i É**a

i-;ì me*rsl#*eì
.l ,,::.::,i]l.'....

l*l :.- : i
**{tr-ì'r/f-È:
! !FEbl,f ,|.:u. *
nr
!li{3i' f<.'
;tJ}-:.^*"":,*^
tiiÉ:jiil,:; ""
. ....ì:..... .....:i.,t,.,.,,,..":,:§
Ifl Ff;-r
,",:* * g*
fl1,.., t {i }-r i-
*vt.-jLJt"àLrii r rr *
tu
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É4,b"
"W-&F"
e

F.
 Eo Sarxoox

ExplonerroN rN Rnvrxm Vou r

RHYTHMIC PHRASING IN IMPROVISATION

 ExproneroN rN *r*J;T:::ì

Rhythrnic Phrasing in Improaisation,

TABLE OF CONTENTS
Introduction.... ..........7
Cxapren r- PxnasrNc wtrH 8rH Nores lN 3/4
A) 3tt'NotesPhrasedin3. .......1o
B) SthNotesPhrasedin(. .......1o
C) 3tt'NotesPhrasedin5 ........11
D) 8'hNotesPhrasedinZ ........12
E) SthNoteswithMixedPhrasing ........13
F) 8ù Notes with Mixed Phrasingand Pitch . . . . .14

Cxapren 2 - PHRASTNG wlrH 8" NorEs N 4/4

A) 8'hNotesPhrasedin3 ........15
B) 8ùNotesPhrasedin5 ........16
C) SthNotesPhrasedin6 ........17
D) SthNoteswithMixedPhrasing .......r8
E) Sft Notes with Mixed Phrasing and Pitch . . . . .r8
F) 8ù Notes with Mixed Phrasing and Pitch . . . . .19
G) SthNoteswithMixedPhrasing ........19
H) 8th Notes with Mixed Phrasing and Pitch . . . . .2o

Cxapren 3 - PunaslNc wtrH 8rH Nores tN 5;/4

A) SthNotesPhrasedin3 ........21
B) 8ùNotesPhrasedin4. .......22
C) 8tr'NotesPhrasedin5 . .......22

F) 8ù Notes with Mixed Phrasing and Pitch . . . - .24

Cxapre,n 4- PxnastNc wlrH Tnlelers lN 3il4

A) TiipletsPhrasedtn2-. ........25
B) TripletsPhrasedin4 .........26
C) TiipletsPhrasedin5 .........27
D) TtipletsPhrasedinT .........27
E) TripletswithMixedPhrasing .........28
F) Triplets with Mixed Phrasing with Pitch . . . . . .2g

Csapren 5 - PxneslNc wlrH Tnlplers w 4/4

A) TripletsPhrasedin4 .........3o
B) TripletsPhrasedin5.. ........31
C) TripletsPhrasedinZ .........32
D) TripletswithMixedPhrasing .........32
E) Triplets with Mixed Phrasing and Pitch . . . . . . .33
F) Triplets with Mixed Phrasing and Pitch including Rests . . . . . .34

Cxapre,n 6- PxnestNc wlrH Tnrelers lN V4

A) TripletsPhrasedin4.. ........35
B) TlipletsPhrasedin5.. ........3s
C) TripletsPhrasedinT .........g6
D) TripletswithMixedPhrasing .........36
E) Triplets with Mixed Phrasing and Pitch . . . . . . .37

Cmepren 7 - PxnastNc wtrH r6rH Nores tn 3y'4

A) 16ùNotesPhrasedin3. ......-3S
B) l6ùNotesPhrasedin5. ---.:19

'l
 fablc of C.orrtcttb

C) l6thNotesPhrasedin6. ......4o
D) l6thNotesPhrasedinT. ......4o
E) 16ft Notes with Mixed Phrasing . . . . . .42
F) 16ù Notes with Mixed Phrasing and Pitch . . . .43

Cxapren 8- PxnnstNc wlrH 16" Nores N 4/4

A) 16ùNotesPhrasedin3. ......44
B) 16ùNotesPhrasedin5. ......4s
C) l6thNotesPhrasedin6. ......46
D) l6thNoteswithMixedPhrasing .......47
F) 16ù Notes with Mixed Phrasing and Pitch Including Rests . . .4g

Cxepren 9- PxnastNc wlrH r6rH Nores rN V4

A) 16ùNotesPhrasedin3. ......5o
B) l6thNotesPhrasedin5 .......51
C) l6thNotesPhrasedin6 .......52
D) l6thNotesPhrasedinZ .......53
E) l6ùNoteswithMixedPhrasing .......s4
F) 16ù Notes with Mixed Phrasing and Pitch . . . . .5s

CxapreR ro - PxnastNc wlrH Polvnxyrnms

A) PhrasingwithQuarterNoteDuplets .........S6
B) PhrasingwithQuarterNoteTriplets .........56
C) PhrasingwithQuarterNoteQuadruplets.... ........s7
D) PhrasingwithQuarterNoteQuintuplets .... ........58
E) Phrasingwith l6thNoteQuintuplets .. .......59
F) QuarterNoteQuintupletsPhrasedin3in3/4.. ......6o i

G) QuarterNoteQuintupletsPhrasedin4in3/4 .. ......6o 4
i
I
H) 8th Note Quintuplets Phrased in 3 in 4/4 . . . . . .6r
D 8ù Note Quintuplets Phrased in 4 in 4/4 . | . . . .62
I MixedPhrasing of Polyrhythmsin4/ withPitch (no Rests) .........6g
K) Mixed Phrasing of Polyrhythmsin3/4 with Pitch (no Rests) .... .. . . .63

AbouttheAuthor .... _...64

g-o.^r.r,
I * P,,nrrtvot-
1
INTRODUCTION

Not only does the specific selection of notes, level of harmonic sophistication and tech-
nique of a player contribute to the overall sound of an improviser, but a large part of
the player's sound and voice is determined by rhythm. Many improvisers work on
developing improvisational techniques based on note selection such as pentatonics,
chord scales, upper structure triads, etc. Harmony is usually addressed in depth as well.
However, rhythm is usually last on the list of priorities and never fully gets as much
attention. While some composers and improvisers do use select rhythmic phrasing in
their playing, rhythmic phrasing concepts are not used that exensively. As a result, the
world of rhythm has been underdeveloped and offers the improviser and composer
many untapped possibilities.

Many times, an improviser resorts to primarily consecutive 8ù notes played from meas-
ure to measure without any space. Some improvisers seemed to be "locked in" by the
chord changes and tend to play in one, two and four measure phrases. In addition,
there is either a lack of phrasing or the phrases and phrase lengths tend to be constrict-
ed by the chord changes. As a result, the lines tend to be monotonous, predictable and
hemmed in by the bar lines. Incorporating the phrasing concepts discussed in this
book should give the improviser's lines a sense of phrasing free from the bar lines and
consequently create lines that are more interesting and engaging to the listener.

Since they are primarily studying rhythm, drummers have much more expertise and
flexibil§ in using a variety of rhythmic phrasing when they play. Snare drum books
dealing with reading rhythms have a multitude and variety of many rhythms filled
with unusual rest placement, varied phrasing, unpredictable accents, etc. This level of
expertise with rhythm can be transferred to improvisation of a melodic nature once the
rhythmic concepts are assimilated and mastered in one's playing.

The material in this book is meant to expand the rhythmic palette for the improviser
and composer. The goal is for the reader tà assimilate the concepts covered in tire book
so that the rhythms will become instinctive and part of one's vocabulary in the
improvisational or composing process. It's one thing reading the rhythms and under-
standing the concepts; it's another matter to be able to incorporate these rhythms in a
natural and effortless way.

The concepts discussed in this book should also be useful for rhyhm section players
who accompany soloists. Being aware of these rhythmic concepts as well as being able
to hear them and respond to them, will help the accompanists better support the
soloist. Having the abil§ to hear a specific rhythmic grouping, when it starts and
when it ends, will enable the rhythm section player to better accompÉuly the soloist.

In addition, an additional fringe benefit of working on these concepts discussed in the

book is that the player's time, the ability to hear longer portions of the music and over-
all sense of form should develop as a result of playing these rhythms. Also, the abil§
to hear phrases played over-the-bar-line and over long numbers of measures will
enable the player to deal with improvising or composing over longer periods of time
as opposed to one measure at a time.

In summary, working on the examples in Expronq,uoN rN RHyrHM, RHyrHMrc

Pnnesmc IN IurpnovrsArloN will expand the rhythmic vocabulary of the improviser
and composer. It should help to make ordinary lines sound more interesting. Working
on these concepts, the players should begrn to'heat''more interesting rhythms that
"float over the barline." The end result will be a sonic erasing of the bar lines and a
sense of time that is characterized by a sense of freedom unrestricted by the bar line-

Rr,rrrmrc È*esrrc^ n *,.J I

Introduc'tion

ExplauRrroN FoR WonrrNc wtrH Rnwxnntc PuRasrNc tN

lanpRovrsATroN

The material in this book will cover rhythmic phrasing based on 8ù notes, triplets and
16ù notes as well as some specific polyrhythms. The time signatures used in the exam-
ples include 3/4, 44 NtdSt+.

The material in the book can covered in any order and does not necessarily have to be
covered progressively from the beginning to the end.

The term rhythmic phrasing refers to the grouping of notes (called a rhythmic unit)
based on a specific rhythmic pulse such as 8ùs, triplets or 16ft notes. Depending on the
time signature, rhythmic pulse and rhythmic unit, the overall phrasing will generally
tend to cross the bar line thereby obscuring the overall time sense of time.

The terms grouped, or phrased, are interchangeable. "Triplets phrased in 4 or "triplets

grouped in 4" ate both correct.

The rhythmic unit may be delineated by a number of techniques. As will be evident in

examples throughout the book, the rhythmic unit may be created via the use of
accents, rests, partial subdivision and pitch.

A note regarding the notation in the book: In all of the examples and etudes ttrough-
out the book, the initial rhythmic unit will be indicated with a bracket.

The term cycle is the time it takes for the rhythmic unit to play itself out from b"grr-
ning to end and to begin again on the dornmbeat of any succeeding measure.

For example, 8ùs phrased in 4 in 3/4 take two measures for the unit to start again on
the dovrmbeat of the 3'd measure. This two measure cycle will consist of 3 units of the
Sfts phrased in groups of 4.

z Mensune Cycu,

Another example would be triplets phrased in 4 in 4/4.This is a one measure cycle in

which each measure contains 3 units of triplets phrased in groups of 4. Many of these
groupings create polyrhythms. Lr this case, a half note triplet is created by the b"grrr-
ning of each rhythmic unit.

r Measune Cvcle

'31 13'

I Br.*^rr-, r* Rrrrrurr vor- r

 Introdac-tian

SuccesrroNs FoR WonrrNc wtrH Ruyrnmtc PuRastuc rN

lnnpnovrsATroN

It would be of benefit to play the examples and etudes throughout the book with a
sense of musical§ as much as possible. The examples and etudes should be played
with a sense of nuance, varied articulation, dynamic shading, etc. The goal is to be able
to assimilate the various rhythmic phrasings into one's or,rm playing in a natural way.
Initially, the rhythmic groupings may sound academic.It is the goal, with practice, that
these rhythmic groupings will begin to sound more natural as an extension of one's
ovrm normal way of playing.

It is advisable to use a metronome on a consistent basis when working throughout the

book. Slsgg:4br-,ilis §_qjqgest.gd_to have the metronome sound on beats 2 and-*4.
Hslssuqt.depssdlsspJlths"sp_egflgftly1h.JlrSjgpg.l{dles9ed, it+igt1_b_e 9f more ben-
efille^beyg1hg_ge!tq1r.9gt9*s.o*U1r_4 _o-q"aU of the- pggts o1 even on all of thé §-{ notgq
Wbs+ pl+yes te $ytbtl.:. Èry:e!gglg:!9e\,r*9'g9ti:_":rylnp9[git
Once the concept of rhythmic phrasing is understood and the examples/etudes are
mastered, it is suggested to devise other examples based on the rhythmic phrasing
concept. The examples in this book should be a basic starting point.

AoorrroNAl SuccEsrroNs FoR WoRKING wtrH Rsyrurulc PuRasrNc tN

lnnpnovrsATroN

After playing the examples in this book, try improvising based on various rhythmic
groupings. At first, ry playrng various rhyhm units within a specific scale. The more
one practices these possible srouoines. the more will seem to naturallv aooear in
9*9 s-rryIgy§*lglr ; the is to be ythmic units in
a progression over the

.A{ew ssgse"s-4pgE&:.p.lurqs-rtxlrr[1ssregp**tr--o-"3 qksderd".wepl-{bse sFg.k:yigr

aSjS_g*g**I,-l.Sg*.*f_"_Ugf1-gg5hq"lg.qg.rhe type of tune (i.e. swing vs. ratin) will
generally dictate the overall rhythmic pulse possibilities.

Another option is to freely mix up various rhyhmic units based on one specific pulse
and be able to start the uni-t on any beat or any partial of any beat.

The improviser should be able to jump in and out of the rhythmic unit whether the
cycle is finished or not.44d Bgst.ir-npgrtantly,
Ihe improvJser linory yrhglg
lhould llglr
s9T:hs1pr-q-grg::gl-s-§.ysll**\ls5s[1.eTeat1@
In addition, it is suggested to freely go back and forth between rhythmic units based
uponvariousrhythmicpulsessuchas8ùs,triplet',16*'.M
rhvt-hgicunitl_ec-99-surlx.l*_119,"'b,"-"--.1-:9'3L-p_klsd

PolyRswsnns

Chapter 10 is but a short introduction into the vast topic of polyrhythms:Tuplets with
a further level of regular and irregular accents superimposed (e.g., 5 over 3 accented in
4). HoronertoNs IN Rurruu YoL. z, ADvANCED Rnyrunas ron InapnovrsarroN deals
extensively with polyrhythms and their application in improvisation and composition-

nrrnrrÈrof *r,-,^.
 CHeprsR r

A) 9th Notes Phrased in 3 in 3/4 (t Measure Cycle)

Wrrx AcceNrs Wrrx Resrs

Wrrx Prrcx Wrrx Prrcx

Wrrx Panrral SueorvlsloH nNo R:srs Wrrx Prrcx

B) &h Notes Phrased in 4 in 3/a (2 Measure Cycle)

l**^r-r^ *rm,,vo--t
 Chaptcr 1

Wrx Dorreo Norrs rNo Tres

Wrrx Prrcx

Wrx Resrs

Wrx Prrcx

C) 9th Notes Phrased in 5 in 3/4'(5 Measure Cyde)

Wlrx Svr.tcopATtoN

Wrrs Panrnl SueolvrsloÀt nNo Resrs

Wrrx Prrcx

flpr*xÈusrrc"rr*.# I
 @t

D) & Notes Phrased in Z in 3/4 (7 Measure Cycle)

Wrx SvNcopATloN

Wrrx Panrral SueolvrsroN

Wrx Plrcx

In the following mixed phrasing etudes, the circled number refers to the rhythmic
grouping. For examplg ù9 etude begins with Bùs phrased in 3 (one measure cycle).
Measure two starts with 8fts phrased in 4 (two measure cycle). Throughout the etudes
in the book, some of the cycles are not completed and rests are randomly interspersed
in order to begin a rhythmic grouping on a different beat.

I l3.o*r,o, rN Rayruuvot. r
 Chqta t

E) Mixed Phrasing of gh Notes in 3/4

Rsrrpurc Pgnesrruo ,, ,r*oroo.,'li

I
E) Mixed Phrasing of gh Notes in 3/a

R*nrrcÈasrc-o-r^^# I
A@rt

F) Mixed Phrasing of gh Notes in 3/a with pitch

 CuaprsR z

A) 9th Notes Phrased in 3 in 4/q (3 Measure Cycle)

Wrrn Dorreo Nores auo Tles, Sranrlxc oN Bean r

Sranrrruc oN THE ANo or Bear r

Srnnrrt.tc oN Bean z

Practice starting this rhythmic grouping on all 8ùs subdivisions in 4/4 ttme.

Wrrm Accerurs

Wrx PlrcH

Wrrx Resrs

Wrrx Prrcx

f,rnnrrcA*rsrre",,.*,. # I
 Wrrx PanrraL SueorvlstoN axo Rpsrs

Practice above example beginning on all gù-note partials in 4/4.

B) 9th Notes Phrased in 5 in, 4/4 (i Measure cycre)

Wtrx AcceNrs

Wrrx Resrs

Wrx Trrs aNo Dorreo Nores

lA*^r-rr^ l*r,'xvo--t
 Chapter 2

C) &h Notes Phrased in 6 in 4/a p Measure Cycle)

Wrx Resrs (Cneares 3/4 Trme SunERlMposED ovze 4f 4Twz)

Seme Example Sranrrtc oN Bsar z

Saane Example SranrlNc ou Bear3

errne'.* ,,-,o'J,l
 D) Mixed phrasing of gtt, Notes in 4/a

E) Mixed phrasing of gtn Notus in 4/4 with pitch

o o

| §,"*r., rN Rumtuvor t
 @taz

F) Additional Mixed Phrasing of &h Notes in 4/a

@c

G) Additional Mixed Phrasing of Sths in 4/4 with pitch

@o

Rnytu utcPHMstNG,r rrr^oroo# |

Chapter 2

H) Additiona,l Mixed Phrasing of gh Notes in 4/4 with Pitch (no

 Cuarrrn 3

A) 8th Notes Phrased in 3 in 5/4 (3 Measure Cycle)

Wrrx Resrs

Wrrx Prrcx

Wrrx Resrs

WrrH Prrcx

Wrrx Tres aNo Dorreo Nores

Wrrx Prrcx

R'nmpnm*.*,.#I
A@n3

B) &h Notes Phrased in 4 in, 5/a (2 Measure Cycle)

Wrn Resrs

Wrrx Prrcn

Wrrs Prrcx

C) 9th Notes Phrased in 5 in 5/4 (t Measure Cycle)

Wrrs Resrs Wmx Prrcx

Wrx Svr.tcoPATIoN Wrrn Prrcx

lzz
I tnon^ron rN R:'mnnVot. t
 Chapter 3

D) 9th Notes phrased in 6 in s/a p Measure cycle)

Wrx Resrs

Wrx Plrcn

Wrrx Svr.rcopATtoN

Wrrx Plrcx

23I
 E) Mixed Phrasing of gh Notes in 5/a

F) Mixed Phrasing of gh Notes in 5/a with Prtch

o c

lz+
 CHarrrn 4

A) Triplets Phrased in 2 in 3/4 (2 Measure Cycle)

13'
3
'3' '31
Wrx Prrcx
3 r-3 r--3----r r_3____r
-r

Wrx AccrNrs

ernreDrmrl:srnur
Clwptel 4

B) Triplets Phrased in 4 in 3/4 (4 Measwre Cycle)

Wrrn Accelrs

Wrx Resrs

3r3l '3' 13, 13l 13l 13l

Wlrx Resrs

'3' 13l ,3, 13r 13l

'3'

| 3 rr 3 rr 3 | L-r--J L- "--J Lr------l | 3 'r 3 rt 3 '

| 3 rr 3 rr 3 '

f.- 3 __ì

r-3--- r-3-- r-3--r r-3--r r-3--- r-3--

13l

IHrr.^r--*Rnmrr vor- r
 Chapter 4

C) Triplets Phrased in 5 in 3/a (5 Measwre Cycle)

I 3 ll 3 |
| 3 rL_3
'3'13l r

Wrrx Plrcx

Wrrx Resrs

r 3 | L_3 rt 3 | 3 rr 3
' 3 'r 3 | L_3
|
" 3
r

'

Wlrx Prrcs
33

D) friplets Phrased in 7 in 3/a (Z Measure Cycle)

Wrrx Resrs

'3' 13l | 3 r'

'3' ' 3 'i 3 |
3 '

3 | 3 l' 3 3 ,3'13, 13l

'

Wrs Prrcx
È1
f...-3__ì
{=ì , \ f-.- 3
l'-- ?

È, f\3-*ì r__3_*ì

R*mxrr P*mrc rr-r,^^# I

 E) Mixed Phrasing of Triplets in 3/a

o
13' 13' 13l 13l
'31 '3'

c
13' 13' , 3 r,
'31 3 '

,3rt3, | l3'
3 't 3 |

13

13l 13' 13l 13l

'31

17

13l lt
'3rt3l ' 3 3 | | 3 rt 3 '

| 3 3 | rt
't
I
3 3 '
13l

f A*^r** R,,''tnvq-t
 @ra

F) Mixed Phrasing of friplets in 3/a u)ith prtch

o, @,

o,

r..-3*_ì
I...-3
t....-.i- @,
"l-3-

I-3_ r....-3--ì

tsrnxf,rm*"-,."3 I
 Cuanrnn 5

A) Triplets Phrased in 4 in 4/4 (1 Measure cycte)

is the same as:

l3ll3ll3tt3'
'3'2t

13l
'31

13l 3r3r3 13'

Pxnesr BectNtrttttc oN 3RD Tnrpler Panrral or Benr r

13,'31
'31
Punase Bscrr.rr.lrNc oN Bear z

13l 13'

I
i*?.o*.,o, ,, Ruyrnu vot. t
 @as

B) Triplets Phrased in 5 in 4/4 (5 Measure Cycle)

3"-.- L-.
J<

Wlrx Resrs

'3't3l ' 3 't 3 ,

| 3 r' 3 3 3
' ' 't '

WrrH Accetrs

RmryAre*"-r*".3l
 ch@ts

c) rriplets phrased in 7 in 4/a (7 Measure cycre)

Wrx Prcx
3\.
-s11ta \3

-3-: \: (-:n 3"4

-s4

D) Mixed phrasing of Triptets in 4/4

@
f-----------:-f

13l
'3' '3,13'

' 3 ,r 3 ,

' 3 r, 3 ,
13,r3-J

o
13t
'3' '3' 13l
'3,

13t
,3,
'3,
13

313'
'3, '3, '3,
lzz
Exrronenorv w Runuu Vot. t
I
 Chapter 5

3 ' 3 ll 3 ll 3 ,r | r, ,,
3 ' 3 3 3 rr 3 ,

E) Mixed Phrasing of Triplets in, 4/a with prtch

fuo Rests)

@, o,

,oO

331
Chapter 5

C) Triplets Phrased in 7 in 4/a (7 Measure Cycle)

Wrn Prcn
i-. n-, .1 -tn \. J

--.4 ^2.4 N: _-4

-.zJ (tt
- -:

D) Mixed Phrasing of Triplets in 4/a

c
L-3 --J L-3 t l--3t13'

' 3 'r 3 | | 3 , r 3_J L-3 I I i

13l t 3---J l-3---J 13l 13l

13l l-3-J I 3-l

313' l-3-J t-3 I

lzz
I Exno*nno.r w Rn"rlmVoc t
 @s

F) Mixed phrasing of Triptets in 4/a ruith prtch

arud Rests

o 3 r.-3 __ì

' r**ì
l\3

o, r-3 --r r-3 --r I-- ---ì

?

@
f-..\
r-3 --r r-3-- r-3---r r-3--r r-3-__

| *o*r,or,, Ruwuuvot t
 Cuaprpn 6

A) Triplets Phrased in 4 in 5/4 (4 Measure Cyde)

Wrx Rrsrs

'3' '3' '3' 13l 13l

'3' 13' 13l 13l

'3'

Wtrx Prrcx

B) friplets Phrased in 5 in S/a (t Measure Cycle)

Wrs Resrs Wrrx Prcn

' 3 't 3 |
'31

| 3 3 |
't

.*l
-
1

Clra?to 6

c) Triplets phrased in 7 in i/a (7 Measure cycle)

Wlrx Resrs

13l | lt
3 3 |
13l
tl
L-3 3 '

13l 13tt3l 13l r 3 tt 3 |

3J3 | 3 tt 3 '

Wlrx Plrcx
3 F\2 --l r--r

.3 131
13'

r-3--r I.-3-ì
r-3 ---r I-- r
5 '-ì r-.r

D) Mixed phrasing of Triptets in i/<

o
| 3 ,t 3 'r 3 '
13' 13,

I lSro*r,or,, Rnmtu vot t

 Chapter 6

| 3 lt 3 r
| 3 rt 3 13l
' 13'

313 13l | 3 3
't |

o
13,t3, 13l 13l 13l 13'

E) Mixed phrasing of rriptets in 5/q with prtch

@, N:-
-1- \,
@,

@,

f\à
'\ "-r

o, @,

371
 CIIAPTER 7

4 l dh Notus phrased in 3 in 3/q

ft Measure Cycle)

Wlrx Tres aNo Dorreo Nores

Wrru prrcu

Wlrn prrcs

Wrru Resrs

Wrru prrcn ato Rrsrs

| È3.o*ror,, Rrwuu vot. t

 Chapter 7

B) 16th Notes Phrased in i in 3/4 (5 Measure Cycle)

Wrrx Resrs

Wrrx Prrcx

Wrn SytcopATtoN

Wrrx Prrcx

RqruAre*-*..*l
7

c) l dh Notes Phrased in 6 in 3/a (2 Measure cycle)

Wrx AccrNrs

Wrx Prrcx

D) l dh Notes Phrased in z in 3/a (7 Measure cycle)

Wrrx SyNcopATroN

I flo.^r-rr,, krrnt» vot t

 Clnptcr 7

Wrrx Accexrs

Wrrx Dorr:,o Norrs aNo Tles

Wrx Prrcs

Rxv'rrry-*re-"-^.#, I
 c) l dh Notes phrased in, 6 in 3/a (2 Measure cycle)

Wrrx Acc:Nrs

D) l dh Nofus phrased in 7 in, 3/a (7 Measure cycle)

Wru SyNcopATtoN

lfl*^r,*r,, p,,',,,v,.-t
 Chapter 7

Wtrx AcceNrs

Wrrx Dorreo Nores rNo Tres

Wrn Prcx

411
 E) Mixed phrasing of l dh Notes in 3/a

l!1"^r-* ,* prrruu vor t

 Clt4ptd Z

F) Mixed phrasing of 16th Notes in, 3/< with prtch

+rl
 Cnaprrn 8

A) ldh Notes Phrased in 3 in 4/4 (3 Measure Cycte)

Wrrx Accsrurs

Wrrx Resrs

Wrrx Plrcx

Wrrx Plrcx

Bectt.tt'tlNG oN zno Bear

lu
I Eo.o*rro" rn Rnmtn Vot t
 @rs
B) l dh Notus phrased in s in 4/4 (s Measure cycle)

Wrrn AcceNrs

rli

Wrrx Resrs

Wlrx Prrcx

+sl
Chapter I

C) l dh Notes Phrased in. 6 in 4/a (3 Measure Cycle)

Wrrx Accexrs

WrrH Resrs

Wrrx Prrcx

Wrrx Tres ero Dorreo Nores

Wrrn Prrcx

Wrrx Resrs

Wrx Prrcx
 Chapter 8

D) Mixed Phrasing of 16th Notes in 4/a

471
 E) Mixed Phrasing of 16th Notes in 4/a with Pitch (no Rests)

I *.o*^rro*,* Rwru,' vot- t

 Clr4?ta S

F) Mixed Phrasing of r dh Notes in 4/q with prtch and, Rests

.il
 Cnerrrun 9

A) ldh Notes Phrased in 3 in. sta (3 Measure Cycle)

Wrrx Accerurs

Wrrx Resrs

Wrru Prrcx

tl

Wrrx Dorreo Nores nNo Tres

L_t

Wrrx Prrcs

I *,oor,o*,* R*rm-uvq-t