exercises illustrating the most common one, the anticipated 3rd beat of the measure (pages 42-60). The book next illustrates the anticipated 2nd beat (pages 61-69), anticipated 4th beat (pages 70-79), and anticipated 1st beat (pages 80-87). Part Three — Double, Triple and Quadruple Syncopations (pages 88-101) In 4/4 time, you can have as many as four anticipations per measure. This section starts with two syncopations per measure and gradually works its way up to four. And don’t miss the interesting discussion “Syncopation and Latin-American Music” on page 90. Part Four — Syncopated Accents (page 104), Syncopations in Cut-Time (pages 4105-106), Double-Time Syncopations In 2/4 and 4/4 (pages 107-113) Offbeat accents, while not actually syncopations, produce a similar effect. Syncopated figures in cut-time (common in marches, show tunes and Dixieland jazz) and double- time (often found in rock and disco styles) are also included in this section. Part Five — Basic Rhythms and Syncopations in 3/4 Time (pages 114-121) The first four sections of this book are devoted to 4/4 time, the meter in which most popular styles are written. This section introduces 3/4 time, first without, then with, syncopations. Hemiolas are also discussed and illustrated. Part Six — Rhythms in Other Meters (pages 122-129) Other meters such as 3/8, 6/8, 9/8 and 12/8 are illustrated (pages 123-127). Irregular meters are also discussed and there are two pages of examples in 5/4.Contents How to Use the CD 4 ‘Suggestions for Practicing 4 Vocalists 4 Brass, Woodwind, Guitar and Bass Players... 8 7 8 9 Paanisis and Mallet Players String Players Drummers and Other Pereussionists Straight ve. Swing Eighth Notes, Tempo, To Tap or Not to Tap... « 10 PART ONE: Basic Rhythms ..... 1“ Whole, Halt & Quartor Notes with Rests. 2 Ties Over the Barline 13 Staccato Dot 14 Eighth Notes ..- 15 Eighth Notes & Ties 18 Eighth Notes & Eighth Rests 19 Dotted Quarters & Eighths 20 Eighth Note Triplets & Eighth Notes 21 46th Notes in Groups of Four 22 23 24 25 2 28 20 30 Eighth & Two 16th Note Figure Two 16th Note & Eighth Nole Figure Dottad Eighth & 16th Note ‘th Notas & 16th Rests Dotted Eighths & 16ths & Eighth Note Tipets . Eighths, 16ths & Eighth Note Triplets... Double-Dotted Quarter & 16th Notes. . i ‘Quarter Note Triplets, ea: ‘Quarter Note Triplets & Eighth Notes aeat Quarter Note Triplets, Eighth Note Triplets & 16th Notes... Bue Eighth Notes Coming in Off The Beat... 34 Off-the-Beat Eighth Notes, Ties & Triplets... 95 Various Notes Tied Across the Barling {o Eighth Notes Variations On Eighth-Note Triplets Variations On Quarter-Note Triplets Half-Note Triplets. PART TWO: Single Syncopation.. . Ariat History of Syneopation in American Jazz ‘and Popular Music 40 laying Syncopations. ....... “1 Anticipated Srd Boat 42 ‘Anticipated 8rd Beat Combined with Fests on the Downbeat 48 Anticipated Ord Beat Tied to Various Triplet Figures 49 Anticipated Grd Beat & Ties Over the Barine 50 Anticipated Grd Beat in Staccato Notation. .. 52 Anlicipated Srd Beat in Staccato Notation with Extensive Rests 55 Anlicipated rd Beat in Staccato Notation with Broken Triplets, 56 Anticipated rd Beat as Part of an Eighth Note Triplet 37 Anticipated Srd Beat as Part of a Quarter Note Tripiet 58 Anticipated 3rd Beat & Dotted Eignths & 16ths. . 52 Anticipated 3rd Beat, Downbeat Rests, & Dotted Eighths & 16ths.... 60 Anticipated 2nd Beat et Anticipated 2nd Beat Starting Oif the Beat... .. 63 Anticpated 2nd Beat, Ties & Staccato Notation. 65 Anticipated 2nd or Sid Beat 66 Anlicipatad Srd or 2nd Beat & Inal Rests... 67 Anticipated 2nd or Sed Beat & Ties Over the Barine 68 Rhythn Bible ‘Anticipated 2nd or 3rd Beat in Staccato Notation. 268 Anticipated 4th Beat & inal Rests - 70 Anticipated 4th Beat & Ties Over the Barling «71 ‘Anticipated 4th Beat in Staccato Notation. rp Anticipated th or 2nd Beat 73 Anticipated 4th or 2nd Beat & Ties (Over the Barline. TA Anticipated 4th or 2nd Beat in Staccato Notation. ....2...e0000006578 Anticipated 4th, 3rd or 2nd Beat 78 Anticipated 4th, 3rd or 2nd Beat & Initial Rests. . 7 Anticipated 4th, 3rd or 2nd Beat & Ties Over the Bariine 78 Anticipated 4th, 3rd or 2nd Beat in Staccato Notation 7 Anticipated tst Bea. 80 Anticipated tst Beat & intial Rests at Anticipated tat Beat & Ties Over the Barling... 82 Anticipated tst Beatin Staccato Notation... 83 Anticipated 1st, 2nd, ardor ath Beat aa Anticipated st, 2nd, Sd or ath Beat & ‘ntl Rests a Anticipated tst, 2nd, Grd or 4th Beat & Ties Over the Barline 86 Anticipated 1st, 2nd, Sr or éth Beat in Staccato Notation a7 PART THREE: Double, Triple and Quadruple Syncopations .........-..++ 88 ‘Syncopation and Latin-American Music 90 Anicipated 2nd & ath Beat... esecesceses 24 Anticipated 2nd & Srd Beat 82 Antcpated 31d & 4th Beat 93 Anticipated 1st & 2nd Beat... a4 ‘Anticipated 1st & Sra Beat 95 Anticipated tet & 4tn Beat 96 Anicipated 2nd, rd & ath Beat 2.87 “Anicipated 1st, 2nd & 3rd Beat 98 Anicipated 1st, 2nd & 4th Beat 99 Anicipated 1st Srd & 4th Beat 100 Antcipated 1st, 2nd, 3d & 4th Beat tot PART FOUR: Syncopated Accents, ‘Syncopations in Cut-Time (alla breve), Double-Time Syncopation in #(4)... +++. 102 Eighth Notes with Otfoeat Accents toe Anlicipated tst & 2nd Beat. 4105 Anticipated tst & 2nd Beat with Variations... 106 214 0F 4/4 Time . 107 PART FIVE: Basle Rhythms & Syncopations In 9/4Time..... +. tse ne Eighth & Quarter Rests & Ties Over, the Barine 115 Hemiolas .... psu? Various Syacopations with Ties Over the Barine f fasts Initial ests... 19 Ties Over the Barling 420, Staccato Notation 421 PART SIX: Rhythms In Other Meters ... . 122 6/8 Tima 123 318 Timo . f bee 125: 918 Time 126 12/8 Time cyaneglPh, 5/4 Time, Considered as 342... eae 5/4 Tima, Considered as 2+3, 129= Vocalists can practice this book several different ways: 4. Tap the beat with your hand or foot and sing the rhythms on “ta,” “da” (pronounced “tah” or “dah”) or other syllable. Sie Ta Th Ta Ta Tex x x x 2. Conduct the beat with your hand and sing the rhythms on “ta,” “da” or other syllable. Conducting will ra help you keep track of where you are in the measure. 3. Use a metronome (preferably an electronic metronome) to keep the beat and sing the rhythms as above. Electronic metronomes ‘an be set to mark each downbeat with a louder click so you can keep track of where you are in the measure. How to Use the CD The CD in the Book & CD kit includes at least one exercise from each music page. These selected exercises are indicated in the book with a CD logo and a track number just above each exercise. They are typical of the rhythms on that page and be useful in understanding and mastering those rhythms. Some rhythms are recorded in both a straight and swing feel. When that occurs, both will be on the same track, one after the other. Beginning on page 104, examples on facing pages are combined onto the same track. a Use rhythm syllables to sing the rhythi accurately. Rhythm syllables are non- sense syllables similar to those used by soat singers like Ella Fitzgerald or Mel Tormé. Here are our suggestions: For every quarter note, sing “Da.” The capital “D" indicates a slight stress or accent. ee sfee apo ee ee The half note is like a quarter note with the “ah” sound extended by one beat. The dotted half note gets three beats. 4d. d bt, » DaSuggestions for Pracicong Each silent beat (or rest) is represented by the unpronounceable syllable “Dp,” a click of the tongue or tap of the foot. It is just as important to mark every silent beat as it is to sing the notes. Die fp H Pa Da Da Da Bp| ps |bp| |De] Da Dx ps |pp Dp top exe xf Le] Le) ee Unpronounceable syllable, tongue click, or foot tap * Pairs of eighth notes are sung as “Da-ba,” The lower case “b” indicates that the upbeat eighth note is stressed less than the downbeat eighth note. Tl Da ba Da Ds ba De | Da ba Da ba Da Tp Rk * For eighth note triplets sing “De-na-va,” making sure to keep all syllables the same length. 2 3 2 3 v Da na va Du Da ma va Da | Da ma va Da aa va Da Tepix x ox x ox * x Groups of four 16th notes are sung as “Daleba-ma,” like “Alabama” but with a “D.” Notice that the downbeat syllables “Da” and the upbeat syllable “ba” are indicated at the same places in the beat as eighth notes. Da la be ma Da Da la ba ma Da Teo er ae * Sometimes it’s useful to write in a syllable to be imagined, not sung, as when playing the dotted quarter/eighth note rhythm. These appear in parentheses. Da @dbe Da @ajba | Da (Dajba Da. ee ae er x es Fe Rhythm syllables are particularly useful when singing syncopations. In the following syncopated figure, the capital letter “B” below the fourth note shows that this note must be accented. Other syllables can be figured out later in the book. If you find this technique useful, write in rhythm syllables wherever you're having trouble singing a figure accurately. If you don’t find them useful, use your own system. What counts is being able to sing the rhythms accurate- ly, So use what works for you. Also, try singing the rhythms using scale tones or improvising in the key of the scale.Bible Brass. Woodwind, Guitar and Bass Players can practice like this: 1. Tap the beat with your foot and sing the rhythms on “ta,” “da” or other syllable. 2. Tap the beat with your foot and play the rhythms on your instrument. Stay on one note. Play: Tap the beat with your foot and play the rhythms on a scale or simple chord (major, minor, seventh). Play: or a ee 4, Tap the beat with your foot and play a short, improvised melodic figure based on the rhythm. Pray: Note: If you have @ metronome (preferably an electronic one), set it to accent the downbeat in whatever meter you choose and practice the four steps described above, using the metronome instead of the foot taps.Pianists and Mallet Plavers (Vibes. Marimba, Xylophone. ete.) can practice like this: 4, Tap the beat with your foot and sing the rhythms on J » fl PSs De te Bay Be , 2. Tap the beat with your foot and play the rhythms on Pv: Suggestions for Practica “ta,” “da” or other syllable. your instrument. Stay on one note. 3. Left hand plays the beat on the root tone. Right hand plays the rhythm on any note that sounds good with the keynote, for example, the 4. Left hand plays the beat on the root tone. root, third or fifth of the key. Right hand plays the rhythm on the scale of the key or a simple chord (major, minor, seventh). or 5. Left hand plays the beat as a moving or stationary line. Right hand plays a short melodic figure improvised on the rhythm. Note: If you have @ metronome (preferably an electronic one), set it to accent the downbeat in whatever meter you choose and practice the five steps described above, using the metronome instead of the foot taps.Rhythe Bible String Players can practice like this: 4. Tap the beat with your foot and sing the rhythms on “ta,” “da” or other syllable. Da te Tapx 2. Tap the beat with your foot and play the rhythms on your instrument. Stay on one note. 3. Tap the beat with your foot and and play the rhythms on a scale: or simple chord (major, minor, seventh): 4. Tap the beat with your foot and play a short, improvised melodic figure based on the rhythm Note: If you have a metronome (preferably an electronic one), set it to accent the down- beat in whatever meter you choose and practice the four steps described above, using the metronome instead of the foot taps.Drummers can practice like this: 4. Tap the beat with your foot and sing the rhythms on “ta,” “da” or other syllable. Ds ba Topix 2. Left hand plays the beat on the snare drum. Right hand plays the rhythm on the cymbal or other drum. be Ride cy. 3D. 3. Right or left foot plays the beat on the bass drum. Right or left hand plays the rhythm on the snare drum, cymbal or other drum. onh | Note: If you have a metronome (preferably an electronic one), set it td accent the downbeat In whatever meter you choose and practice the three steps described above, using the metronome instead of the foot taps. Other Percussionists can practice like this: 4. Tap the beat with your foot and sing the rhythms on “ta,” “da” or other syllable. Eig) © f) 4 \) ¢ £ 1 Da ta Da Ba Tape * at 2. Tap the beat with your foot and play the rhythms on your instrument. Boo 2 Note: If you have a metronome (preferably an electronic one), set it to accent the downbeat in whatever meter you choose and practice the two steps described above, using the metronome instead of the foot taps.Straight vs. Swing Eighth Notes Straight eighths are eighth notes played mathematically correct, each as long as the others. This is the way they are played in classical, Latin (except for salsa) and rock music. Traditionally, musicians have count- ed them as “1&2&3&4&." Swing eighths are played in groups of two with the first eighth note a little longer and the second eighth note a little shorter than Tempo Set your metronome at a moderate tempo, about 4=96. Sing or play through each exer- cise on a page, one ata time, until you can do a complete page of 10 exercises without a mistake or hesitation. Then, sing or play through the 10 exercises without stopping. Mark the tempo at which you can do this perfectly. The next day, set the metronome a little faster, around ,=100, and sing through all the exercises again. if you can do them flawlessly at the new tempo, mark that tempo and return to the exercises again the next day. Continue in this fashion until you can do the 4/4 exercises at 208 or faster. Cut time figures should start at + progress to .=160 or faster. For double time figures, start at =52 and progress to about «=92 or faster. I Metronome: Tap tap tap tap Tap tap tap tap ‘metronome will be a great help in mastering this book. The electronic type of — ‘S fairly inexpensive and can be adjusted to mark the first beat of every measure. ‘This is especially helpful when dealing with long notes and rests, as in Ex. 4 (page 12). ts 4 Tap tap tap tap Tap tap tap tap q normal. This rhythm is cumbersome to notate accurately, but careful listening to jazz and/or certain types of country will help you internalize the feel. It may be help- ful to think of the syllables “daba daba” to help obtain the correct feel: Swing eighths yo TT 4 Da ba Da ba Da ba Da ba For waltzes and other 3/4 pieces, start at J=80 and work your way up to 1=72 or faster. For 3/8, 6/8, 9/8 and 12/8, start at 4-80 and work up to ,=96 or faster. It's important to remember, however, that it’s better to a rhythm accurately and with confidence and authority at a slower tempo, than to use a faster tempo and sound like you're hanging on by your fingernails! Practice slowly. Speed will come in time. Finally, incorporate whatever rhythms you've been learning into your playing or scat singing. Make up your own figures using the rhythms you've learned, and play them in different keys and on various scales and chords. In this way, you'll not only develop your ability to sight read, but you'll also expand your horizons as far as composing and improvising are concerned. To Tap or Not to Tap Is ita good idea to tap your foot constantly? This writer believes not, as the fraction of a second that it takes for ‘the nerve impulse to travel from your foot to your brain can have the effect of making you play behind the beat. ft is better to internalize the beat, that is, to hear it within your mind. However, it must be added that many fine musi cians disagree, so you must judge by the results you get. When using this book, decide how you will mark missing beats/rests and tied notes, A foot tap or click of the tongue or even a grunt are three possibilities.= Rhythen Bible ONE : Basic FRhythons t book begins with basic rhythms, the familiar whole, half, quarter and eighth notes and e ‘typical of 4/4 time. These form the rhythmic foundation of all types of music, and we ‘you to practice them even if you are already an experienced player. A firm grasp of basic will help you master the more complex syncopations that follow. long notes are held over the bar line, it is helpful to mark the downbeat of the new ire with a foot tap or click of the tongue. This will help you keep track of the downbeats playing exercises such as Exercises 11-20 (page 13). Poe ey (Foot tap or click) F common problem can occur when starting a measure with a rest. We suggest marking initial rest with a foot tap or click of the tongue. Here again, the metronome will help you track of the downbeats. peje Jy ty | J tT x jor click) sé 31 (page 15) introduces eighth notes. Please reread our previous comments (page 10) the difference between jazz, or swing, eighth notes (long short) and the exactly even, or i,” eighth notes of other types of music. For swing eighth notes, you can say “da ba da ~ Straight eighths can be counted “1 & 2&3 & 4 &.” please be sure to read the introductory material at the top of each page. {help you with the proper interpretation of each exercise.Basic Rhythus Whole, Half 4 Quarter Notes with Rests If you find it helpful, foottap or tongue-click for every beat of held notes and rests. This is especially important when the notes or rests are held for many beats, such 1-10 as in Ex. 4. Ifyou wish, you can say “ta,” or “da” for each note. Sing: Ta Ta i i i 4 1 1 1 Tl Tap tap tap tap Tap tap tap tap Tap tap tap tap Tap tap tap tap ee iE pd Ree he) a Pela) tee pee tpt io ti jy ti ty de ge eee ee 2 4d_t i ey =) | orIt is very important to mark rests and tied Make sure you can play this page flawlessly notes with a foot tap or tongue click. before going on. In Ex. 17 you'll notice two 7 quarters tied in the middle of the measure. This rhythm is often written as a half note. it i. ¢ oes e Either way is correct. me as x (Tap or click) same eo ee pou J yy | ji, eee cele oy msl paige) te ee eS eee. eee Liat tly Llyp tl ppl pale ty J |Basie Rhythas Staccato Dot The staccato (sta-CAH+o) dot is placed replaced by silence. If you've been sayi below the note head when the stem goes “da” for each quarter note, a staccato 21-30 up, and above the note head when the quarter would be “dop.” stem goes down. It means to cut the note short; the remaining part of its time is Da Da Da Da Dap Dop Dop Bop @yrtetpitiop del dd Ble e Jo te alte 2 jp | z wgge +} 114 11) 14 s = ay tus ay + Te 4, wes cae eeseg This page introduces eighth notes. and with swing eighths the nade both ih setaeginseL 2 8) (da ba da ba"). Straight eighths ‘Swing eighths HOTT 18243848 Da ba Da ba Da ba Da ba | meremer i Ale Biiy Oi Alb, Diy, Oy my ee i BPO Poy ee ou fe a Peo To Ep lS J yd dyI Baie Rythme Eighth Notes (cont) ————— ——————— nn eee eee Gui) Dwi wn x Thess ombine eighth not pores with sce ato nd figures that start with 2 | 4-50 rest. ‘ne a ee ik is cruc ucla 10 to tap or click for initial r es * Bractoe sé both with a straight BE siaigh oot jet ee HOV 1&2 se@eode2 394 18238 4 162 35g and with a swing feel. peoeecth PE) oe) ) Da baDop Da Da baDop Da ‘Da baDop Da Da Da baDop Da eqpot i te ok suey oy 1) 9 ome Ol Ai Oyo sat Olygt Oly Aint es HOO Ao oy yoy ay ener: Sooke eeorse Ee a fp OOo oo, TyBaste Rhythens th Notes (cont) Here are more combinations of eighth notes, quarter notes, half notes and various rests. When you can play this page flawlessly at -=96, gradually increase the speed to 208 or 51-60 — even faster. Don’t forget to practice with both a straight and swing feel. | Oi Bese i pe gt i ee Cio) oo | Ono ny Ln ny me) 0) eee) HeeBee Rihythas Eighth Notes # Ties "Exercises Notes tied across the bar line are often troublesome. Always mark the tied note with a tap or click, 61-70 OD ph Ge eX x xX * Exercise 70 deals with the problem of following a very long note with shorter notes, Be sure to play this exercise accurately, careful not ta rush or drag the eighth notes. eOoLy al pay Ly ely eye Oi 4 Jeera EL ponywnaAdiyanipdsometimes written bded driSleSele ids Ld ded da pba dad hyd FLD Lid dy pd Ded SOOO. Oooo, Oy LD Gate he te by at it L ded ibn da Dap, Dy Dy, dy JN Basic Rhythus Dotted Quarters 4 Eighths Adding a dot to a note increases its value by half. A dotted quarter note is the same as @ quarter note plus an eighth note. For swing rhythms try saying “Da (foot tap] ba.” For a straight feel, count “1 & 2 &.” sure the eighth note flows smoothly into 81-90 ‘Straight feel Usually written next note. ‘Swing feel or 1 @a3 4 ~ Playing a dotted quarter is simple if the second «Da X ba Da Da Da X ba Da Da beat is marked with a foot tap or tongue click, agit LD) pi J) pip eMilt db Ooi dy oy 3 fe dd AI bi Pop fd by a fife i ) LJ pe ge ated oh yd DI JL Jbl yd 110 Lraly 1 py pf pe. aw Ht bd, Ded dd b iJ. Db db iJ. bd Tak 21 Sie fet 6941 DOME bd | A mE 0 fhe —«Work hard to make each triplet flow + smoothly into the next note. Use the | metronome to avoid the common tendency to rush. In Exercises 96 through 100, For a straight feel, count “triplet, 24riplet,” ete. contrast the triplets with the eighth J. 3 J notes. If you wish to sing the triplets use, HoT Fr) 4 1 tip-let 2 tip-lt S-tap-let 4 “da-na-va’ for a swing feel. Da-na-va Da-na-va Da-na-va DaD Baste Rhythus 16th Notes in Groups of Four ¥ One of the trickiest things to do rhythmi- Straight Exercises cally is contrast fast notes (like 16th 101-10 notes) and much slower notes (like half or whole notes). Make good use of your dou es arn a metronome when playing this page. If ‘Swing you wish to sing 16th notes, you can use “Date-bama” or “tucka tucka.” For straight 16th notes, count “1-uh-&uh.” »* Da la ba ma Da la bamaDa la ba ma Da “nck Sate FeeThis very important page deals with the eighth note followed by two 16ths. For straight rhythms, say “1 &a 2 &a.” Or, say “Rottweiler, Rottweiler” or “Da-bema, Da-bama.” Straight ‘Swing 1 &uh2 &uh3 & uh4 Da bamaDa bamaDa bamaDaa Basic Rhythus Two 16th Note 4 Eighth Note Figure E KBuereises These exercises ate rhythmically the reverse of those on page 23. You can count “ul ie) 2uh-&,” or, say “buttermilk, but-ter-milk” or “Dala-bam, Dalabam.” Be especially cares 121-130 when the basic figure is contrasted with long rests, as in Exercises 125 and 127. ‘Swing rie Fs po TT Ei LeTo play Ex. 132 the way 2 Sash classical player would, think in 46th notes: the dotted eighth gets three, the last 7 f6th note, one. ine CEC ELEY COLL P “Humoresque” is a good example of the dotted eighth plus 16th figure in classical music. feel, the rhythm is “softened.” The dotted eighth is played a hair shorter and the 46th a hair ‘mathematically correct. Exercise 132 contains the shuffle beat as used in “Bad, Bad Leroy 3s City” and others. eipful to think of the “Humoresque" by Edvard Grieg dumpty, humpty ja, dama” when6 Basic Réythns Dotted Eighth 4 16th Note (cont.) 4-50 Tack IS Seah Fos The dotted-eighth-16th figure Ride cymbal is also the basis for the ride cymbal co beat perfected by Jo Jones of the Count Basie band in the 1930s. It = was one of the things that gave thet Bass drum band its tremendous swing. @pyl i fal Pitti 4 ey Ly by 4 mw 44- AL Ay Ll, Se Ale laa ee @y OOO ona Aol YOO AA. oa us }4 Jae LE) Jag » jy a ae Cc » lo Ey Oy pyeee ae 5 B 16th Rests ges 23-26. A 16th note The 16th rest is almost always used in a variant of the rhythms on pat that is, a very short followed by a 16th rest is played like an eighth note with a staccato dot, eighth note. For example, measure 2 of Ex. 154 could be sung “tuoka tuck, tucka-tuck.” Measure 4 could be sung ae “tuck tucka, tuck tuck, tuck tucka, tuck.” ‘B Basic Rhythus Dotted Eighths 4 16ths 4 Eighth Note Triplets Exercises Strictly speaking, the 16th note of a dotted- In the swing feel, however, the dottedeigl eighth-16th-note figure is played a fraction of 16thnote figure is played much the sar 161-170 a second later than the last note of an the triplet. eighth note triplet. See, for example, Sint Beethoven's famous “Moonlight Sonata.” Straight Melody farts accompaniment € [| [. me “race 171 Sih Fat Track 172 Sig ol Dx heey 8) 16} 4, OAT Apc pervs = ih of a: mpfr eee ape ee iys, 16ths 4 Eighth Note Triplets ercises THiS page of exercises illustrates the subtle—but important—differences among these three rhythms. Although each figure presents three notes in one beat, they are all different, JM-180 — Since there is no appreciable difference in interpretation between the swing and straight feel of these figures, you need only practice this page with a straight feel. rs sige Fee a 3 2 (continue ) py Qi 1g MOT L ad (end) iy owe Ppeh rhea Basic Rhythus El Double-Dotted Quarter 4 16th Notes ises The single dot extends the time value of a This rhythm can be written either way. note by half. The second dot adds a half of Thus Exercises 181 and 182 are playes 1gi-1 a half. The double-dotted quarter note is the identically. It is always helpful to tap oF» same as a quarter note plus an eighth note click for the first dot. plus a 16th note. ‘sabia x x “xX 7 Tap wlLOLoCeL ea ppl AL AL. Ao J. AL ey tt al A agp Ali dy A. ie wyb a ay AL BOO OY A. a el) Mf J ffl Ady Dye Ad, Dj Ady dy Bd jp UU) bbBasic Rhythns a Note Triplets 1 masse Fed g as —— The quarternote triplet is a group of three quarter notes played in the time of two, that is, in two beats (in 4/4 time). Same as 3 4 Then, tie the eighth notes together as fol lows: first & second, third & fourth, and fifth & sixth as in Ex. 192. If done correctly, 2 3 he sae Start with two eighth-note triplets and accent every other note as in Ex. 191. mn this will sound exactly like Ex. 193. Keep the quarter triplets even; do not allow them to become a quarter and two eighths or two eighths and a quarter. a Side Fel 9 3 I ny 4 toa 1 es a eat Bia, 4 Seda) SOT 4 Be da STS .. aee BT) ae oe hi i, =. BJ i) ee2 Basic Rhythus Quarter Note Triplets # Eighth Notes | Guenciges These exercises contrast quarter-note triplets with various figures of eighth notes, dotted eS quarters and 16ths. Keep the quarter-note triplets smooth and even and resist the 201-210 tendency to rush the eighth notes. ET hee 4 eed wp) Oke Ea, Tt] out MILO sd be ay ee) wy oye), oy Sete jal beh A wpe DU dn fecesBasie Fehgehons » Triplets, Eighth Note Triplets 4 16th Notes Contrasting quarter note triplets with eighth-note triplets is relatively easy, because both thythms divide the measure in multiples of three. Much more difficult is contrasting triplets and figures such as eighth or 46th notes, which divide the measure into multiples of wo and four. Practice this page carefully with your metronome. Make sure you can play the whole page with- out stopping before moving on to page 34. et ealBt Basic Rhythus Fighth Notes Coming In Off the Beat Here is where you'll find that foot taps (or tongue clicks) will come in handy. If the eighth note comes on the “&” fh yD J 21-230 of beat one (Exercises 221-225), tap on beat one. 2 fap If the eighth note comes in on the “&” of beat 2 (Exercises 226 and 227), tap on beats 1 and 2. xX x Tap tap If the eighth note comes in on the “8” of beat 3 (Ex. 230), tap on beats 4, 2 and 3 ee (continued on p. 35) Tap tap tap PAA, DA 1 Dae HW dN T4001 D bi dd i dt Dd) A, dd $b gd > AO» po ye mite ddap+dtepdtitte agp) aie fe 47 Mey) yh 9 eae Sp ae)t Eighth Notes, Ties 4 Triplets If the eighth note comes in on the “&” of This is an important technique for playing pickups correctly: XXX K xX xX xX Taps ard |-—2 Basic Rhythns 5 ™ When rests occur on beats in the middle of beat 4 (Ex. 231) tap on beats 1, 2,3 and 4. a measure (Exercises 228, 229, 232 and others), it’s always helpful to tap for the rest.B Basic Rhythus Various Notes Tied Across the Barline to Eighth Notes evcises note Is tie ar line—especially to an eighth note—it's é inowien a oan the tied n ates reises 261 end 242. 241-250 ack 25.1, Sigh Fel Se JUuoO Ao) Be fa) ae paa-—— J FO 4.1 aq On Lon oe aye els ey eyo OOD) oly “aed eee Lo te 2 pbTriplets can be varied in several ways: Notes may be tied; if two eighth notes One or more of the notes in the triplet may be replaced by a rest p (Exercises 253, 254, 255). u ger note may be tied to the first Of the triplet (Exercises 258-260). ecially in this case, a tap will help U get the figure right, ces are tied in the same beat they are written a aS a quarter note (Exercises 251, 252, 256). ‘One note omitted a Same as JP y ‘Two notes omitted 343 1? aa 3 ira a ea Brssrsa rsa rq rsa rsa rsa sears sa os Bo oe ray sq sq | m4 req ret TD | ye a mapa rea FA t a SL =a| Basic Riythns Variations On Quarter-Note Triplets Everything said about eighthnote triplets can be ay Always use foot taps in places where there is a tie (Exercises 261-263) or where the meas- ure begins with @ rest (Ex. 264). Of special note is a figure that ocours in Ex. 268. This is wencises 261-270 a sub-divided triplet which should be played. nef f fof f f L f f pplied to quarter-note triplets as well. Ex. 268, measure 1 Ltd reel eel fel a app a ade dy eye tt iy) ryt A eS) we wh ae s ToL EdBasic Rhythons iplets 4 Half-note triplets are not seen very often but they have been used In quite a few show tunes, notably “I Get a Kick Out of You” and “Everything's Coming Up Roses.” One way to count haifnote triplets accurately is to start with quarter note triplets (Ex. 274, measure 1). Then tie the notes together in groups of two (Ex. 271, measure 2). Measure 2 and measure 3 are played identically. Exercises 278-280 are a quick summary of just about everything discussed in this book so far. =i a fe eae 1 Pi.RT TWO: Ginegle .Gyncopation A Brief History of Syncopation in ‘American Jazz and Popular Music The word syncopation is defined (in Grove’s Dictionary of Music) as “An alteration of the normal time accents of the bar by the setting up of contrary accents.” Although this definition is adequate for classical music’, itis incomplete with regerd to jazz swing and American popular music. The so-called “swing feel,” which we have already met when play- ing eighth notes, makes a subtie but crucial differ- ence in the way syncopations are played. Each syn copated note is actually an anticipation of a note normally heard on the downbeat. That is, a note that might be expected on the third beat of the measure is actually played earlier, just after the upbeat of the second beat; because itis in an unexpected place, the note is accented slightly (see page 41). The first American musicians to make extensive use ‘of syncopation seem to have been AfricaAmerican pianists living in the Southwest. A few years after the Civil War, and certainly by 1885, pianists in St. Louis and other towns were using an effect in which certain notes of the melody were played a little before the downbeat on which they were expected. This effect was called “ragging the time” or “ragged time," which was soon shortened to “ragtime.” With the publication of the first ragtime pieces in the 1890s such as “At a Georgia Camp- meeting” by Kerry Milis and especially the huge hit “Maple Leaf Rag”? by Scott Joplin, ragtime became a national, and later an international, craze. Even classical composers such as Claude Debussy (4862-1918) and Igor Stravinsky (1882-1971) incorporated ragtime into thelr works “Gollivog's Cakewalk” (1908) and "L'Histoire du Soldat (1917) respectively. Other composers such as Darius Milhaud (“Le Boeuf sur le Toit”) and Kurt Weill (“The Threepenny Opera’) continued this trad tion well into the modern era. To modern ears, ragtime sounds rhythmically rather stiff. This may be, however, because it is generally interpreted by classically trained pianists who play the syncopations as written—exactly off the beat, rather than the more relaxed way a jazz musician might play them. This writer was told by the daugh- ter of composer W. C. Handy ("St. Louis Blues” [1914}) that pianists around the turn of the century had @ freer interpretation of the beat than was writ. ten down, and actually played eighth notes very much like jazz players do today, long:short, long: short. In any case, ragtime, which had started out as piano music, was soon arranged for marching bands and dance orchestras. In this way, and with the great popularity of such ragtime-influenced songs as “Bill Bailey" (1902) and “Alexander's Ragtime Band” (1911), syncopated rhythms gradu- ally entered the consciousness of the American lis tening public. Around the time of World War | (1914-1918) the regtime craze began to fade and was replaced by blues and jazz in the public's affection. These art forms relied heavily on ragtime rhythms, as is obvi- ‘ous in songs like “Basin Street Blues” and “A Good Man Is Hard to Find,” both from 1947. A group of five white musicians from New Orleans who called themselves “The Original Dixieland Jazz Band” was the first “jass™ band to be recorded on the primi- tive equipment of the day. The success of their recordings “Tiger Rag” and “Livery Stable Blues,” and their sensational debut at Re'senweber’s Restaurant in New York in 1919, did much to popu- larize instrumental ragtime and early jazz and blues. However, their interpretation of eighth notes, while not quite as stiff as ragtime, did not have the relaxed flow of later artists. Jelly Roll Morton, whose real name was Ferdinand LaMenthe (1885-1941), was a New Orleans bom pianist who liked to brag that he had invented jazz. Coming from anyone else this might have sounded ludicrous, but Mr. Jelly was one of the great pianists of the 20th century. Even his earliest recordings in 1923 show a smooth, relaxed flow of elghth notes quite different from the stilted rhythms of ragtime, 80 his boast may have had a basis in fact. But the most important figure in the development of the swing feel was the beloved cometist, trumpeter, singer and entertainer, Louis “Satchmo” Armstrong. After making some important recordings as a side- man with his mentor, jazz legend Joe “King” Oliver in the early 1920s, and after a short stint with Fletcher Henderson's groundbreaking orchestra, Armstrong made a series of recordings with his own small groups, the “Hot Five” and the “Hot Seven” that are breathtaking even today. His solos soar above the somewhat plodding rhythm section with a freshness and rhythmic swing that revolutionized the whole concept of how to play jazz. He was the most influential figure in the history of this music,every subsequent player owes Satchmo an enormous debt. His ideas were soon emulated not by trumpet players like Red Allen and Louis ima, but by other jazz greats such as pianist Earl Hines, trombonist Jack Teagarden, clarinetists Jimmie Noone and Benny Goodman, saxophonists Benny Carter and Coleman Hawkins, and singers Billie Holiday, Peggy Lee, Bing Crosby and the Boswell Sisters. In later years, even beboppers like fie Parker and Dizzy Gillespie acknowledged ‘their debt to the great Satchmo. ‘The 1930s and 1940s saw the rhythms of early jazz Incorporated into the big bands of the day. Many of ‘most popular bands were led by musicians who ‘were either jazz players themselves or who had the ‘sense to hire the best talent around. These include ‘Duke Ellington, Count Basie, Jimmie Lunceford, ‘Benny Goodman, Artie Shaw, Tommy and Jimmy Dorsey, Glenn Miller and many others. It was at this time that the demands made on band musicians were increased to include the ability to read compli ‘cated syncopations at sight. Even more demanding the bebop charts that began to be played ‘found 1946, as these were not only rhythmically ‘complex, but were often performed at breakneck tempos. ‘Since the decline of the big dance bands after World War Il, so-called stage bands have become very ‘popular. There are thousands of young players in ‘these bands at high schools and colleges that play ‘the challenging modern arrangements of Sammy Nestico, Dave Wolpe, Dave Barduhn and so many ‘others. These arrangements require players to read ‘syncopated figures at sight, often at blinding speed. The sections that follow analyze hundreds of exam- ples of syncopations and other challenging rhythmic Agues. “Classical musicians are trained to play this displaced note irectly on the up-beat rather than a little after it as jazz play: 1 do, This tends to give the classical guys a rather stilted ‘Sound when they try to play jazz. Listen to most recordings ‘of Gershiwin’s “Rhapsody in Blue” or "An American in Paris” to heer what we mean, “Contrary to popular opinion, the “Maple Leet Rag” has ‘pothing to de with Canada, It was named after @ gin mil in St Louis, With its sexual implications, the word “jazz” was considered 400 risqué in 1917 to be used on a record label. On the (00)8's carly recordings the word Is spelled “jass.” Playing Syncopations As previously mentioned, syncopations played in jaz with the swing feel are actually anticipations of @ note. For example, think of two nalf notes: the first is played on the downbeat of “1” and the seo- ond on the downbeat of “3.” Jee 4 i This figure, of course, does not have any symcope- tion, fe anticipate the second note we get the fok lowing figure: py This has important implications. 1. When counting, this means that since the antick pated note is really the third beat of the measure, the next number is 4, not 3. This is important because it is very easy to mis-count when playing syncopations. 12 @)4 not counted 2, Since the anticipated note is @ displaced down- beat, all syncopations should be accented. ‘Sometimes arrangers indicate this, other times they take it for granted, In this book we give many exam ples of each, but remember to accent all syncopa- tions, marked or not. We have classified all the syncopations in this book ‘according to the anticipated notes. The first exercis- es in this section, numbers 281-470, deal with the anticipated third beat of the measure. This particu. lar syncopation was brought to the Wester Hemisphere by black staves from West Attica, where it is an integral part of the folk music. The anticipat- ed third beat is characteristic of a dizzying array of music, including Latin-American rhumba, cha-cha, ‘son montuno, bolero, merengue and calynso; Brazillan samba, baion and bossa nova and Argentine tango. In America, the same anticipated third beat has been a part of ragtime, the Charleston and early rock and roll. Its importance cannot be overstated| | B Single Sipreepation Anticipated 3rd Beat | @ylti ym wes i muy Exercise 281 contrasts a non-syncopated measure (measure 1) with a syncopated version of the (ee same rhythm (measure 2). Make sure you can play this exercise before going on to the more 281-290 complex examples, and remember to accent the syncopations even though they aren’t marked. _ ge FU) al i lr Oc Pn Oe By Io 3 aw ow ou wh wa LI oo pO Oy nu Pe Minn 410d mn mfp! OT Ou a Ty by at ee faa ere i) a re aeSingle Syncopation nti ipated 3rd Beat (cont.) mony vom =] Exercise 292 demonstrates the calypso beat. Guitarists rs can use this rhythm as their calypso strum pattern. SG 291-300 — You'll also notice it's used in calypso meladies such as the verse of “Jamaica Farewell.” Poa ony poe mi OO Df SA bd Wm OO 4100 oy moo woo oe i DO cee 4 HOO Uy Won mo moon oi ha pa FL DY Dl 3.Exercise 301 contains a variation on the basic calypso beat. Guitarists can use it as a strum pattern. 301-310 - ee It also appears in many calypso-style melodies such as the chorus of “Jamaica Farewell.” ‘ak 31 Se Fe! ‘Tack 312 Swing fet Jonna ouSingle Syrctpation icipated 3rd Beat (cont.) 3 If helpful, you may think of Ex. 311 as @ syncopated version of this simple figure. 31-320 | Don't forget to accent the syncopated note. [5a 21, Sip Fe Pu Ao won bor er ay ST my OU oO Wy MH OOo on BON On mnoiy a h i “ani ( G ; i q ; : q Ma on. Sian, POOL OOo ee 14 Doe : « a q ;fp She Spopaion Anticipated 3rd Beat (cont:) E eo These syncopations review and expand the previous pages. You may want to create melodic | 32-330 E versions of these rhythms. For example, Ex. 325 could become. 7 Exercise 329 might become. = S < toSingle Gynerpatinn BT icipated 3rd Beat (cont.) 3 Exercise 331 is the anticipated third beat in its purest form. The “Charleston” became a dance craze in the 1920s and is still played occasionally. The opening measures of the 331-340 chorus use Ex. 331 note for note. Variation Exercise 332 is the same figure with the first note shortened a bit. The rest of the page deals with variations of this same figure. tees (eee ape ee fase ee Pe Bi ol i ie fy did bl dd be By db) OW dO py So nd Bp dO bla DOI dy 3 3 3 L ae LAT 2A Dw ony Did pl du bd A hb) Oi), La) be SOA Sige me* Single Sprcopation Anticipated 3rd Beat Combined with Rests on the Downbeat “Exercises When starting wth a rest, tap or click for the missing ge [adh | - beat(s). One tap for Exercises 341-343 and 347-350. U4 ¢ 341-350 Tap and two taps for Exercises 344-346. f}-2—¥ dL i] x x Tap tap Heel ne J Ji yt 14 di9 eth Fe ee us fel ae Pag oe a wy Loin Ole Loi dlo wip FLO, Fly AA ad pe eS - sing Ft af ee pL Re Se et Dae) we 349 arid Jas TU) ryt ip fy p ALA OO DL bl af » OA yb 10Single Symctpation HB icipated 3rd Beat Tied to Various Triplet Figures These figures won't give you any trouble if you foot tap for the tied note as in the first measures of Exercises 351 and 352. He Oy You can create melodic fragments with any of these figures. x For example, Ex. 358 might become: — —— WO a or, J mb 3 i re me he1B Saegte Syncapation Anticipated 3rd Beat 4 Ties Over the Barline | Exercises wf}e x3-f[}e pepe 1d Je. ai dade) “rk 7, Song Fa! yA LE AL at 366 368 369 a0 | i } id efi TDL vy seo} x e r ie Exercises 366 through 370 are designed to be played as one unit. Here again foot taps or tongue clicks on tied notes are the key to playing these exercises if accurately. Don’t forget to create melodic fragments with some or all of the exercises 361-370 Exercise 365 might become: That is, the last measure of each flows directly into the next exercise. at fife J jd Je d =a aE ee da) aes oe Jue 3 zg quem ny ou ou (continue to Ex, a ee OOLW OU oo (continue yd) OL a wl yy Po Aa ed (continue 3 leh he oe (continue eeSingle S icipated 3rd Beat #- Ties Over the Barline (cont.) Let Ex. 374 flow directly into Ex. 372. Exercises 376 through 378 can and should Be as one unit. Here’s a melodic version of Exercises 376 and 377. Now create your own. J SSS Se od re Et aS aes Pi TU a ha OIL yl a Pa) hy ea A BOO ay ol HOON 4) OO oy n Is MOP PESO eenriee | Hi Fy Ba eA 0 eaSole. Syeaption Anticipated 3rd Beat in Staccato Notation Many modern arrangers use what's sometimes the same. This allows arrangers to save called “staccato notation.” In this type of notation, time by omitting the tie and additional a figure that has traditionally been written as: note. For the player, however, this may q 4 cause some confusion. For example, 4 i measure 1 of Ex. 381 looks as though isnottedact the second eighth note is left hanging. But that note is actually the anticipation pp 4 of the 3rd beat and therefore must be accented. Many more examples of stacce Since the tied note on the first figure is generally een su off short, both figures ate played preny much," "otaHon Mola: Tk 39, Sig Fs poi ty AA 38LSingle Sypcopation BB icipated 3rd Beat in Staccato Notation (cont.) Gen se ally speaking, eeu you ean a at ei lenin note i folloned by t, you can e that it is the antici cation ofa note ‘examples of as: that 391-400 this virtually every mea re oRaenae Peo Jy won BL Om Wy BA eb mit, on on, man es ey POO LOD MOON, bd ye HO, OT Bt BOO, dwn. oe Hy DLO MT IBH Shegle Sprcrpaion Anticipated 3rd Beat in Staccato Notation (cont.) i Here are more examples of staccato notation. Exercise 401 is a staccato version of the Lj Charleston rhythm on page 47. Exercises 407 and 409 test the truth of the old adage that 401-410 resis are harder to play than notes. Be especially careful when starting with a rest, as in Exercises 407-410. afte '¢ a : > id zy Gye tld Sy Yb watt ded da yt PEO mt? b,$0i) 4 Ld d da wid did AL ht SeSiagle Syreepation nticipated 3rd Beat in Staccato Notation with Extensive Rests This whole page is especially valuable for brass players, who are often called upon to punctuate the melody with figures such as these. Here’s a melodic example with the saxes playing long 411-420 held notes as the trumpets and trombones play a figure based on Ex. 447. Saxes © Brass o Po ke ah sae T T pila tp 4. 4,i8, 1, f- gge Do dy Dy Dd Dy DY ty De bat det tio dy ty ty 44 Lp eat Bo BOO DW. jbo ee ei) dp te DA dt Bee TY DTA) i po he aeIf She Srpaton Anticipated 3rd Beat in Staccato Notation with Broken Triplets eo 3 ercises Initial rests add to the comy ie plexity of es ‘the examples on this page. Always e 42-430 mark them with a foot tap or tongue “* i click. Ex. 430 is a typical pickup figure, rap shice for missing which often appears something like: two beats of pickup measure joo ny tinioan, “Ty db. 3 13 8p os 3a 2 ~ sant nh ne as ont Th ees a as Me OOD, Dian eel Ly ee Sac tae opr dM Ody DL 3S ete) Lino naa ey Oe QoShogle Syncepation icipated 3rd Beat as Part of an Eighth Note Triplet Since the swing feel demands that offbeat _is negligible; however, when practicing this eighth notes be played a little late, the with the straight eighth feel, the difference difference between: is very noticeable. Watch out for tricky examples like Exercises 435-438 and 440 Ho { that start with a rest. By now, you should know how to deal with them. Uae a ea Loo. LA) A) bo Uo oy ILA Loy Sooo ayn. Bb di pe be eo, oO, Pee OW OU ALT, dCSingle S quctpation Anticipated 3rd Beat as Part of a Quarter Note Triplet ‘werciges Here is a very challenging group of exercises. esietines tap or cli bed i all is a otes and rests. Create your own melodic examples. Exer 2 449 righ like ad I pl Bee 1 bal Lob, Reg ate Ie J eer Sas di Rea Le) Rig LOL ea oo ey LOO OOOO) Bias | J.D. Saar wo.Single Syreepation BB iticipated 3rd Beat 4 Dotted Eighths #- 16ths x Jazz soften” the dotted- Keep this in mind when pr satoly te tis au ne eight dethnote re re to something like: be Be. Practically speaking, the swing fe 451-460 I IS RI I ds te one Aa wing Fet PelAnticipated 3rd Beat, Downbeat Rests 4 Dotted Eighths 4- I6ths Tap or click for every missing beat, especially when the number of silent beats is high as in Exercises 466 and 470. Many of the figures on this page are typical of brass punctuations 461-470 like this version of Ex. 466: the saxes play the melody while the brass punctuates. Saxes eel 4 \ pT pF AL Bit ees _ A AE JPA AO y+ LAA OW by A. 5 es Se ATU gt bene et happens CUO 2 ALY ad) Ne eSSingle Syrcopatine a icipated 2nd Beat The following pages deal with the anticipated 2nd beat. The eighth-quarter-eighth figure is very common to all types of music. The folk song “Tom Dooley” starts with it, as doe: “Rudolph, the Red-Nosed Reindeer.” Even though the second note is written as a quarter, it is usually shortened to KI an eighth note followed by an eighth rest. played as To get the proper feel for this rhythm, think of the first two measures of “Rudolph” and then sing the first two measures of Ex. 472. dl dl idl dl idl oT ip medi DU iJ. bi di jy, ji, Be Ni dh Lh ae Hi Lb madly id a yd IMO THO yb Oy mun Oona! MLO dy bh pos di ddl, da MT aly pede DO) dpb pt F q 4 ! Visage lThe downbeat eighth note followed by @ longer note is characteristic of some types of folk music, especially Scottish (“Comin’ Thro’ the Rye") and Hungarian (“Czardas”). Don't shorten the second note unless it is marked with a staccato dot, as in Ex. 482. Exercise 484 introduces the tenuto mark (-). When this dash is placed above or below a note it Means to hold the note for its full value and give it a slight accent. apd Jae | oy, Tc @y dl ih chy wads TN dt by bd yb etl Fs) by) bk dy pod wp dl idl pl I mon, mp dl Md. Ol ibl Poids bd etl tbls ipl cy 2 tet UO ep iy ag mpd! be ab) ey 490 also written yo. Fils GiveeS ticipated 2nd Beat Starting Off the Beat 50g Fa! An eighth rest replaces the initial eighth note in this version of the anticipated 2nd beat. Always tap or click 491-599 0 the rest, and the figure won't give you any trouble x Tap sharper version of the accent (~). Exercise 494 introduces the marcato or “hat” accent (\). It is a shorter and TH Jbl hi) SDJ Jail a Re bly J. ) met bd Piet | ob oy pod dl» 3 +1 Th Icahn data ett pind dL 1d are yy 1 1 » i abe Bara Jy dd bl» ! dm.) Jr 041 df1 Sine Sipmpation Anticipated 2nd Beat Starting Off the Beat (cont.) | Guercies © Exercises 501-508 contai typical pina puree x 's how Ex. 504 might be u a earmeldy 501-510 Saxes ' . : iF RS 2s = a S Bross ’ eee yea == = pret a ofp jd TOL dd afpedetototetht a eo awry dnd ted de Peer) pL a ee ee Ip died | 509 SoS so} 4+ ie pJibd bd ia Lb L ddSingle Sprcrpaton (8 icipated 2nd Beat, Ties 4 Staccato Notation Here's how the anticipated 2nd beat Remember to accent Bi shia os Be any offbeat eighth looks in staccato notation. notes that are followed by rests. Exercise 512 introduces the “hat” accent in combina- H tion with the staccato a note and cut it off as short as possible. dot. It means to accent biti ng dd D1 Lids DIDS td pol ppl DA 4 pod db 4, pbs bd bh ee eg oh) ppd DOL dl eb yb) ey A ee), dy DL ib) y deel laa gp jy Loe Hel pote, Py He AEA dd1B Single Syrerpaton Anticipated 2nd or 3rd Beat PT Bains 7 Ts Spee mixes ae anticiy peed Sid ued at es anticipated 2nd beat (but not in the same re). Try creating your ple, Ex. 525 might sound like this. tf $30 2 — — = = = aad) Jl idl) y Fy afl db py G. ott DLO yh LG. ope Mh oy by ond os yh ee em Oud yb Pee bd) dL dy aE Be ot Gn yn ob aq GoM pO yb |Single Sypeopation inticipated 3rd or 2nd Beat ¢ Initial Rests figures begin with re erie; aK tie dowrteat wit 2 feck tap 9 F tongue click. Ee Soman oed sed for r punctuating brass figures. Sax melody po dp Go 4p dl pd Piet i Hed OO oo po pr dd 4d ) Ne i rp CLA Fo dd yd 2 el. dG: Q are | “ dul eat) 4, ST A : . jSingle Syrcepation = Anticipated 2nd or 3rd Beat + Ties Over the Barline = Ppveniees As uum es al he barline, tap or click for the tied notes. a, Boe the foleniecibianple sthoy tao th ores oat : Sos DOUYA AL th ep MOLMTUGO A Lyn AAG wfped do blo yd I wipro oO Ao wpe PO Oh Db et Dh bly ge) J bb egpe Di. Jud) dT) 1, DL Ly epee) yb A wi eet ee Hi Loo a. 550-4}Single Sprcopation 8) ticipated 2nd or 3rd Beat in Staccato Notation 5 Every figure on this page may be seen as a brass punctuation or comping (an improvised chordal accompaniment) pattern for guitar or keyboard. For example, here's how Ex. 554. ssl-560 might be used to comp the first four bars of a blues in F. 14 | pa bo oye eee fpr edretd dap Lotte we wept bj» oe Birdy dd dep ded Dd ey Pu ag dy Sipe DI tp de die de DIT yD wiple? > Oh 3 Baroos 1) shri) ly a > >Fh Siste Siren Anticipated 4th Beat Initial Rests The following pages deal with the anticipated 4th beat. This shouldn't give you any trouble as it is similar in feel to the anticipated 2nd beat. As always, tap or click for rests on rhythms: 561-570 such as in Exercises 568-570. Exercise 568 might be used as a brass punctuation like this. Sax melody Brass a 4 Bean pli ly, Ped) yy bh pS Ya iy wage 4) DO) pee wtp dt) iSingle S prcepation ticipated 4th Beat 4 Ties Over the Barline net forget 10130 click in spprenitate places, Ts especi min ined with long, held notes tied o er th 1) See Fipple woe dee season Fst I bb le ee 1 Ue dda) ally important where long barline, as in Ex. 575. dtBh Sh st Spepaiom Anticipated 4th Beat in Staccato Notation ‘ Remember to accent every off-beat elghth note followed by a rest. In Ex. pot 4 the aooents are marked with ain Ex. $82, they are not. Doesn't matt 581-590 always accent them, marked o @ult Oy 0 yd Oy. Ag ope DT teh oh i oh ott PAA Aa fT bh wl oo Bd ai tO os Io Sano on, mfr PFD pe DT DYSiagte Syncopation a -d 2nd and 4th beats gules ut not in the ie measure). tbs xercise 500 aie rky little one that coul uld be turned int melody as 6a na low; or make 591-600 up ee Pease eae ree eee eee 599 & == = o Fe ot 2 t a 3 oT Sea qed yb 1 A bb) 8d PDL MI be by Hettl pol,iol, mod Oona Oy A moor wou aii, hie ON OO yd bb dy fe DDL dbl Dd] did] \ eres, Jibs yee ey ay 1 WE Wedds ds acAnticipated 4th or 2nd Beat 4 Ties Over the Barline 2 By now, you know the drill. Tap or click for tied notes and for initial rests. Exercises 607 or 609 might be used as background chords for the main melody played by reeds, trombones or even 601-610 strings. Create melodic fragments out of the other rhythms. For example, Ex. 606 could sound Ii 2 Sg oe aed [= Sa SSS e afd dt doops do J dyn p afprd dio 4d Ut bd wip db.) bb Ld mfp dt od petpe dg OL pd) op pele el a te ack 6, Sug Fa 3 3 3 a Sule ob oo opt. 1d) a Sele dM 608. 2 4 ddd dat DM i 0 4 we =e edSingle S prcopation 5 icipated 4th or 2nd Beat in Staccato Notation Most of these figures have been used for brass punctuations or drum breaks. In Ex. 617, the accent and staccato dot mean “short and accented,” but not quite as sharply as the 611-620 “nat” accent and staccato dot (see page 65). ALA A ALA s ALA Hoy Cp + {fi He DG » +d,» bt bp—dJ dd dee dd Ody Me DD dt gD» Or Wed dy He data Jia 2 ty bt eM dd Dd DDT dee Siregle Symetpation Anticipated 4th, 3rd or 2nd Beat E So [eunius s | 621-630 At “- fe gone through the thre: eel esor ewmoonations \s, the sna elnatod ane Sal rath beet. This Mee illustrates them all, but the sam CS wildy oy Fp i dO id) dd Ltd did Dede Fle and Nee AY el wiGhegte Syncopatin icipated 4th, 3rd or 2nd Beat #- Initial Rests ‘vercises When playing examples such as Ex. 631, be sure to tap for initial rests. Because the first note is an anticipated 3rd beat, measure 1 requires two taps. Measure 2 requires only one 631-640 tap, and measure 3 requires three taps.Anticipated 4th, 3rd or 2nd Beat 4 Ties Over the Barline held notes combined with syncopations. Also, don't forget to tap when the exercise begin If you're using an electronic metronome, as we strongly recommend, make sure it's set to accent the first beat of every group of four. This will help you keep track as you play the 641-650 exercises on this page, especially those like Exercises 641, 645 and others that use long with one or more rests. nity Saeisigre @ie Ql Odo po we DO do Ai wo) | pd Y poe ape cl, pn ls i pl dy gfe De) J! ob] pp eee bi bh bb i a ety ddl bi pl bl DO aySingle Syreopation BE” icipated 4th, 3rd or 2nd Beat in Staccato Notation j Most of the figures on this page are typical of brass punctuations. Here's how Ex. 658 might be used to punctuate @ sax melody. 2 Brass chords ewe eh ce go aed Lee a : |i Single Sypcepaton Anticipated ist Beat This is the single most difficult syncopation to play correctly because the anticipated note appears in the previous measure. For example, in measure 4 of Ex. 64, the last eighth note is actually the anticipated downbeat of measure 2. If you wish o—+— 2 = to sing the rhythm, try it this way. Dop Dop Dop Da Ba GX OK @ 3) @) wyye ++i. 4414 Fi. ert a lhe Sate wip i) oo PRBS Ee Ceara Ee Minh ue) 2 wi Qu my my ah wae | = = = hl 0 667 He aJeJ] Fu d. du my) 668 x + ai =e.Single Sypeapaton fl icipated Ist Beat 4 Initial Rests The initial rest increases the complexity, but a foot tap or tongue click will help you keep track. Notice that in measure 2 of Ex. 674, the foot tap Is on the 2nd, not the 1st, beat. “x pop pop Da Ba Xba Dop X Tapping is exceptionally important when playing exercises such as 676-679, which use long notes and rests. mee bop a yIMOO os a ae Ou No dy} aaietamane Anticipated ist Beat #- Ties Over the Barline d i gceg Whenever the last note of an eighth-note or quarternote triplet is tied over the barline, it € must be accented, as in Exercises 684, 685 and 689. Arrangers sometimes leave out the | 681-690 accents, but a good player will restore them. a wept di pO a ofp 1 Ga wg itt Ty. Ol Sul Ey mp LT hy 1 aH od Jy Be i 32 3“a Single S prcrpation 2 ticipated Ist Beat in Staccato Notation | In staccato notation, the anticipated ist beat is even more confusing. Since the tied note is omitted, the single eighth note seems to stand alone. Keep in mind, however, that it is 691-700 still the anticipated first beat of the next measure and should be accented. Hey Is actually anticipation of: (oi eae Met OO, » J Ho Ot) ier — ee ath ee ahze Single Sprepation Anticipated ist, 2nd, 3rd or 4th Beat ry This page reviews all the anticipated notes that are possible in 4/4 time, but never in the same measure. Use the techniques you have already learned. 701-710 nade Dy ey es Sd m {}4-¢-— |e re a |" uw! Gu A my a a > is leg i { haaSiege Sypcrpaton 8) ticipated Ist, 2nd, 3rd or 4th Beat 4 Initial Rests More review. Use foot taps to ensure proper entrances. Try creating your own melodii version of some or all of these exercises. Here's one possibility based on Ex. 718. Diddy dl 2 J J Dd + T WBA Ab py | Fp | ee ow a> vee - S ae widen Rude ee Tat TSwing Fel pep dy SY Pape DOU bb td bd |Se Sran Anticipated Ist, 2nd, 3rd or 4th Beat #- Ties Over the Barline | | 721-730 Still more review. Use ip Tae tes to ele vou Ree ee rack of the beat when n dealing with tie i oe Jody A bd wie Ly ani Job] mated jay dita pul A) oy oe midds bt eae afte. A GA ea ait yb Aad i) le 3 FatSingle Spreepation nticipated Ist, 2nd, 3rd or 4th Beat in Staccato Notation You may want to review the notes to page 83 before tackling this page. The last few exercises are typical brass punctuations. Here's one version of Ex. 740 punctuating a sax line above. 4 bees a Aa rt te AH AG A > 24S md. Sp 1D oy yD. a Jpre ete eee 9 TI NIL Hyd Ly by bd) {| bt) ey > ae aeRT THREE = Doutde, Triple and EQuadruple Gyncopations Of course, modern arrangers don’t care how many syncopations there are in a measure. In 4/4 time, you can have as many as four anticipated notes in a single measure, so the syn- copations you'll find in this section are all common in today's writing. All the techniques you've learned so far can and should be used to play these figures accurately. There are a limited number of combinations possible. Double Syncopations Two anticipated notes per measure may be » the Ast and 2nd beats Hey 4 Heh eh * the Ast and 3rd beats ff-+b+—-L | - . © the 4st and 4th beats} ee] the 2nd and 3rd beats He LL) 4 the 2nd and 4th beats {}}4f-+—¢ J the 3rd and 4th beats ff to ITriple Syncopations Three anticipations per measure may be * the 2nd, 3rd and 4th beats ee * the Ast, 2nd and 3rd beats peydthl 4 * the Ast, 2nd and 4th beats apdy diol 4 * the dst, 3rd and 4th beats pel poly Quadruple Syncopations When all four notes are anticipated, there’s only one way to do it.yncopation and Latin-American Music Even as far back as the early 1900s, Latin music had an impact on American popular styles. The tango developed in the slums of Buenos Aires around the 1880s. Its characteristic rhythm (} 7g JJ) was an outgrowth of the earlier habafiera', which, as the name suggests, developed in Havana, Cuba. Jelly Roll Morton often spoke of the “Spanish tinge” in his music. Since this jazz piano pioneer developed his style in cos- mopolitan New Orleans, it’s not surprising that he was familiar with various Caribbean and South American rhythms and incorporated them in his playing. A development of the tango rhythm (4 J 2) J) can be found in the second strain? of “St. Louis Blues” (1914), where it creates a welcome contrast to the four-to-the-bar rhythms of the first and third strains. Both the rhumba and the beguine became popular in the late 1920s after they were introduced to American audiences by the Xavier Cugat Orchestra. But it was after World War II that Latin music came into its own and became an everyday part of the musical scene. Many dances and the music that went with them, including the conga, chachacha, merengue, and mambo, washed over American music and then receded, leaving permanent traces, especially rhythmically. Like jazz, Latin music is highly syncopated, but unlike the swing feeling of jazz, the upbeat eighth notes of Latin music are played exactly as long as the downbeats. a Most Latin music is based on the so-called clave (pronounced CLAH-vay) beat did odd J tt J J 2 )which is itself syncopated. Claves are two hollow sticks which, when struck together, produce a penetrating click that permeates the ensemble. It is the foundation of the Latin-American band. In the 1960s the Brazilian bossa nova brought a new harmonic sophistication to Latin music. It soon became very popular with American jazz musicians and remains so today. The bossa makes a subtle, but very important, modification to the clave beat, increasing the amount of syncopation inthe music (4 J. DJ J [t Judd». Salsa is a combination of American jazz harmonies and melodies and Latin rhythms. The underlying rhythm is usually based on the clave beat, but melodically the eighth notes are played with a swing, not a straight, feel, Today the Latin influence on American music is stronger than ever, The latest import is an exciting sound from Mexico called tefano (teh-HAno). It is, however, not based on the clave beat but derives from the accordion based polkas which German immigrants brought with them to Mexico in the 19th century. !The most famous example of a habafiera is the one from the opera “Carmen,” inadvertently plagiarized by Bizet from a piece written 20 years before by Spanish composer Sebastian Yradier. Bizet apparently thought it was @ folk song. "The second strain begins with the words “St. Louls woman, with her diamond ringsDoenble Syrepation ticipated 2nd 4 4th Beat en playing with the swing feel, antici ee snail ag de eee cut off short, sae 741 below. On this page we have reful to indicate this by using a staccato dot, 74-150 but the metiaulou is player will do this ever San not indicated inthe notation, rs 3) nad doLsidd ON NY pL dL dd dd DAD wd dL) pp a dd) pd) UD) ddl ddd ped dL Ad rb ee ng , Bh) oT He Lodo ddd He Dd Lk hy eg ph a De@ Double S prcezpation Anticipated 2nd #- 3rd Beat fe ‘wercises As stated or 3 2nd beats 760 For * example, meena Trek 72 Sg Fe ss du isis dd dd wipe di Ad dd boob page, m« out shay te ola jt ewe SJ 1 but usually played: aol dy aiteipeted i dibs db wggdl PD LDL yd dd Lidl dd) Ce tee peels moped LOT) Dele Ey, De al Bed iiiannpleti i, wo PAu Da bd A A Jy td A A A J.JDinble Sypcepaton 8) icipated 3rd 4 4th Beat ts dicated earlier, the anticipated 4th beat is usualy cut off short in the swing feel. But in Ex 761, measi ore 4 's probably the antic ‘cipated 3rd bea etter utd be cut off short, 7. Sight Fee LTT Se Feo rep tL td ie ’ e ¢ v i ¢ cod: Double Syncopation ! Anticipated 1st s+ 2nd Beat i If the anticipated 2nd beat is tied to a longer note such as in Ex. 771, measures 1 and 3, it isn’t cut off short; in measures 2 and 4, it is. Work especially hard on this whole page TM-780 because the anticipated 1st beat is used frequently in modern arrangements. It's an important means of giving the music “drive.” ‘ck 7, Sa Fel @yl Gy ug ely aud db) ugly by sey be 2 3 ate P Gl A NT ye Mie d | 0. 4) a) _ 7-1}| Dale Sprcrpatin me lies using Exercises 781-787. The last three exercises are fons or comping figures for guitar or piano.Anticipated ist 4 4th Beat | Exercises You could construct a typical Las Vegas-style “show biz” fanfare from Exercise 793. be Exercise 799 could be used for brass punctuations or piano or guitar comping. | 791-800 x 3 a ey ee SS m © (For example, trumpet trio) Bi Mee Oo tl boyy mpg dod) byl Ji dd dy | Soy daa od ay mie ddt hil} bi Dd dil dts mill db LOAM py bd du 196-}4- ody» ia -}4 ay 7d \ Pe ee mit edo mp2 Lo os Oty did ofp) Ot 1 Totty dy 1 ee eeeBille Syrerpatinn icipated 2nd, 3rd # 4th Beat with a syncopated figure. ged dh) Dds dil J This page explores triple syncopations, sometimes with quarter notes and eighth notes, sometimes with triplets. Either way, if you're playing with a swing feel, your approach should be the same. Especially watch your counting in Ex. 807, where a very long note is contrasted o Vo ney var mild oN, noes oe a B88 8g 84 84 8a ppd dds dN 3. 89 P84 84 335 ddd TL Dd, didn py Hed dd) py J eae fe) 1b J ee 2 81.2,Sragh Ft A ee ay wee a bite da Dede ded babe de deed d ppd ded did) ded DidL dd Dydd i) Heidt dl do 4 = a) 1 pulfia. »