Rhythm Math

Getting It Down Cold Music Theory Course

Copyright 2009 Music Learning Workshop, www.MusicLearningWorkshop.com

Lesson 02- Rhythm Math

And Piano/ Keyboard Flash

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Getting It Down Cold Music Theory Course


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Getting It Down Cold Music Theory Course Lesson 02


Lesson 02

Rhythm Math Getting Note Locations Down Cold

Preview Lesson 2 - Rhythm Math and Final Piano Notes

Lesson Subject Workshop Description

2

Rhythm Math

Keyboard Notes

Step 3 and 4

Rhythm

Notes

The rhythm lesson covers note values, time signatures and counting. When you finish with this section you want to relax and simply review the pages. Don't go fast or move ahead until you feel comfortable with each of these concepts.

Subdividing beats is critical to your success as a musician. We cover the concepts here and practice in the next lesson.

In continuation of keyboard and piano notes you will prepare Note Flash Cards and begin step 4 of learning notes.

In Step 4 you should work on the flash cards until it is effortless to know the key names and locations.

This may be too easy for some, but this practice session is used to get you using the flash card concept. It will ultimately be very important in learning the master staff.




Part 1

Rhythm: Definitions, Symbols & Music Math

Covers the basics of how rhythm is defined and shown in music. Music Math is applied

to rhythm to provide the basis for how notes are used.

Part 2

Rhythm Foundations 4/4 Time

You will start a basic practice routine to work with rhythm. This will be the beginning of

ensuring you work rhythm on a continual basis. We will work with rhythm variations for

quarter and eighth notes. These patterns are intended to help the student master the basic

rhythms and push advancement of base rhythm. As you learn the more difficult rhythms

they will become easier and faster to master.

Part 3

Getting Piano Notes Down Cold

Building flash cards is a physical aspect that is part of the learning process. We like

you to make your own to reinforce this critical part of learning. Although it's not

difficult at this point it is an important concept to experience early in your process.




Lesson 02 - Part 1 - Rhythm Math

Table of Contents

Introduction: ................................................................................................ 6

Take your time ............................................................................................. 6

Definitions: .................................................................................................. 7

Rhythm: ...................................................................................................... 7 Beat and Tempo: .......................................................................................... 7 Staff/Track ................................................................................................... 8 Measure (bar): ............................................................................................. 8 Notes and rests: ........................................................................................... 9 Time signature: .......................................................................................... 10

Symbols: .................................................................................................... 11

The Note: .................................................................................................. 11 Rests: ....................................................................................................... 12 Beams: ...................................................................................................... 13 Different note heads .................................................................................... 13 Ties: ......................................................................................................... 14 Rhythm Practice: Notes and Rests................................................................ 15 Answers to the notes and rests practice. ........................................................ 16

Music Theory and Music Math: .................................................................... 17

Note Duration and Time Relationships ........................................................... 17 Time Signatures and the Note Relationship .................................................... 18 Speed of Playing- Tempo ............................................................................. 19 # Time Signature - Three Quarter Time: ......................................................... 19 P Time Signature: (Six Eight Time) ................................................................ 20 Counting and the Time Signature:................................................................. 20 Rhythm Adding rests ................................................................................... 23 Rhythm - Subdividing Beats by Two .............................................................. 23 Rhythm - Subdividing Beats By Four ............................................................. 26 Rhythm - Subdividing Beats By Four ............................................................. 27 Rhythm - Subdividing Beats by Three (Triplets) .............................................. 28 Rhythm – More Practice Subdividing Beats by Three (Triplets) .......................... 29 Getting Relationships Solid ........................................................................... 30 Summary Chart of Beats and Time Signature ................................................. 31




Introduction:

Your journey to learn and master rhythm begins in this section of the Music Learning

Workshop. Rhythm workshop provides us with the basics of rhythm that you need to

Get It Down Cold. We start with the essential building blocks of rhythm and then

expand our knowledge and knowhow until we achieve mastery.

The Basic Building Blocks of Rhythm

Ask professional musicians: what one element of music do you find to be most

important? The answer will often be rhythm, as it is the one thing that is least

forgiven by the listener.

Rhythm forms the basis of music theory. It is what all other musical elements are

based upon. You can only survive so long in your musical journey without the

essential building block of rhythm.

We start out with a "Big Picture" overview of the material, and then zero in on the

elements that make it work. When we teach notes, names, or values we do it all at

once - because it is important to understand how they are related right at the start.

This allows you to jump start and accelerate your learning process.

What’s really neat is that if you get hung up, you can go back and see exactly what

that single thing is and how it relates to other items in context.

Take your time

There is no hurry - it is far more important that you understand the concepts than

to rush through them to get to the next one. Since each step builds on the one

before it, the better you understand each step the easier the next one will be.

Let’s start with some terms we will need to become familiar with when discussing

rhythm and music theory:




Rhythm: Definitions, Symbols & Music Math:

To get started on our rhythm journey, we have to define several of the elements.

Don’t be intimidated by these definitions - they will become clearer as we proceed

through the lessons.

Rhythm can be defined as the patterned, recurring alternations of contrasting

elements of sound or speech. (Ok, that’s pretty heady and too academic!)

Let’s try: A repeated set of things that can differ in length of time and type. Still

doesn’t really get at what we want.

In the Music Learning Workshop we will use the following definitions.

Rhythm:

The pattern of musical movement through time. A specific kind of

pattern, formed by a series of notes differing in duration and stress.

Beat and Tempo:

Beat is the duration we assign to rhythm. It is the measurement of

our musical time unit and the amount of time our pulse will take. This

can be a fraction of a second, a second, a few seconds, or several

seconds. Putting several beats together gives us a steady series of

units which make up rhythm. See this example of a 4 beat rhythm.

\ qqqq \ h qq \

The beat is also assigned a speed such as quarter note = 60, known as

tempo, which will mean 60 beats per minute or 1 beat per second.

Tempo can also be expressed as very slow, slow, fast, and very fast

which leaves the speed of play up to the artist.




Staff/Track

A track is a series of lines which show musical notes. It is made up of

5 lines and four spaces. Two or more tracks make a staff. Here is what

a track looks like: (The little boxes are rests which we talk about

later.)

Here is what the master staff looks like:

We go into greater detail about the staff and symbols in the workbook

“Mastering the Master Staff” and in that section of our website.

Measure (bar):

A measure is the amount of time allocated to the rhythm before we

start the counting pattern over again. Here we show a staff with bar

lines. Up above under the beat definition our bar lines are the vertical

lines.

One Measure from bar line to bar line

Bar line Bar line

Staff Track One measure




So - one measure is the time allotted to apply a time frame in music

and for the rhythm. However, the pattern may change from measure

to measure. Thus we can have a major pattern or rhythm form over

several measures of the counting measure. (We explore this concept in

the more advanced rhythm workshop.)

Check out this definition we found for measure:

“Measure is an American term, equivalent to the English ‘bar’, for the

metrical units marked off along the staff by vertical lines (bars or bar-

lines). A vertical line (often called bar-line) drawn through the staff to

mark off metrical units. In American usage, the term ‘measure’ is

usually preferred to ‘bar’.”

Notes and rests:

The note is the symbol used to tell us how long we hold our played

pitch or tap a beat in the rhythmic pattern as well as what it should

sound like.

The note names will be familiar to us just as money has become. We

can think that a whole note is like a one dollar bill and a quarter note

is like a quarter. Rests are the opposite of notes they show us where

we have silence or do not play, but occupy a similar time frame. Here

are two examples:

w This is the whole note W This is the whole rest

q This is the quarter note Q This is the quarter rest

We have many others that we will explore in the symbols section.




Time signature:

Rhythm is expressed, stated, and describe with a time signature.

It is stated in beats per measure and how the beat is counted.

Example:

The time signature $ is 4 beats per measure counted by quarter notes.

1 2 3 4

The top number represents the beast to count, and the bottom is the beat value.

(Don’t worry, we will show you exactly how this all works in more detail in music

math!)

Next, we move to the symbols of music. We will explore in detail what all these

definitions mean, and how they relate to each other.




Symbols:

Let's start with some basic symbols to be able to work with rhythm. (We will go

further into examining relationships in Music Math Theory - but for now, we will just

concentrate on showing you the symbols).

If you are familiar with notes, rests, beams, and ties you can skip to the next section

- but make sure to review the symbols, so you know what they are.

The Note: h q

In music, we choose the note as one of the ways to show how our music will be

played. So let’s look at defining notes for the music theory. The note will represent

when an instrument will be played... whether it is a drum, keyboard, brass, guitar,

our legs, a table top, or whatever.

Our basic set consists of the Whole note, the Half note, the Quarter note, the Eighth

note, and the Sixteenth note. What does all this mean?

Simply take a whole dollar and divide it by two, (half dollar) and then again by two,

(quarter) and by two again (bit=eighth) and two again (half bit= sixteenth).

Look below and you can see the how we express the notes.

Notes:

w= Whole note: looks like a donut

h= Half note: we add a stem (vertical line) to the donut. The stem can go

up or down. Look at any piece of music for examples.

q= Quarter note: we fill in the whole make it solid and keep the stem.

e= Eighth note: we add a flag to the stem.

s= Sixteenth note: we add two flags to the stem

These are the five basic note symbols we use in most of the music and rhythms we

will play.




Dotted Notes:

We need to add one more component to complete our basic rhythm symbols. That

will be the dot “.”, Here’s how it’s applied. Add it directly behind the note and it

becomes a dotted note. It means add half the value to the note. We will look at that

in music math.

d = Dotted half note: add a dot to the half note

j = Dotted quarter note: add a dot to the quarter note

We can add the dot to the other notes as well. This means to add half as much to the

value of the note.

Rests: Our next symbol concept is the “rest”. The rest will represent when an

instrument or beat is not played.

So we will not strike a beat or beats when a rest appears. You get to relax and allow

silence to be part of your rhythm. Silence is just as important as sound. It allows you

add space and accents to your music. Keep this in mind when you listen to your

music choices and see if you can find the rest points.

The rests:

W = Whole rest: small rectangle on bottom of line, think of having the

whole thing so heavy its pulling you down below the line.

H = Half rest: small rectangle on top of line, here the half rest is lighter

and we can carry it above the line.

Q = Quarter rest: squiggle line almost looks like a bracket

E = Eighth rest: a single flag on a slash mark or stem, similar to the

eighthnote with one flag,

S = Sixteenth rest: two flags on a slash mark or stem just like the

sixteenth note with two flags

These are the five basic rest symbols we use. So each note has an equal rest.




Dotted Rests:

For our dotted notes, we have dotted rests. They are applied as with notes.

D = Dotted half rest: add a dot to the half rest

J = Dotted quarter rest: add a dot to the quarter rest

Beams:

Before we move on let’s explore the "beaming" of notes. Connecting together the

flags of eighth and sixteenth notes is called a beam. It simply means pairing up the

notes so there isn’t a big long stream of individual notes. They would be hard to

read, but instead, by grouping the notes they are much easier to read.

Compare the following:

8 eighthnotes

eeeeeeee to n n n n or Y Y

Hard to read group easier to read even easier

8 sixteenth notes

ssssssss to N N N N or y y

Grouping provides a great way to easily read and recognize our rhythm pattern for

these notes.

Different note heads

When rhythm is shown, there are other ways to show the notes. The note circles

(Our donut and filled donuts) are called the "heads" of the notes. Because they can

be time consuming to draw, we can use other ways to show them.

The x head and the slash heads are very popular for showing straight rhythm and

not be concerned with what note might be played.

x head examples × Ö ÚÙ ;

The slash will be used to indicate beats in a measure: G / / / / ]




Ties:

Another symbol we need to explore is the tie. Look at this sweeping line that

connects the two notes. This is the tie. Its purpose in rhythm is to connect the notes

to make them one note.

qUe = j j = eVq

Our first set of notes show a quarter note and an eighth tied together giving them

the same count value as a dotted quarter note.

Our second set shows how a dotted quarter note is tied across a bar line with an

eighth note and a quarter note. We won’t be able to show a dotted quarter note

across a bar line, so this is a one way we can use a tie.

Ties are used to help combine notes of the same sound to show a longer duration

and make it easier to read and see in time.

Here’s how we might see it written on a staff line:

At this point, we are only trying to see what a tie looks like and how it is used. We’ll

get into what this means in rhythm later on. So for now, just understand that the tie

shows two or more notes put together to show a longer length of time (and make it

easier to read the music and rhythm).

That’s a lot of symbols to absorb! There is a practice exercise on the next page to

help you understand all the notes, rests, beams, and ties.

The Slur

The slur is similar to the tie in that you see a sweeping line. But it will go from one

note to a different note. When it covers many notes it is an expression. Both

examples are shown here.




Rhythm Practice: Notes and Rests

Fill in the blank with the symbol that matches the description.

________ dotted half rest

________ half note

________ whole note

________ dotted sixteenth rest

________ quarter note

________ dotted eighth rest

________ eighth note

________ quarter rest

________ dotted half note

________ Tied half note and

quarter note

________ Tied quarter note and

sixteenth note

________ dotted sixteenth note

________ sixteenth rest

________ eighth rest

________ dotted quarter note

________ sixteenth note

________ half rest

________ dotted eighth note

________ whole rest

________ dotted quarter rest

________ beam 4 eighth notes

________ beam 2 sixteenth notes

How did you do? See the answers on the next page. If you missed a few, print this

page and practice this once a day for a week until you Get it Down Cold.

SideBar It is a little early in our process to use dotted sixteenth notes - but we include them here to push us slightly beyond what we will need in our beginning theory.




Answers to the notes and rests practice.

D dotted half rest

h half note

w whole note

S. dotted sixteenth rest

q quarter note

I dotted eighth rest

e eighth note

Q quarter rest

d dotted half note

hUq Tied half note and

quarter note

qUs Tied quarter note

and sixteenth note

s. dotted sixteenth note

S sixteenth rest

E eighth rest

j dotted quarter note

s sixteenth note

H half rest

i dotted eighth note

W whole rest

J dotted quarter rest

Y beam 4 eighth notes

N beam 2 sixteenth notes

So, let’s explore the music theory math next

and give all these symbols some meaning!




Music Theory and Music Math: Many parts of Music Theory are based on mathematical concepts. You will see examples of

this in the rhythm we learn here and the sound pitches we will learn about in the music

staff.

Here we start with the concept of note time value. Our basic understanding starts with the

symbols used above where we can assign time to the note. First, let’s look at the

relationship of the notes and rests to each other.

Note Duration and Time Relationships

w and W= Whole note and rest: represents the time for a whole measure and is

held for four counts of the measure. h and H = Half note and rest: 1/2 of a whole note/rest, 2 half notes make a whole

note/rest. q and Q = Quarter note and rest: ¼ of a whole note/rest, ½ of a half note/rest, 4

quarter notes make a whole note.

e and E = Eighth note and rest: 1/8 of a whole note/rest, ½ of a quarter note, it

takes 8 eighth notes to make a whole note. s and S = Sixteenth note and rest: 1/16 of a whole note, ½ of an eighth note, ¼

of a quarter note, it takes 4 sixteenth notes to make a quarter note, y

(4 sixteenths beamed together)

. = The Dot: Add one half the value of the note attached to the dot.

Here’s the example of the dot: a dotted half note d= h+ qis a half

note plus a quarter note, and is held for 3 full counts of a quarter note.

Here are more dotted notes:

Dotted quarter note: j= q+ e, quarter note plus an eighth note.

Dotted eighth note: i= e+ s, eighth note plus a sixteenth note.




Yes, the power of two - that’s the math of basic rhythm. We will introduce other

mathematical divisions later in our journey. As you can see, the most basic way to describe

rhythm and note patterns is by divisions of 2.

Time Signatures and the Note Relationship

Rhythm is expressed, stated, and described with a time signature. Let’s reexamine the

measure we defined previously:

FOUR – FOUR Time:

Here we have one of the most common time signatures, which is four-four time. We have

found it easier to start with the bottom numeral to clarify what will be counted.

What the numbers mean:

The bottom numeral is the duration or length of the beat and is the counting note; in this

case the quarter note.

Recall. 1/4 is one quarter.

Therefore, each quarter note gets a count of 1 beat.

If it is 1/8, then it represents an eighth note and each beat would be an e note.

The top numeral is the number of beats per measure; so we will have 4 beats per measure.

Count and clap: 1 - 2 - 3 - 4.

Or, to put the 4/4 time signature another way, The counting will be done on quarter notes

(bottom) and there will be four counts per measure (top).

Quarter Note

Measure

Time

Signature




Speed of Playing- Tempo

At this point we need to introduce how fast we clap these rhythms, our tempo. Do it slow at

a speed you can control. Speed will be added and developed as you learn the rhythm.

Speed is stated in terms of beats per minute. In this example,

q=60 means to play a quarter note with 60 beats per minute. Or play one

quarter note per second. This is the baroque speed and is a great speed to

learn simple rhythms.

If we used e=60 we would play an eighth note every second. Which is twice

as slow as a quarter note. (each quarter note would get a beat every two

seconds)

Wow, that’s a lot of fours in the previous pattern! Let’s try another one... how about the

waltz rhythm? We all dance to this one. It is counted: ONE, two, three. ONE, two, three.

# Time Signature - Three Quarter Time:

Only 3 quarter notes in a measure

This time we are working with “three-four” time. How do we count it? Work it from the top

this time.

“3” represents number of beats per measure, count and clap 1 - 2 - 3.

“4” represents the time value of the beat – a quarter note.

We will do the counting on quarter notes and there will be three counts per measure.

Next up - let’s count on an eighth note.




P Time Signature: (Six Eight Time)

What happens if we decide to use eighth notes as our counting beat? Well, we can now

make the bottom number an 8; so that every eighth note gets a count of 1.

This time we are working with “six-eight” time. How do we count it?

The bottom number: “8” represents the time value of the beat – an eighth note.

The top number “6” represents number of beats per measure, count and clap 1 - 2 - 3 - 4 -

5 - 6.

The beat will be on eighth notes and there will be 6 counts per measure.

Counting and the Time Signature:

Here’s where we begin to get it together. The fun is about to begin. We are going to spend

a lot of time here, because this is the foundation that will launch you to new heights in your

ability to play music.

A beat gets one count.

4/4 time signature

Look at time signature of 4/4. Quarter note gets one beat and one count. So our basic

counting is “one – two – three – four” for the following measure.

$ \ q q q q \ q q q q \

Count: 1 2 3 4 1 2 3 4

Clap: x x x x x x x x

Each quarter note gets a beat count and a clap. Try it now several times in a row until it

feels smooth.




2/2 time signature

Now look at the 2/2 time signature: Half note gets a beat and we have two per measure.

! \ h h \ h h \

Count: 1 2 1 2

Clap: x x x x

Each half note gets a beat count and a clap. Try it several times in a row until it feels

smooth.

3/4 time signature

Next up let’s look at the 3/4 time signature. We are back to counting quarter notes as our

beat, with three beats per measure. Try this one:

# \ q q q\ q q q \

Count: 1 2 3 1 2 3

Clap: x x x x x x

6/8 time signature

Now it is 6/8 time using the eighth note as our beat count.

P \ e e e e e e \ e e e e e e\

Count: 1 2 3 4 5 6 1 2 3 4 5 6

Clap: x x x x x x x x x x x x

Next, we will change it up and combine different note values.




Counting With Other Notes:

So far we have really just looked at the straight beat, and worked with time signature beat

notes that line up with every beat in our measure.

Let’s explore 6/8 time. Here, an eighth note will get one beat and quarter notes will get two

beats. Where it says "hold", keep your hands together.

P \ e e e e e e \ q q q \

Count: 1 2 3 4 5 6 1 2 3 4 5 6

Clap: x x x x x x x hold x hold x hold

Did you catch the change in clapping in the second measure? Remember that a quarter note

gets twice as many counts because it takes two eighth notes to make a quarter note.

Therefore, we clap and hold.

We say "hold" here because if we were playing a keyboard, we would play the quarter note

and hold it through two beats (counts 1 & 2 of the second measure).

Adding A Variety Of Notes

Let’s move it up a notch. Here - try it again with dotted notes and half notes.

The arrow ( ) is continue to hold.

P \ e e h \ j e q \

Count: 1 2 3 4 5 6 1 2 3 4 5 6 Clap: x x x hold x hold x x hold

Eighth note gets one clap per beat

The half note (4 e notes) gets one clap for four beats (count 3 4 5 & 6)

The dotted quarter note (3 e notes) gets one clap for 3 beats (2nd measure counts 1 2 &

3)

The quarter note (2 e notes) gets one clap for 2 beats (count 5 & 6)

Practice this a few times to get the feel of it.




Rhythm Adding rests

If we had an eighth note and an eighth rest, then we would play and release. Look at what

we’ve done here with rests in our next rhythm sequence. Where it says “hold” keep your

hands together. Where it says “off” take your hands apart.

This is a tougher one, but it’s time to work a little harder.

{} - Repeat bars: these notations mean to repeat what is between the bars.

P { e e E e E e \ q e E q }

Count: 1 2 3 4 5 6 1 2 3 4 5 6

Clap: x x off x off x x hold x off x hold

If you are having a hard time with this, go back and look at each note slowly and

individually. Then very slowly count and clap where shown until it feels natural.

Going slowly will really help you get it down, speed comes in time, but not without first

learning it. Always start slow and work up the speed as it starts to feel comfortable.

In the MLW workbooks we go through each step needed to learn, gain endurance, and then

master the rhythms. That’s when you groove on it!

Rhythm - Subdividing Beats by Two

So far, we have explored rhythm for straight beats, then observed what happens when we

use notes other than the base beat. We also added rests to allow for silence as part of the

rhythm. Now, we move one more step toward our goal of mastery.

So what happens when we use eighth notes on a quarter beat pattern? Wow, what a great

question! Who asked that? Let’s investigate going from half notes on 4/4 time to using

eighth notes on that time signature.

Adding eighth notes

Let’s review quarter and half note and whole note in 4/4 time.

$ \ q q h \ w \

Count: 1 2 3 4 1 2 3 4 Clap: x x x hold x hold




Now we add eighth notes. This is going to make us use two eighth notes (e) for every

quarter note (q), so we are going to need to expand our counting ability.

The “AND” of Counting Rhythm

Introducing the “and” of counting... (Sometimes shown as “&” or “+”). We will use the +

sign to show this in our examples. We have to divide our beat into two parts. And this is

where the + helps us. Look at this rhythm:

$ { e e e e q q }

Count: 1 + 2 + 3 + 4 + Clap: x x x x x x

(one beat ) (one beat ) (one beat ) (one beat )

Our example is counted this way:

one and two and three and four and. (repeat a few times)

What did we do? Well, we simply took the beat and made it two parts. Thus, we have the

beat number and the + making up the full time count for one beat.

IMPORTANT MESSAGE:

Now here’s where we are going to insist on counting just as we stated it above and saying

it out loud. In order to keep everything even you have to count all the pieces:

one and two and three and four and

Until you get it down cold and can groove on the rhythm, here is what will happen if you

don’t count properly: You will count the above example like this:

1 - and - 2 - and - 3 - 4

When you count without the “and” you can short change beats 3 and 4 ending up with only

3 beats being counted because the tendency is to rush the beat count. The 4 will end up

being in time with the “and” of 3.

So always count out “and”. In this manner you will ensure the half beat is placed properly

and your rhythm will be even.

On the next page are some practice rhythms.

Practice on these rhythms, be sure to count out loud and start slowly:




$ { q e e j e }

Count: 1 + 2 + 3 + 4 +

Clap: x x x x x

Cross off the number every time you complete five repeats (5x)

1 2 3 4 5 6 7

$ { j q e e e }

Count: 1 + 2 + 3 + 4 +

Clap: x x x x x


1 2 3 4 5 6 7

$ { q E e e E e e }

Count: 1 + 2 + 3 + 4 + Clap: x off x x off x x


1 2 3 4 5 6 7

P { q e E e e}

Count: 1 2 3 4 5 6 Clap: x x off x x


1 2 3 4 5 6 7




Rhythm - Subdividing Beats By Four

So what happens when we use sixteenth notes on a quarter beat pattern? OK, another

great question. Let’s investigate using sixteenth notes on our 4/4 time signature.

Adding sixteen notes

Let’s review where we added eighth notes in 4/4 time.

$ { e e e e q q }

Count: 1 + 2 + 3 + 4 +

Clap: x x x x x x

(one beat ) (one beat ) (one beat ) (one beat )

Using “and” (as a way to divide the beat in two) allowed the use of eighth notes. Similarly,

adding sixteenth notes means the half beats need to be divided again.

This is going to make us use two sixteenth notes (N) for every eighth note(e). Which

extends to using four sixteenth notes (y)for every quarter note (q). So we are going

to need to expand our counting ability again.

“e” and “a” of Counting Rhythm

Introducing the “e” long sound “a” and “a” short sound “a” of counting. Our new one beat

count will be done this way:

1 e + a (one beat ) one ee and a

And our 4 count measure is done this way:

1 e + a 2 e + a 3 e + a 4 e + a

(one beat) (one beat) (one beat) (one beat )

We have to divide our beat into four parts.




Rhythm - Subdividing Beats By Four

Look at this rhythm where we work with 2/4 time signature:

@ { s s s s s s s s}

Count: 1 e + a 2 e + a


(------one beat--------) (------one beat------)

Our rhythm is counted this way:

one ee and a two ee and a

Once again we took the beat and made it four parts. Now lets explore further the counting

with other notes. Once again it is very important to count all four pieces of the beat to keep

the rhythm smooth and consistent.

Practice on these rhythms. Be sure to count out loud and start slowly:

@ { s s e q }

Count: 1 e + a 2 e + a

Clap: x x x x

(------one beat--------) (---------one beat------)


1 2 3 4 5 6 7

@ { i s e s s}

Count: 1 e + a 2 e + a Clap: x x x x x

(------one beat--------) (---------one beat------)


1 2 3 4 5 6 7




Rhythm - Subdividing Beats by Three (Triplets)

Review the straight beats on the 3/4 time signature.

# \ q q q \ Count: 1 2 3

What if we wanted to divide the beats into 3 sub-parts:

# { e e e e e e e e e}

Count: 1 + a 2 + a 3 + a

Clap: x x x x x x x x x

(---one beat---) (---one beat---) (---one beat---)

Counted it this way:

one and a two and a three and a

(--one beat---) (--one beat--) (--one beat--)

Once again, we took the beat and made it three parts.

How would you know that three 8th notes would be counted this way? There are a couple

of ways that this will show up. Take a look:

One common way is to express 3 beamed e with a 3 and bracket across the top

indicating a triplet, like this. T Or t for quarter notes.

They can be written with 3 beamed 8th notes like this $ \™ ™ ™ ™ \

Here is an example of the x head: ì or í

Explore further the counting with other notes. Once again, it is very important to count all

three pieces of the beat to keep the rhythm smooth and consistent.




Rhythm – More Practice Subdividing Beats by Three (Triplets) Practice on these rhythms, be sure to count out loud and start slowly - although they are

shown individually here, they will be beamed or in some way indicated as grouped in threes

T T T:

1 2 3

# { e e e q e e S}

Count: 1 + a 2 + a 3 + a Clap: x x x x x x off

( one beat ) ( one beat ) ( one beat )


1 2 3 4 5 6 7

Swing is a variation of this concept where a display of n will be a 3 pattern of Ñ

and the clapping will occur on the "1" and "a", Here’s the basic swing rhythm. Accent the

“a”, we use the > to show the accent on a note.

> >

Count: 1 + a 2 + a 3 …

Clap or voice: Soft off Loud Soft off Loud Soft …

$ { e E e e E e e E e e E e}

Count: 1 + a 2 + a 3 + a 4 + a

Clap: x off > x off > x off > x off >

(-one beat--) (-one beat--) (--one beat-) (--one beat-)


1 2 3 4 5 6 7

Assignment L02 Part 1:

Ok this was a long lesson to cover rhythm math concepts. Now it's time to

work with them.

On the next page is a short test to see how you are doing with learning the

rhythm math and working with ties. At the bottom of the page there is a link

to an additional practice sheet. Download and work with it.

Go back over the next week and practice each of the rhythm divisions we

covered. You can practice each one once a day to cross off a box.

Remember you have to repeat each rhythm 5 times to cross off a box.




Getting Relationships Solid

These examples show equal durations or lengths of time. The ties make the other notes

combined to be of the same time count.

Quarter note math:

q= e+ e = e+ s+ s = s+ s+ s+ s

Quarter note time - shown tied, each gets one beat and one clap:

q= eUe = eUsUs = sUsUsUs

More “tie” relationships. Fill in the blanks.

w= hUh = hUqUq = qU qUqUq

j= qUe = _UsUs = eUeU_

h= qUq = qU_Ue = qU eU_Us

d = jU_ = qUqU_ = qU eU_U_

Counting

Quarter beat equivalents but counted differently: 1 beat each,

q \ n \ e N \ m \N N clap 1 | 1 + | 1e +a | 1e +a | 1e +a

More Practice:

www.MusicLearningWorkshop.com/support-files/mlw-rhythm-practice-no2.pdf


http://www.musiclearningworkshop.com/support-files/mlw-rhythm-practice-no2.pdf



Summary Chart of Beats and Time Signature

This chart will help you see how many beats each note gets when the bottom numeral is a

2, 4, or an 8. You must have enough subdivisions to be able to count. Counting 16th notes in

2/2 time would require 8 subdivisions of a half note - not exactly an easy thing to count!

Beat counts

for notes

Beat Half note Quarter note Eighth note

Bottom # (2) (4) (8)

typical Time signature ! K L $ Å ^ P À Á ( )

Note Symbol

Note Name

Beats/note (e.g. 3/4 means 3 parts per beat)

w Whole 2 4 8

d Dotted half 1 1/2 3 6

h Half 1 2 4

j Dotted quarter

3/4 1 1/2 3

q Quarter 1/2 1 2

i Dotted eighth

3/8 3/4 1 1/2

e eighth 1/4 1/2 1

s sixteenth 1/8 1/4 ½

By continuing to divide by two, we get 32nd notes and by two again for 64th notes.

At this time that is a little too much detail, so we will explore these notes in our advanced

concepts when the time is right.




Lesson 02 - Part 2 - Rhythm Math

Practice technique:

Although there are many tips and techniques that can be explained, only one tip is offered

here. That is focusing on just one thing at a time. If first you accent the first beat of the

rhythm, the next step may be focusing on accenting the first and third beat. And then the

second and forth, etc. By taking these simple steps of concentrated effort, you begin your

mastery of the theory and your abilities.

As you get more comfortable with the material, you will find the exercises are easier to

learn and your confidence level increases.

You will know you "Own it" when you have elasticity and flexibility to groove on the rhythm.

You have the ability to play with it, change it at random, slow it down, speed it up, adjust to

circumstance and still have complete control of it. You can even get to the point of getting

ahead or behind the beat on purpose rather than trying to catch it.

Several things are going to happen in this process. We start with the basic pattern and then

modify it in subsequent lessons. As you master the basic pattern, you will find that the

other modifications are really just different approaches and you will quickly move on to

staying power, and then to "owning it".

The base or fundamental patterns are the most critical to learn because everything else is

built off of them. Take your time in the first stages - it will pay off as you start into the

variations. Do this, and you will get it down cold and master the concepts.

The base pattern is extensively developed in the worksheet pages. After that, the

worksheets are shorter in notation - but carry just as much weight.

Notations:

In our worksheets we start showing how the beat would look on a music staff. We will

typically use two measures to show the rhythm and repeat those measures to achieve our

target of the moment. The following notations are found in the work sheets:

R = right hand

L = Left hand

B = both hands.

The metronome is used to pace your rhythm. Use it to gain consistency in speed and

smoothness. Metronome speed = the number of beats per minute, is used to set the speed

at which you play.

Your pace is shown as q=60, quarter note equals 60 beats per minute.

The suggested speed to start is 60. Slow it down if you cannot keep in time with the

metronome. Your objective is to tap or clap in time with the metronome. When you "own

it", you will begin to hear the clicks disappear as you master the rhythm.




$ TIME SIGNATURE RHYTHM

Rhythm Foundations Introduction

Quarter and Eighth Note Variations This workshop establishes 12 Basic 4/4 time signature Rhythm variations for quarter note

and eighth notes. You will start with two in this lesson and add new ones as we go through

the rest of our lessons. These basic patterns are intended to help the student master the

basic rhythms and push advancement of the base rhythm. As the more difficult rhythms are

learned they will become easier and quicker to master.

The student will use these work sets to learn, gain endurance, and then master the

rhythms. We call it “Getting It Down Cold”.

Foundation series are for the beginning student or students that struggle to remain

consistent in holding their rhythm. The work sets focus intently on just one rhythm and

approach it in several ways, providing multiple experiences with one rhythm. In doing so,

the basic patterns are owned by the student as they experience adding notes and chords to

their learning experience. This focused experience of concentration and energy and a path

to completion is basic in all methods of completing any task. We use it here to accelerate

learning of music concepts.

The work sets allow the student to monitor progress directly on the worksheets, so that you

can pick up right where you left off. The work sets are typically 5 pages long and can be

printed out in individual sets for learning and practice.

It is possible to use several work sets at one time. You can be working in step 4 on one set,

where you are mastering one rhythm, then step 3 in another as you can gain endurance

with a different pattern, or working step 2 in yet another one where you are trying to learn

a new pattern. How they are used is going to be based on the students’ ability, need to

relax after doing a lengthy practice, and other factors that the student's may want to

develop.

Use the tracking chart to check off the boxes to track your progress. You can also add dates

and assignments to help keep the progress moving forward.

Don’t be surprised if during the progress, all of a sudden you are feeling the

groove before completing the work set. If that happens, you will have accomplished the

intent of the work set early - and there is nothing wrong with that!

Have fun, take your time, and master the rhythms.




Assignment L02 Part 2:

Ok let's get started.

The next 9 pages are your first rhythm practice sets.

In this lesson you will begin the basic 4/4 time signature using all the

beats and then a variation of using only beats 1 and 3.

Your assignment as a minimum is to complete step one and two of

each set and begin step 3.

Print out these pages and begin a new workbook for rhythm practice sets.

After these are started we will be adding subdivisions and exploring more

variations with the other time signatures and patterns.

You will continue to practice on each set every day for a few minutes.




1. $ Rhythm – Basic Beat Pattern

The $ Rhythm is one of the most common rhythms in play today.

The $ Rhythm is also shown as c, known as common time. It will not take long to learn.

You will build your skill around it in 5 other worksheets, and then begin to break it down

into more complex parts.

Step One - Learn It: Get to know the basic structure. Count out loud and clap the beat as shown. Do it slowly

until you feel comfortable with it. Repeat it at least 4 times.

Cross off your progress here: 1 2 3 4

$ { q q q q \ q q q q}

Count: 1 2 3 4 1 2 3 4


Step two: New Approaches: Now you need to tap your hand on your legs, the table, or another object. Still count out

loud; this is important in our auditory learning sense. Do each 7 times. For any practice you

have difficulty with, repeat the rhythm series another 7 times. Come back later if you have

to.

We start with the right hand (R): Use a metronome speed of 60. If you need to slow down,

that’s OK - it’s more important to do it correctly than at speed.

$ { q q q q \ q q q q}

Count: 1 2 3 4 1 2 3 4

Tap: R R R R R R R R

Progress: 1 2 3 4 5 6 7




1. $ Rhythm – Basic Beat Pattern-cont

Using the left hand (L):

$ { q q q q \ q q q q}

Count: 1 2 3 4 1 2 3 4

Tap: L L L L L L L L

Progress: 1 2 3 4 5 6 7

Alternate the hands (R L R L):

$ { q q q q \ q q q q}

Count: 1 2 3 4 1 2 3 4

Tap: R L R L R L R L

Progress: 1 2 3 4 5 6 7

Alternate the hands on different beats (L R L R):

$ { q q q q \ q q q q}

Count: 1 2 3 4 1 2 3 4

Tap: L R L R L R L R

Progress: 1 2 3 4 5 6 7

Double up (R R L L):

$ { q q q q \ q q q q}

Count: 1 2 3 4 1 2 3 4

Tap: R R L L R R L L

Progress: 1 2 3 4 5 6 7

Double up (L L R R):

$ { q q q q \ q q q q}

Count: 1 2 3 4 1 2 3 4

Tap: L L R R L L R R

Progress: 1 2 3 4 5 6 7





You have covered a lot of ground so far. Congratulations! Is it getting easier and faster? If

not, don’t worry... a little more time and it will seem like nothing at all.

Accenting beats

Next we are going to change it up some more to add an accent to our rhythm. When you

see this sign “>” it will mean to accent or to make louder or stronger. When you count,

make the accented portion loud (As in ONE two three four). When you tap, it will be

stronger, but don’t get carried away. Just make it feel a little more forceful than the rest of

the taps. We will use different hands as well to help you make the difference known.

Accent Beat 1 (R L L L):

$ { q q q q \ q q q q}

Accent: > >

Count: 1 2 3 4 1 2 3 4

Tap: R L L L R L L L

Progress: 1 2 3 4 5 6 7

Next: (L R R R)

Tap: L R R R L R R R

Progress: 1 2 3 4 5 6 7

Accent Beat 1 & 3 (R L R L):

$ { q q q q \ q q q q}

Accent: > > > >

Count: 1 2 3 4 1 2 3 4

Tap: R L R L R L R L

Progress: 1 2 3 4 5 6 7

Next: (L R L R)

Tap: L R L R L R L R

Progress: 1 2 3 4 5 6 7





Step three: Work It

Now that you have the basic approach down, it is time to develop staying power. The intent

of this section is to gain endurance in playing. Taking the variations we have worked with,

you need to be able to play them for an extended period of time. We have found the best

way to do that is by working with them in incremental or small steps.

The chart below allows you to build the rhythm up over time. Do not try to do all the boxes

for a line at one time. You may go across, down or both but you can get tired fast. So relax

and do one or two boxes at a time.

This is a two part process for time and speed.

Repeat for time indicated. This will not be as easy as it sounds! Repeating the same

sequence over and over for 5 minutes takes a lot of effort. But be assured it will pay in the

end. Use a metronome at a moderate speed. The metronome speeds are suggestions and

can be changed to meet your comfort level. Push yourself, but make sure you can control it

at whatever speed you choose. Preferably you start slow, master it and then increase speed

a little at a time.

$ { q q q q }

> = accent Duration (minutes) / Metronome speed 1/2 1 2 3 4 >5

Tap Hand

Combination q=60 q=64 q=68 q=72 q=76 q=80

R R R R > beat 1 > 1 & 3 > 2 & 4 > beat 1 > 1 & 3 > 2 & 4

L L L L > beat 1 > 1 & 3 > 2 & 4 > beat 1 > 1 & 3 > 2 & 4

R R L L > beat 1 > 1 & 3 > 2 & 4 > beat 1 > 1 & 3 > 2 & 4

L L R R > beat 1 > 1 & 3 > 2 & 4 > beat 1 > 1 & 3 > 2 & 4

R L R L > beat 1 > 1 & 3 > 2 & 4 > beat 1 > 1 & 3 > 2 & 4

L R L R > beat 1 > 1 & 3 > 2 & 4 > beat 1 > 1 & 3 > 2 & 4

R L L L > beat 1 > 1 & 3 > 2 & 4 > beat 1 > 1 & 3 > 2 & 4

L R R R > beat 1 > 1 & 3 > 2 & 4 > beat 1 > 1 & 3 > 2 & 4

Mix it up* > beat 1 > 1 & 3 > 2 & 4 > beat 1 > 1 & 3 > 2 & 4

* Play with the different combinations - free form - improvise.

At some point, during this process of gaining endurance you will have made a move from

learning to owning the rhythm. Moving into the next step is going to allow you to completely

own and control the rhythm.





Step Four: Own It

Tap along with any of your favorite songs so that you can pick out this simple beat. The idea

is not to get into the sub beats, but to work only on the major four beat count with this

rhythm. You will become aware of all the things going on, but you must be able to keep just

this beat sequence.

Test yourself with a metronome. Using all the combinations of tapping available to you at

any time, mix them up, play them ten or twenty times in a row.

Check off or color in the box when you have been able to tap out the rhythm smooth and in

time with the metronome. You won’t be perfect, but don’t worry about it - we all fumble

along the way. It’s your ability to get back on track and stay with it that counts. Rotate

accent notes at will to further your mastery.

R R R R L L L L R R L L L L R R

R L R L L R L R R L L L L R R R

$ { q q q q }

Metronome speed

q= Duration (minutes)

-- 2 2 3 3 4 4 5 5 Accent Beats 1 2 3 4 1,3 2,4 1,3 2,4

60 70 80 90 100 120 140

Having completed the worksheet, you should now own this rhythm. If you don’t feel like you

do, go back and pick up where you think you need to work on it. For some it, comes very

quickly. For others it takes more work and time.

Congratulations on completing this Rhythm!




2. $ Rhythm – Play Beat 1 & 3

In this $ beat pattern, the rhythm is defined by playing beats 1 & 3. The rest indicates

times when the sound is not played. In order to be able to keep an even pace, use the foot

as a means of keeping time. The foot will move in time with the basic beat.

Use the ball or the heel of your left foot in a tapping motion to keep time. It will tap 1 2 3

4 over and over again.

Step One - Learn It:

Start with counting and tap your foot several times to get the rhythm. Add clapping at the 1

and 3 beats as shown. Do it slowly until you feel comfortable with it. Repeat it at least 4

times.

Cross off your progress here: 1 2 3 4

$ { q Q q Q \ q Q q Q}

Count: 1 2 3 4 1 2 3 4

Clap: x x x x

Foot: x x x x x x x x

Step two: New Approaches:

Now you need to tap your hand on your legs, the table, or another object. Still count out

loud; this is important in our auditory learning sense. Do each one 7 times. For any practice

you have difficulty with, repeat the rhythm series another 7 times. Come back later if you

have to.

We start with the right hand (R): Use a metronome speed of 60. If you need to slow down

that’s OK, it’s more important to do it correctly than to worry about speed.

$ { q Q q Q \ q Q q Q}

Count: 1 2 3 4 1 2 3 4

Tap: R R R R


Progress: 1 2 3 4 5 6 7




2. $ Rhythm – Play Beat 1 & 3-cont

Using the left hand (L):

$ { q Q q Q \ q Q q Q}


Count: 1 2 3 4 1 2 3 4

Tap Hand: L L L L

Progress: 1 2 3 4 5 6 7

Alternate the hands (R L R L):


Count: 1 2 3 4 1 2 3 4

Tap: R L R L

Progress: 1 2 3 4 5 6 7

Alternate the hands on different beats (L R L R):


Count: 1 2 3 4 1 2 3 4

Tap: L R L R

Progress: 1 2 3 4 5 6 7

Double up (R R L L):


Count: 1 2 3 4 1 2 3 4

Tap: R R L L

Progress: 1 2 3 4 5 6 7

Double up (L L R R):


Count: 1 2 3 4 1 2 3 4

Tap: L L R R

Progress: 1 2 3 4 5 6 7

Six more tapping patterns done. Move on to accenting. 4 patterns.





Accenting beats

Next we are going to change it up, and add an accent to our rhythm. When you see this

sign “>” it will mean to accent or to make louder or stronger. When you count make the

accented portion loud (As in ONE two three four). When you tap it will be stronger, but

don’t get carried away. Just make it feel a little more forceful than the rest of the taps. We

will use different hands as well to help you make the difference known.

Accent Beat 1 (R L R L):


$ { q Q q Q \ q Q q Q}

Accent: > >

Count: 1 2 3 4 1 2 3 4

Tap: R L R L

Progress: 1 2 3 4 5 6 7

Next: (L R L R):

Accent: > >

Count: 1 2 3 4 1 2 3 4

Tap: L R L R

Progress: 1 2 3 4 5 6 7

Accent Beat 3 (R L R L):

Accent: > >

Count: 1 2 3 4 1 2 3 4

Tap: R L R L

Progress: 1 2 3 4 5 6 7

Next: (L R L R):

Accent: > >

Count: 1 2 3 4 1 2 3 4

Tap: L R L R

Progress: 1 2 3 4 5 6 7





Step three: Work It

$ { q Q q Q \ q Q q Q }

> = accent Duration (minutes) / Metronome speed 1/2 1 2 3 4 >5

Tap Hand

Combination q=60 q=64 q=68 q=72 q=76 q=80

R R R R > beat 1 > 3 > 1 & 3 > beat 1 > 3 > 1 & 3

L L L L > beat 1 > 3 > 1 & 3 > beat 1 > 3 > 1 & 3

R L R L > beat 1 > 3 > 1 & 3 > beat 1 > 3 > 1 & 3

L R L R > beat 1 > 3 > 1 & 3 > beat 1 > 3 > 1 & 3

R R L L > beat 1 > 3 > 1 & 3 > beat 1 > 3 > 1 & 3

L L R R > beat 1 > 3 > 1 & 3 > beat 1 > 3 > 1 & 3

R L L L > beat 1 > 3 > 1 & 3 > beat 1 > 3 > 1 & 3

L R R R > beat 1 > 3 > 1 & 3 > beat 1 > 3 > 1 & 3

Mix it up* > beat 1 > 3 > 1 & 3 > beat 1 > 3 > 1 & 3

* Play with the different combinations - free form - improvise.

Step Four: Own It R R R R L L L L R R L L L L R R

R L R L L R L R R L L L L R R R

$ { q Q q Q \ q Q q Q }

Metronome speed

q= Duration (minutes)

-- 2 2 2 3 3 4 5 5 Accent Beats 1 3 1,3 1 3 1,3 1 3

60 70 80 90 100 120 140




Lesson 02 - Part 3

Getting Piano Notes Down Cold

Step 3: Flash card preparation

It is important that you take the time to do a physical exercise that requires you to use your

hands to prepare a material item. This process helps reinforce the knowledge you have

gained in reading the material.

On the following pages are 12 little keyboards. Print out the sheets and cut up the

keyboards into equal pieces. On each sheet draw a ? on a different key, (Use a white pencil

to mark the black keys.)

On the back write the name of the note.

For the black keys, write both the sharp name and the flat name.

Review lesson 01 if you have difficultly remembering the note names.

Now you're ready to own those notes! Go to step four after you have your cards completed.




Flash Cards


Getting It Down Cold

Music Theory Course Lesson 02

Copyright 2008 - 2009 Music Learning Workshop, www.MusicLearningWorkshop.com Page: 46

Flash Cards





Step 4: Own it! Studying with Flash Cards.

Mix up the cards and use them as flash cards to see how quickly you can name the note.

For the black keys decide if you are doing sharps or flats for your first few times. After

you feel you know them well say both names.

Here is a chart to help you track your progress.

Flash

Card Set Seconds

Flash

Card Set Seconds

1 11

2 12

3 13

4 14

5 15

6 16

7 17

8 18

9 19

10 20

Preview the next section because next we will be going into the master staff.





Bonus Note Knowledge

Applying what you’ve learned to the master staff

The notes you have just learned are repeated over and over again on the staff. For the

notes we use, it happens 4 times. The sound or pitch of the note is related to what part

of the staff it is on from the low C up to high C. Here we see the range of notes

associated with the two clefs. Don't worry about learning them yet - we will do that soon

in "Mastering the Master Staff".

The Treble Clef and the notes from middle C to high C:

C D E F G A B C D E F G A B C

Our basic 7 notes another set

The Bass Clef and the notes from Low C to middle C:

C D E F G A B C D E F G A B C

Our 7 notes, starting on C another set

Don’t get hung up here, we always use the seven notes, you can start on any note and

use the seven notes names before starting over again.

Starting on F its:

F G A B C D E & back to F

The Full Keyboard

When you look at an 88 key keyboard the first note at the far left is “A” and repeats the

note pattern until you get to the other end and the last note on the far right is “C”.

The master staff only covers 49 of the keys and the other 39 or above or below the staff.

Middle C

Middle C





This note workshop has shown you the typical pattern of the notes on a piano keyboard.

You have learned a total of 17 notes: A set of 7 notes (A to G) on the white keys, and 10

notes for the black keys (5 sharps and 5 flats).

You also have seen how the notes are related and how sharps and flats are named.

You can determine the additional two sharps and two flats that are part of the notes.

One last thing: this symbol ½ is called the natural sign. If you see it in music it means

that a previous note was either sharp or flat and now it will be back to its root. F# would

become just F.

Read more on this subject at the blog for tips and the conversation in trying to clear it

up:

http://mlblog.musiclearningworkshop.com/87/music-sharp-and-flat-notes

Review Questions:

1. Can you determine how E and B are made sharp?

2. Can you determine how F and C are made flat?

Answers:

1. E# is the same as the F key; B# is the same as the C key.

2. Fb is the same as the E key; Cb is the same as the B key.


http://mlblog.musiclearningworkshop.com/87/music-sharp-and-flat-notes




Wrapping it up

You are at the end of your second lesson.

1. Learning rhythm is a lifelong commitment; you do it naturally when you listen to

music and tap your feet to what you hear. The trick in playing is translating that

natural ability to something you see visually and then making it become natural

as well.

2. You will work on many rhythms and we will give you a way to work on those that

don't come naturally in the future. If you struggle with rhythm as much as I have

you will appreciate this way of consistently improving your skill as you learn

music.

Talk to you soon

Your next lesson comes in two weeks after this one.

Stay tuned

Brad Chidester

Publisher, Music Learning Workshop

Coming up Next…

Next Lesson we will

Continue with rhythm.

We will introduce three new rhythm patterns in every lesson. So every five

days you will work with new variations of things you have already learned.

At the end of this course you will have been exposed to 34 different

patterns and learn to create a practice sheet for new ones you encounter.

Also in the next lesson we will

begin to learn the master staff.

This seems to scare many new musicians. However, I'm hear to tell you it's

going to fun and exciting to learn the notes on the staff in a new way.

Previous lessons

GIDC-00-Introduction-Organization.pdf and

GIDC-01-note-defs-symbols-keyboard.pdf … Click Here to access


http://www.musiclearningworkshop.com/l01gi69dc5.html

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Rhythm Math

Documents

Transcript of Rhythm Math