Practice

Rhythms
for various time signatures

Scott Anderson and Michael Wayne

       
arr. Max Arakaki

     
         
Example:

  
Passage from Mozart Clarinet Concerto, K. 622, Mvt. 1

   
slur/articulate as notated or desired

               
           
      
4
1 Grouping 1-3

                 
      

     
Grouping: 2-2
2


8

                     
         
         
12
3 Grouping: 3-1

               
        
    
4 Grouping 4-0

 
16

              
          
     
5 Grouping: 1-1-2

 
20

12 March 2020
           
            
    
6 Grouping 1-2-1

  
25

         
             
     
7 Grouping 2-1-1


30

              
          
     
8 Grouping: compound syncopation

 
35

I came up with this one while writing this lmao

 
                  
     
   
   
40
9 Grouping: 1-3 compound

 
   
             
      
      
10 Grouping: 3-1 compound


45

                 
       
            
11 Bouncy Rhythms


50

                   
        
           
12 Scotch Snaps


53

2 12 March 2020
              
       
Example:

 
Kovacs Hommage a R. Strauss, mm. 2-5

     

         
56

              
       
  
Grouping: 1-5
60
1

               
           
63

slur as notated in original 

      
                  
  
Grouping 2-4
67
2

     
            
             
70

slur as notated in original

    
               
   
2A Grouping 2-4 Alternate)
74

     
            
     
77

slur as notated in original

 

                 
    
       
Grouping 3-3

      
3


81

   

         
     
  
85

slur as notated in original

12 March 2020 3
                        

 
Grouping: 4-2
88
4

    
          
             
91

slur as notated in original



            
      

4A

 
Grouping: 4-2 Alternate
95

               
       
  
98

slur as notated in original

   
                        
  
Groupng: 5-1
102
5

   
            
             
105

slur as notated in original

          
        
 
Groupng: 1-4-1 Alternate
109 5A

             
          
112

slur as notated in original

           
        

Grouping 6-0
116
6

I got lazy on this one. etc...

4 12 March 2020
          
             

Grouping: 1-2

   
7

  
119


     
     
      
123

              
   
     
Grouping 2-1
8

  
127

      
    
    
 
131


slur as notated in original

       
          
  
Grouping: syncopated simple

    
9


135

   
            
   
139

slur as notated in original

I`d write out all the crazy practice rhythms one can do, but for now this should suffice for the purposes of giving you some creative
possibilities in coming up with your own rhythms. For example, bouncy and scotch snap rhythms work all the same for compound
meter passages. I`m sure if you are willing enough to do so, you could come up with a similar practice rhythm of the compound
syncopation rhythm, but for compound meters instead of duple. Use these rhythms as a starting point for the infinite ways to practice
whatever tricky passage you have in front of you. Macro rhythms can also be useful, and instead of utilizing the rhythms depicted for
every beat, you can expand them for two beats, three beats, etc. Happy Practicing! - Max

12 March 2020 5