Strumming for the Curious Guitarist | Dan Dresnok | Skillshare

Strumming for the Curious Guitarist

Dan Dresnok, Guitar Teacher

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15 Lessons (3h 13m)
    • 1. Preview

    • 2. Welcome to the Class

    • 3. 1st Lesson (page 1)

    • 4. 2nd Lesson (page 2)

    • 5. 3rd Lesson (page 3)

    • 6. 4th Lesson (page 4)

    • 7. 5th Lesson (page 5)

    • 8. 6th Lesson (page 6)

    • 9. 7th Lesson - sixteenth notes (page 7)

    • 10. 8th Lesson (page 8)

    • 11. 9th Lesson - triplets (pages 9 - 10)

    • 12. 10th Lesson (page 11)

    • 13. 11th Lesson - time signatures (page 12)

    • 14. 12th Lesson - 32nd notes (page 13)

    • 15. Closing Thoughts


About This Class

Complete strumming guitar class. Strum, count, tap, read, write, & pick like a pro! Rhythm & strumming for all levels.

*Be sure to download the PDF in the Projects & Resources section.  (It's called "Strumming for the Curious Guitarist - PDF.")  It's 15 pages long & contains all the text & tabs that you'll need for this class.  (If you have issues downloading it from your mobile device, then download it from a computer or laptop.)  Don't wait - get it now!

Welcome to Strumming for the Curious Guitarist! This is a fun & easy strumming class that will turn you into an amazing rhythm guitar player. We'll start at the very beginning - assuming that you're starting from scratch.

After taking this class, you will be strumming with confidence every time you play guitar! Your advanced sense of rhythm will be superior to most other guitarists. Strumming & rhythm is the most important skill a guitar player can have.

Any kind of six-string guitar will work well for this class - electric, acoustic, or classical guitar.

Each lesson builds on the previous lesson. You can ask me a question in the class community section. I'm always here for you!

The title of each lesson video will include the page number of the PDF (downloadable in the Projects & Resources section) to reference while going through this class. Be sure to get the PDF.

We're going to elevate your strumming skills as quickly as possible. This'll be easy & fun for you.

By the end of this class, you'll be strumming with confidence! You'll have good energy every time you play. Other guitarists will be impressed with your control of rhythm.


  • This class is for every level - including complete beginners.
  • You only need a guitar - any kind of guitar with six strings.
  • We'll start at the very beginning.

Who this class is for:

  • Every guitar player should take this class.
  • Complete beginner guitar players.
  • Intermediate & advanced guitar players.
  • Guitarists who need a rhythm refresher.
  • Guitarists who never properly learned rhythm.

What you'll learn:

  • Strum the guitar correctly.
  • Learn to count beats & rests.
  • Strum with complete confidence!
  • Strum any song correctly.
  • Become a master of rhythm.
  • Read & write any rhythm.
  • Beginner to highly advanced strumming.
  • Improvise your strumming!

I'm glad you're here - let's get started.



1. Preview: Hi, and welcome to strumming for the curious guitarists. I'm Dan Resnick on your guitar teacher. I've been teaching guitar lessons for over 25 years. I've written a number of guitar method books that I've created well over a dozen online guitar courses. I am the perfect person to get you strumming your guitar and understanding rhythm in a way that sets you apart from guitar players and turns you into a competence Rhythm Master. I am assuming that you don't know anything about rhythm and you don't know anything about striving. Most guitar players don't. You may be starting from scratch on the guitar, or you may have been playing guitar for a long time. In my experience, many guitar players don't have a great foundation for rhythm. Even if you've been playing for 30 years, even if you've been playing 50 years, you might not know very much at all about strumming. So I'm going to take you from the very beginning and walk you through one step at a time until you are in complete control over your rhythm and your strumming. I was a drummer before I ever picked up a guitar. I spent years studying only rhythm. Drummers only study wear them. There are no courts, there are no scales. So all you study is rhythm, reading, counting, pulses, taps, beads. That's all you do when you're drummer. When I finally moved over to guitar, I had a huge leg up when I started playing it because all I had to do was give by chords and scales and all by left-hand stuff. But my right-hand, it came naturally to me because I already understood the countering, the tab bang the pulses, the beads to rests, the writing and the reading. And that's what I'm going to show you. This is going to make you a dominant guitarist, is your ability to use your rhythm hand and to start putting it into your playing right away. And so I'm starting you from scratch. I'm assuming you really don't know anything at all. I'm going to show you the cumulative order how to read and write rhythms. And so each video's going to build on the previous video. And I'm going to take you through various exercises until we get to the point that you will have been exposed to most of the combinations of rhythms that you will ever see. And you will have tap them out. Strong ammonia guitar. And you will be in good shape by the end of this course. So most of the lesson videos in this course we'll include a PDF to download the shorted downloaded, download the PDF, prints it out, copy it to your computer or your device. I spent a lot of time putting the PDFs together for you so that you can look at them while going through the video with me. So we should just make life a lot easier for you. So be sure to get the PDFs. And I'm glad you're here. This is a lot of fun. I actually love Rick. I think rhythm is so much fun. And part of the reason I think it's so much fun is because honestly, I'm so much better at it than most people. And I want you to also be better at it than most people. It is the most important aspect of guitar playing. It's the most important aspect of all music. Rhythm is the most important aspect of all the musical playing without rhythm, that's just sound, it's just chaos. Okay? So what we're doing is we're structuring it. That's where the book and rhythm is our scrubbing, sir, strumming and are picking. So strap yourself in. This is going to be a lot of fun. It's going to be easy. Just stick with me. And I'll see you in the course. 2. Welcome to the Class: play and welcome once again to strumming for the curious guitarist. I'm Dad Resnick. I'm your guitar teacher. I wanted to take a few minutes to welcome you to the course and to talk just a little bit about what you can expect going forward on a couple things that are going to make your experience here even better. So dumb. First thing I am assuming that you're starting from scratch, you probably are. You may have a little knowledge of basic beats, and you may have one or two your three strong patterns that you'd like to do what you do them all the time, where you may have zero knowledge of strumming. I'm assuming that you have zero knowledge of streaming because if we just start from the very beginning, that is the best way to make sure that you get all of the knowledge that you need. I'm going. Teoh essentially teach you how to read beats and rests. This is what rhythm. It's his beats, arrests and so going to explain all of the different kinds of beats and kinds of rests and how we count them, how we tapped Um and then we are going to put that onto our guitar. So once we understand how to count and read beats and rest, then we put this on our guitar and we strong. And that, in a nutshell, is rhythm. The cool thing about this is that rhythm is reading. Rhythm is about 50% of reading music, so most of the players also have no knowledge or interest in learning to read standard sheet music. But if you can read beats and rests, that's like 50% of reading sheet music is reading the rhythms. So I'm not going to show you the notes on this course, Um, but you will know how to re beats rest OK, Hollows, half notes, quarter notes, eighth notes, 16th notes, triplets and time signatures as well as all the rest. So these were the things that we're going to go through in this course? No, it's ah, a little bit of an academic thing in the beginning, but when you start getting the hang of it, this is really one to transform your play. This is also want to transform how you think about music, how you listen to music. So this is really what playing music is all about is your ability to control and dominate the rhythm the rhythm You've maybe heard me say this before The rhythm is the most important aspect of music So without rhythm we just have chaos We just have a bunch of sound There isn't nothing There's no music without the rhythm So we've got the courts which are the harmony That's the left hand We've got this scales which is the melody also the left hand We've got your pet Jews More melody, my tans So when we introduce our right hand into it our right hand is only bringing one thing And this the rib, the right hand is the rhythm. Okay, so when we bring the ray and the strumming hand with picking hand into this is where the rhythm comes Okay, so this course is not really about Ford's or scales or anything like that. We're gonna need some of those to practice. So we're gonna have to, like, you know, do something with your left hand, you know, changing courts. But this course is not really about that. So you know, a g d etc court. Then you're going to go with your left hand for this entire course. Obviously, you're gonna wanna push yourself and start trying to do things a little bit more complicated as we get better at this and as we're doing more complicated rhythms to see if your left hand can keep up with your right hand. So when we are reading and writing the rhythms, we want to make sure that our blood warheads are communicating together. There's actually a part of your brain that is the culture corpus close up. It connects the two hemispheres of your brain. And it's what enables your right hands to interact with your left hand is what makes us so that they can work together. So this is why we're just one of you is very basic chords over here. Okay, Now, let me explain some of very harsh truth to you from a guitar world perspective in the guitar world, you've got going to give you two different players. Okay? One player is somebody who has studied for you a couple of years. They studied real hard as they really enjoy the music theory. Part of it. They really like learning how old the music theory works. How old the scales, modes connect together and how to do all kinds of courts in different positions, up it down the fretboard and to do extensions and to do different voicings off those chords and how they work together in a relative way and understanding how the Circle of Fifths is a different key. Signatures work, and they're really understand. I really appreciate all that music theory. They put more of their emphasis on the music theory than they do on the play they play, but they really like the music theory more. Okay, that's what kind of player. And you have this other kind of player and this other kind of player does not care about music theory. It'll I don't care about music theory. They only want to learn enough guitar three so that they could start getting really energetic when they play. They love to play this guy. This guy, this girl is a player. Okay, so this guitar player likes to play and they play. They like to get real fiscal. They play all right now with these two, get our players get together and they play together. The guitar player who plays all the time has a lot of energy is probably going to be way better guitar player than the theory person. Okay, because the guy or girl with all the energy is going to have a great sense of rhythm because they spend a lot of time just banging on the guitar, getting the rhythm, getting the pulse and the person who is focusing on music theory all the time. It's more of a cerebral academic exercise for them and their war into the the studying of the music. And so when it comes time to play, they are have a strong sense of pools for So the question is, which kind of guitar player do you want to be? Do you want to be the person who understands all the music theory? That's cool. I love understanding, music theory. I love learning poppy security. I do. I also love really getting energetic and put all my energy into banging on the guitar but planning it putting 110% of my energy into it. So you want to be a little bit of both of these things. I think I think that's what the answer is. You don't want to be one or the other, because if you're just constantly putting energy to it being on the guitar, you are gonna have a great sense of rhythm. You are gonna be a good rhythm guitar player. But, you know, you still need to expand your horizons, understand a little bit about deeper into the rhythm so you could do different kinds of rhythms can all be a belly just hitting the polls. Also, you want to be able to expand what your left hand is doing. Well, you're keeping this like, really wonderful pulse. If you're just focused on the music theory, then they're not able to really create any kind of like, really, you know, magnetic music. Say magnetic. You're not drawing people in as much because you're not establishing pulls. You may know all this music theory, but if you can't pull people in with your pulse and your ability to play, that's just for you to kind of enjoy the music theory of it. So I think you want to have a little bit of both. Did you want to know your music theory and you want to also appeal to really established holes in the rhythm to dominate it and control it. So that's what this course is all about. This course is all about us getting into deep into the rhythm, patrolling it to bring out our inner drum. Okay, so you do have a drummer inside of you. We're going to pull that drug out of you. We're going, Teoh, several guitars down. We're going to do a couple of basic drum lessons. Then we wanted Picard returns back up. Later on, we're gonna start taking drum lessons and putting onto your guitars. That's what this course is about. So this is really exciting. And this is a completely different approach then maybe anything that you've ever had before . But this is going to work. I've done this. Like I said, done this with thousands of students and it works. This is going to bring the rhythm out for you. And this is going to make you also It's a jam mobile guitarist. This is going toe put you into the category off. Hey, should we invite this person order Teoh play? Can they keep up with us? Yes, they can keep up. They could keep time. They can keep the pulse. They've got a good sense of rhythm. That's what we want for you. So that's what this is old belt. So it starts out with us learning how to read and write and count a town. So stay with it. This is how you get there, Okay? And once you come out to the other side and we're doing this owner guitarists, that's where this will really transform your playing and just take you to hold the level. So I think I mentioned before. Most of the video lessons will include a PdF. Pdf is the roast actual text version of the rhythm, so be sure to download those print does download those Keith on their years. I made them for you. I made them for you to actually look at while you're going through the lessen the media lesson with me. So have those ready. While we're going through the video lesson together, it's just going to make life so much easier for you. And, um, I think that's about it. I think that I've talked enough pretty excited. This is a lot of fun, and, uh, we are ready to go. Let's start learning these rhythms. I'll see you in the next video 3. 1st Lesson (page 1): Okay, let's dive right in from the beginning. First of all, I want to point out that until they tell you otherwise, we're going to be in a 44 time for over four. Looks like a fraction, but it's not. A fraction is telling us that there are four beats in every measure, so the top number is telling us how many and the bottom number is telling us what kind. You're going to see this at the beginning of any piece of music. Four. Over four or 44 time is the most common time signature four beats inside of every measure when I say for be timing 4/4 notes. So there's going to be a total somehow off 4/4 notes in every measure. So and this can be a whole lot of different things. The time signature could be many different things that could be 34 like three beats in a measure could be 242 beats in a measure could be 545 quarter notes in a measure 74 could be anything. Sometimes the bottle number will be an eight. We'll see that sometimes, but for the most part we're going to be dealing with 44 times, so there's gonna be a total of four beats and rests in any different way that we can combine beats and rests four beats in a measure. So unless I tell you otherwise, we're going to be in a 44 time. Okay, so the left hands over the courting hand doesn't matter, okay? We need to make some kind of accord for all of these exercises. And eventually I'm going to start telling you to change course, do the same rhythm, but change the courts. But it doesn't really matter what the court is. I don't care. Just pick accord, and let's jump into it. I might suggest easy court because we're gonna be focusing our strumming. So start out with an easy court. I'll be doing probably a lot of G court because it's a six string cord, so I can really focus on getting all of my my strings were doing my downs of my hopes. Okay. All right. So I'm going to walk you through this, starting with the big beats and the big arrests. And then we will gradually start going to the smaller beats. Um, and I'll let you know right now that there are about five different kinds of beach we're going to be dealing with throughout this course, going to be doing with the whole notes half notes, quarter notes, the eighth notes and 16th notes thes make up most of what you're going to see in any kind of rhythm. Um, and I will explain how triplets work as we get towards the end on it will take a look at those, but I want to focus on these five beats. Whole knows half notes, quarter notes, eighth notes and 16th notes on this is going to get you ready too strong. Just about any rhythm that you need. Okay, so we started out with the whole note. Okay? The whole note is a whole assert. Looks like this just a hollow circle and gets held for four beats. So what we're gonna do is we're in a strong down, okay? And what I would recommend you do is for each be you just after you do the first time. You do. Kind of a silent down for the next three. Beats like this thing. Three. The reason we're doing that is it is going to keep us in time. It's gonna keep us counting. It's not gonna rush us, so we don't want to get to the next measure to quickly. So we're going to jump right into moving our hands even though we're not making contact three for So if we were gonna do this measure twice, it would be twice in a row with no applause between Teoh three four like that. Okay, now the whole rest looks like this guy right here. Okay, It's an upside on hat. It's an upside down hat. Really? What's going on is you're going to see a bar like this filled in bar. It's going to be hanging down from one of the lines and staff. So the bar hanging down from one of the lines and staff, you know, that's a whole rest. Whenever you see, arrest is silence. Arrest is silence. So we're not making any sounds. It's not that were not strumming. Arrest is actually silence. So if the court was ringing, you would technically want the court to stop ringing. Silence for that amount of time rests. Air counted exactly the same as the Pizer counted. So the beat is just sound and the rest of silence, but they're counted the exact same way. So the whole rest gets four views of silence. When you see a whole rest is telling you that whole measure is silent, so that'll measure is nothing. OK, so this would be one to three. For I'm still doing my little motion with my strumming hands to just kind of keep me in time. Good. And something let me doing on the white board is I use dashes to show a new measure. So I'm doing a new measure. All he's the dash. Just say OK, it's a new measure, All right? So if I was going from the whole note to the whole rest would be here one to three four like that. Okay, We cannot have two whole notes in a measure because the hold it takes up the whole measure . So that's the whole point. Hold a circle. Now. The half note exercised to or example to we've got the whole of circle. This time. It's got a stem on it. See this down? All right, so the half note gets two beats. I have no against two. It's so we're going to strum down and then do a silent down strong down again do another silent down. So this 1st 1 gets speaks one and two, and then this one gets these three and four because the measure has to equal for bees twice in a row. No pause in between. That's really important. No posit between If you do these examples twice in a row, which you should be doing no pause in between. That's really important. Okay, when you're counting, it's one, 23 four, one to three, for there is no pause in between ever abuse. It just keeps on going. 1234123 or 12341234 Never a positive way. All right, so let's do the half notes twice in a row way now. The half note, Um, it looks like a right side up at OK, so it's a bar above the line, all right, and that's two beats of silence. Anything that's half note is two beats, so it's either to be some sound or two beats of silence. So the less I got top, and that just means the rusting silence for two beats. Really? I don't need two of these in a measure to show that the whole measure was arrested because the half restaurant gets two beats, so one to okay, silence for the half rest. Okay, Living on the quarter Note. In example. Three. So this is a filled in dot The dot is now filled in. It's not hollow anymore. It's got to stem on. Okay, so filled in dot with step. These air quarter notes, quarter notes are the foundation off rhythm. They are the main beat. So whatever was like about the beat, we're talking about 1/4 notes. We're talking about time signatures for four. It's 4/4 Knicks. Okay, these guys, these air quarter, each one of these is a beat. That's one is B one B two, B three and B four. Each one of these guys is a B. Each one of these guys is a down stroke. Each one is a down stroke. Let's do this twice in a row, and this time was changed Courts. I don't care what the other court is that you play. Doesn't matter, just changed to some other court, and it doesn't even have to have six strings You go to, Deke, or just make sure that when you strong, you know you Onley strum the strings that you're supposed to. For that chord, I don't from everything just cause you're having a good time, use control and only strong the strings You're supposed to for that chord. All right, so let's do twice in a row for the quarter notes, all right? I was actually four times in a row, but that's the idea, all right? You won't be going over this and over this now, the quarter rests. They look like these lightning bolt things. Or maybe a giant 83. OK, so each one of these guys is 1/4 arrest. So that's telling us one beat of silence, one of you to silence. I recommend that you move your hand. This is going to be your timekeeper. Even though you're not strumming making contact, You wanna move your hand to keep yourself in time. So with 1/4 rests, I need four room Teoh equal out the measure one to three four. Okay. One, 234 one to three. For now, with rhythm, he'll start figuring this out quickly. There are a couple different ways to write the exact same thing rhythmically, and there's a cleaner way and mess your way. But there there's no right or wrong way. There's just kind of a cleaner, more concise way to do it. And then there's a mess. You're away. This would be a mess, Your way to write off the whole measure of rests. The A better way. But you still little miss. He would be having to have breasts. They could have to half arrests that would show the whole measure of silence. The best way to do, of course, would be just used. The whole rest wanted a whole measure of silence. The whole rest of big most sense. Just one thing also down hat. Coal measures out. Okay, so the cord road is the villain dot with step right down strong on each one, and you're counting 1234 It's not a bad idea to count out loud while you're doing this way . Good. All right. Now, at example, four, we are combining a couple of these concepts, so we have a whole note and we have a measure of 2/2 notes, and then we have a measure of 4/4 notes. Okay, so we need to play them all together with no policy in between, Okay? Pausing or hesitating right from under the next. Right? Let's try Teoh. Good. Let's try that again. Stood on different quarter three. Easy. Right. Okay, look, at example. Five, You got one measure. Now we're combining different kinds of beats in the same measure. So we've got 1/2 minute and 2/4 notes. Crap. So that speeds 12 That's 34 All right, so to roll downs, everything we're doing, is it down? Do it again. Let's do it twice in a row. Same court, twice in a row. But each time will change course. Way excess. Good. OK, so go review these and I will see you in the next video. 4. 2nd Lesson (page 2): Okay. We are starting to combine some of the different beats, and we are looking at some of the arrests with them now. Okay, Example one with God's two beats of according up and then 1/2 note. So that's 123 And for the half, their gets 34 k streaming down on everything. When you're going through these, it's really important that you play each example and released twice. What would be the best is to go through it several times, do several passes, maybe 10 passes or 50 passes of the exact same rhythm. Okay, exactly in rhythm and then eventually start changing chords after each pass after each measure. All right, so still on number one, we're gonna go fourth, Be even though we're holding out the half now. And I'm still doing my quiet downward strong, not making contact. Quite strong to keep myself in time. Okay, let's look at number two. We've got a corner, half note word. That's be one. The house gets beats two and three and then we have 1/4 before thing. Three. Good example. Three. All right. We now are seeing a rest. The lightning bolt looking guy or the JAG 83 is 1/4 rest, so it's just one beautiful rest. Same as with the half dance and whole notes. When we see the rest, we're just going to do the quiet. Strong. Okay, silent, strong. So we've got a restaurant. B three or B three should be so resting on three chorus on 12 and four resting on the three 33 three 33. Uh, now I said earlier that when we see arrest, we technically wanted to be silent. A lot of times when you're playing in a riel world application, you just want strong. You'll just hold out the cord. That's pretty typical. So a lot of times when you see a rhythm and you see arrest, you may be letting the court bring into it. Technically, we wanted to be absolute silence, because that's what the rest says to do is to show silence, but a lot of times the court may ring through the rest. That's okay. That's not the end of the world. Unless the song absolutely require silence there. So consider that would be playing. Let's look at the example for okay, we have quarter rests on beat one and 1/4 rest here on me. Three. Okay. When I look at a rhythm, I the first thing I do. I don't I don't worry about how to play it first. The first thing I do is I try to understand what's going on. So I need to see a total four beats. I need to see a total of four beats. If because if I know how to play all the possibilities within one beat, then to have four different groups of that that's easy. I just need to see what's going on. So I'm looking for my rests and my notes. So the first thing I see is I've got arrest on one arrest on B three. Got 1/4 note on me, too. And before so basically rest on one and three were struggling to for Okay. 12313 one three makes us Okay. Good. Let's take a look at number five. Here. We have 1/2 note, two seats, then we have 1/4 rest on the three, and then we have 1/4 note before. Good. So this is gonna sound like we're holding this throughout until before, Like this free three thing. 33 333 So many Selves. Okay, really good. We're going through the permutations. All right, So go review these and I will see you in the next video. 5. 3rd Lesson (page 3): Let's look at some war combinations. Okay, so the first thing that we have is health news into quarter notes. So we've got rest on beats one and two, and then we're hitting three and four. 12 to to Teoh. Okay? And let me also say this. Sometimes guitarists be included on a rest. Well, Chuck, okay. Called Chuck. But really, what's going on is we're muted on the court. Adds choking. Yeah, technically, on arrest. You want silence, But you can sometimes. Chuck, uh, if you have you want to keep the rhythm going, you don't want to make contact with court, But you may decide to Chuck also So an example of that would be like that is choking. Okay. And it's not technically arrest. Although we are showing the rest by the chuck instead of resting with Chuck, it So we're not hitting the court, but we are muting the strings when I say muting the strings. What I'm doing is I'm touching the streams. But I'm not pressing, OK? Touching, but not pressing, so touching, but not pressing. And when you start playing around with this because this is something that I use all the time when I'm playing, when you start working on your chucking over your rests. If you decide to do that there are certain places on the guitar where we have natural for Monix certain places on the guitar that give us natural harmonics. Andi, when we're doing a chuck, we don't want that. The reason we don't want a harmonic is because harmonics are notes. And so we may be accidentally hitting harmonics that are notes that we don't want in our salt. So there are certain sort of dead spots where there are no harmonics. So you want to look for those, usually anywhere, where you're doing an open chord on France 12 and three. Usually you're gonna be pretty safe. You want to avoid the fifth Fred seventh fret in the 12th fret so 57 12. Avoid those. You may find a few other spots where there are harmonics, so avoid those. Go for the muted spots. Unit spot. You did Mutis. Good. All right. Getting back into it. Number two, we've got 1/4 of the one. We have 1/2 rest, so these two and three arrested and then we have 1/4 note on before. So to 3 to 32 three, 2323 Example. Three. We have 1/4 wrist on being one, and I see 1/4 rest here on before. So we're resting Abuse. One and four quarter knows on these two and three. One or one. Oh, or I'm doing my silent, strong movement down on the rest as always, One or one for one or one one. Number four. We have 1/4 rest on the one. We'll 1/2 note on me, too. So that's gonna be beats two and three because it's 1/2 note against two beats and then we have 1/4 out on before. So rest on one, two and threes that has and then corner before one one. Good, good, good, good. Making good progress. Okay, Number five, we have a have a rest. That's beginning. And I see a courtroom here this quarter up here. It must be on the four, because we're 44 times still on its at the end, so the quarter must be on before has to be exits at the end. It's at the end of the measure, so it has to be before something doesn't add up here. 1/2 arrest is two beats of rest, and then this quarter is only one Be so that only equals three beats. All right, let me explain what's going on here. Um, you see this Don't right next to the half rest. See that Don't right there. All right. Dots are part of rhythm, and I wanted to go ahead and explosive these right away. So this is a daunted half rest. A dog is a little really tool that adds half of the rhythm value to a thing. Could you arrested? It could be a note. It adds half of the original value for the original amount of time. Okay, so how many beats doesn't have for us to get gets two beats of rest, right? So half rest? It's two beats of rest was half of two beats one. We're gonna add one to be or any existing two beats. So what's two plus one? Three. Okay, so a dotted half rest is going to get three beats abreast. The reason that dots exist is because there's certain things where we cannot do certain rhythms without a dot There certain circumstances where we have tohave a dot to help us to do certain rhythms. There would be impossible. Otherwise, certain rhythms would be impossible without using dots. And we can use a dot on a be and we could use a dot on arrest. It does. Could go over any beat were any rest. So I thought this would be a good time to expose you to dots. So if you ever see something where initially doesn't add up, the beats don't add up to four beats, look for a docked there, maybe adopt there. If there is, that would explain it on the dot ads. Ads half of the original value. Yeah, So if it's 1/2 note and is dotted, you'll get three beats toe have rest in the started, gets three beats of rest. Okay, so we've got three beats of rest and then we have 1/4 note on before. Easier. 123 to 3 to three, 23 023 Makes sense. Okay, you could have a dotted whole note. The whole circle gets four beats, but in order a dotted whole note, we would have to be on a 64 time because the holdup gets four beats, right? The whole of circle guess four beats. So if we had a dot next to it, that would add half of four beats to add half of four beats. What's half of four beats? Two beats. So we had to to the already existing four would make it a six beat note. Got a whole new, just got a little dot right next to it. Now it make it worth six beats. You would hold out this note or chord for six beats, but in order to pull that off, we would have to be in a 64 time, which we could do. So you may be in a 64 time where you may need it. If you were writing a song, so that is how dots work, we will see them sometimes. So when we see them, I don't want you to get confused or they're easy. Theories just get used to seeing on there certain times where you're always going to see this certain rhythm put together with the dot somewhere in it, and you just kind of get used to it. It's not it's not anything else when you worry about okay, so really good, review this stuff and I will see you in the next video 6. 4th Lesson (page 4): Okay, We are finally ready to start working on our up Strom's, which means that we are going to introduce Eighth Nips. Okay, this is the fourth B. We talk about five beats. If most of the fourth beat we did whole notes, half notes, quarter notes, which are all down strums now we're doing eighth notes, which we have to do up strong to hit the eighth note. Okay, so still in a 44 time, in example, one what we're looking at sure is one measure of eighth notes, and we can see that they are connected. See these bowlers? That air connecting them. Okay, so we've got these bars that are connecting them. Um, Opa bull. I'm showing you the count. So it's one and two and three and four ends. That plus sign is like Aunt. We say, aunt. Okay, so when we are when we have eight knows that are right next to each other, we connect them like this, Okay? Connected with the bar. And sometimes you can connect the entire string of eighth notes. If you have a whole string of them, connect all of them. But what is a cleaner way of rating. Eighth notes. A lot of times would be just to do it 1/4 note at a time. And the reason is because we mentioned before when I am looking at a rhythm, I am just looking at it beat at a time so I can see what each is doing. It's beginning to more complex rhythms. You're going to start looking for each quarter at a time, and all those stuff going on inside that coordinate all the rests in the beats, all of the different things, all the notes going on inside of 1/4 note. So, for example, we've got all this stuff going on inside of beat one, all the stuff going on and be to all this stuff going on and be three and all the stuff going on. And before we start thinking like that, playing complex rhythms gets a whole lot easier. Okay, instead of looking at this whole string of things, that's like, Whoa, it's gonna be hard to play. Just look at it one of the time you play it and then connected to this one plan connected, and that's an easy way of deciphering and getting through any kind of complex rhythm. Okay, so is nuts. We are saying that ant plus size and aunt. Okay, Now, over here, I'm showing you the rest guy. So this guy's arrest, it kind of looks like a seven with the were a droop to it. So it was kind of like, really slanty seven. OK, that's an eighth rest now. And ive note by itself, it's half of 1/4 notes, half a beat. Okay, so inside one beat were 1/4 note. We have a total to eight minutes. So that's what the and is if you have one over here for us to play their quarter note is the aunt. All right, So if we have Porter's, for example, which were just going like 1234 inside of each one of those we can add, the aunt and I keep the corners the same tempo. Someone. 12341234 I add the eighth note into it. It's one anti and three and four pence. One tends to 10th Street and fourth, 2341 and teeth and three and four and one and two and three and four. Okay, so the quarter note is still the exact same pulse. We're just going essentially twice as fast. To add in the eighth note, a string of eighth notes is exactly twice as fast as a string of quarter notes. And that's true with all of the beast that we've seen so far. You start with the whole notes for beats. So if we did to half notes there exactly twice as fast, asshole, it's to ease into its. And if we do a string of quarter notes, that's exactly twice as fast. Is the half nuts 234 So to do the eighth notes when he one and two and three and four aunt one end two and three and four end is exactly twice as fast as the quarter minutes 12 before. Okay, so we've got the rest, which looks like a really slanty said. This is an eighth rest. OK, um, so as an eighth note, that's an eighth note. That's an eight. No, that's made, you know, each one of these. We ate eighth notes in a measure. When I have an eighth note, that is, by itself, it's not next to anything else with, uh, yeah, a flag word tie that we just have the flag that goes down and it will be light itself with flag going down. Essentially, that's what's going on is that if notes have a flag, but when they're next to other eighth notes were anything else with the flag, we can connect him and make make these ties of above. So that's really what we're looking at here is we are connecting the flags to make these bars. But if you have an eighth note, that's not next to something else with a fly, then it just goes down and we see the flag. So it kind of looks like 1/4 note with flag line. That's how you know it's an eighth note because it's got one flag. Okay, you can think of the rest The same way is a slash, and it's got one flag coming off of it. Slash with one flag coming off or the beat is a beat. It's like 1/4 note kind of. It's got one flag coming off of it. All right, so this is the exact same disease. The only difference is that this one showing you he's by himself and these ones are next to other. He's not swords connecting them seeds, Axon. Be though this is the exact same beat. Is these all right? Now let's get into it. Okay, So when were strumming, we're going to still go down on the quarter notes. Strong down the coordinates. But all of these ants, we're gonna struggle. So okay, last one isn't up the and of four. All right, Last one wasn't up the end of four. My last one. Okay, let's put two measures together way. All right. That was about four metres connecting these. And we're just constantly going. We don't stop in between courts. We don't stop. There's no pause due to measures different chords each time. No positive twin. This is the end for the right way. So we're going in kind of a medium tempo right now when we're getting used to these, But you could play a That's faster. So that's something that definitely happens. Tempo is relative. How fast or slow the beat is. Sometimes it's a slow beat. Sometimes it's a fast feet. Whatever the tempo is, you have to maintain that for the entire song. Usually it's getting fun Now, all right, That makes sense. So the up is the aunt, all right. Now, whenever we are playing anything that has eight notes anywhere in it, guy anywhere in the rhythm with that eighth notes we are going to do a system of we're going to constantly go down, up, down, up, down, down. Okay, Whether or not we have to make contact and strong, we're still gonna do emotion just like before with the whole notes, half nose and quarter notes. When we were doing our down motion every time we were actually still doing our up motion because every time we have to come back up so we could go down again. That's really what eighth notes are is that they were in there along every time we had to come up to do with our next down. That was actually the eighth note. You weren't thinking about it that way. Maybe so. Now we're thinking about it that way, and we're gonna use that energy for our ups trunks if we have two strong it. Okay, so your new thinking, whenever you have an eighth note anywhere in the rhythm, is you're going to be going one and two and three and four. And even if you're not making contact, even if you're not struggling the court, you're still gonna move your hand to keep time to keep time for yourself, so that every time you stronger rhythm, you're going too strong at the same direction. This is really important, okay? Because you don't want to have a rhythm, and you strong it one way, and then the next day you strumming of the beats are all in different directions. Your strong's from different directions as bad. It's gonna be hard for you to memorize the rhythm, and you're not setting any kind of structure for yourself. So this is the best way for use that you always trump things the exact same way. Okay, he's 1234 or downs. The ends are ups, that's all it is. Anzor, the up strums and 1234 is the down strokes or it moving along. Example. Two. What we have here is we're dealing with these guys. We've got interests and we've got eighth notes that are by themselves. They're not next to other agents. Good. So we're resting on being one. But then we're hitting the end of the one, so rest on one. But with aunt, the ants rest on to. So it's a quiet down. His attitude rest on three. Quite down. His aunt of three rests on four went down hit and four. So essentially, number two. What's going on is we're hitting all the ants on Lee not hitting 1234 Only hitting the ants . Rest on one. Right. Stop to rest on three rest on four. But we're hitting all the hands. So one you may be thinking. Are we supposed to mute the court on all the rests? Technically, yes. But don't You don't need to worry about it that much because as the rhythm starts picking up speed like it is now thinks that could get really complicated. You could, you know, if you want todo some pretty advanced stuff. Um, it really is. What does the song call for? It is a call for to be muted, like one and three. Or you could do that. It gives it a nice to cover feel. But if you let the corporation that's OK to really what's going on? We wanted a win to make contact with the Strom. Okay, so, one, I think I'm going quiet down. 1234 And I'm hitting all the ups. The ants. All right on. This is telling me that it's reminding me that I'm playing ends because I know that officer that ends in the Downs or the downbeat 1234 actual pulls. This is helping me kind of get that sick patient. Okay, so also on number two, I'll mention this several times. I hope, Um, this may look confusing at first glance, and you may feel like you need to go through very slowly, which is understandable. However, What I do is I mentally circle. So this is all we want arrested Nathan. I eventually circle this to rest in a Nathan. It's interesting. Anything notes. This is a threats. An eighth note. So if I can just kind of like, mentally circle, that's all. Be one. That's all of you to It's all the three the rest of Utah, and that's all before the rest of the eighth. So that's an easy way to look at the measure. You're doing great. Doing great, Okay? Example. Three. Let's do something a little bit more basic. Okay, so we've got 1/4 note on one. We're on three, and then we've got eight notes on to aunt and four aunt. Now, even though these quarter notes because I said the rule Waas, any time there's a throws anywhere in the rhythm, we're gonna be constantly move your hand. 1234 And so that's the deal. So we're gonna constantly move her hands even throughout these coordinates. Okay, So example three is Theo. Um, okay. This'll is a rhythm that you could use for a lot of stuff. It's a good basic rhythm. We get a little bit of up strung into the mix way. Um, let's take a look at number four. All right. Quarter note on one. Then we have a thrust on the to and eighth note on the end of two to and it we're not on the three. A dressed on before, but hit the and of four for Aunt. Good. So wait. Okay, so the corner note. That's easy way. Now we have a thrust on B two. So to what? But then we have to hit the and up to this guy right here. Teoh be 33 And that's easy way Have quiet down on four, but we're at the and four way. Okay, Good for me. Oh, um, and one of the things you may find a little tricky. It first is that in time we've got this where we're hitting the end of four. Got over here also got you here also. We've got up here also, A lot of places were hitting the and of four, um, is that we have to go for on, then maybe do a court change with your left hand. So we're doing a court change, and we have to come down on the one. You may be a little bit slow to do that. That's normal. That's totally normal. So just practice that has lower tempo, so you can try to keep the pulse going for way. So doing before and with a court change, that could be a little tricky. So practice it at slower tempos. Okay. Good. Moving along. Example. Five. All right, this 1/8 notes on land here. We have a Do you remember what this is? This is 1/4 rest, So looks like a lightning bolt or a jag 83 so all of the two was arrested and then it's notes on three s quarter on before. So really, we're just resting on to end. And then because we were arrested and then we're note on before. So we've got thing throughout this quarter. Rest are going to end. What? What to add to it? Okay, way. Because sometimes rooms will sound a little bit different, depending on the tempo. How faster? Slow. So this may be exactly what you're looking for at a higher tempo, Faster tempo myself wrong in a slower tempo or the opposite of the way. Okay, now, when I did that last four that before I came up, even though there was nothing going on, it's because I am in anticipation of always coming back to be lawn. So I need to be ready for beat one. So I always come back up. Unless is the very last beat of the song. If it's very less beauty, the song Last Strom and the song is over, I may go, that's the only time where it's okay. Otherwise bring it back up on the and always bring it back up on Ah, a lot of times people will get lazy with that. And of four. Don't get lazy with Got it. Okay, really good. So review these and I'll see you in the next video. 7. 5th Lesson (page 5): Okay, let's go through some or examples. So is everyone. We got to it. Notes. 2/4 notes. And to Ignatz thing. This one's pretty simple. Let's try it once each changing courts. Okay. Good example. Two. We've got one and two and Ignatz, and then we have 1/2 note. So that's all Be three and four. Okay, now, notice on the half note. You should be doing this for and I kept swinging my arm. OK, that's important to make sure. Even if I can count it in my head, it helps me to make sure that my timing is correct. I'm not rushing or dragging. Rushing is when you're going too fast. Faster than the death row. And dragging is when you're going slower than the tempo. They're both bad. Okay, so don't rush. Don't drag. Um, but we want to use your own motions to help you like your own metro. No. So let's go again. Number two. Good. All right. Example. Three. 1/4 new and two n three and four hands. Good. Pretty simple. Don't forget the and of 44 Okay. The reason I keep bringing that up is because when you start changing chords. I've noticed a lot of times people will skip that very last beat because it's hard to hit it and changed the court, and I understand that. That's understandable. Try to hit it if you can't slow the boat down if you need to. Um, and I realized that it's a lot to go for, for one of the things I've always done when I have been studying guitar, I still do this when I am going through anything, Um, maybe a lot of it is easy for me to do, but then there's one or two pieces that give me a little trouble. I focus on those pieces that could be trouble, and I tried to make him as small as possible, and I just work on that over and over again. Let's keep going over and over the hard part. So what you should be doing is for for for towards a record, for for for for the strong, so that's giving you a hard time. Just go directly into it, still working on it as much as you can. OK, it will help speed it up because it comes up all the time. It's comes up a lot. Okay? Really good example for moving right along. We got one ant then we are eighth rest on two overheating. The attitude three ends an interesting on four. But we're hitting that. And for okay, it's I'm going to do my silent upon to do my silent for arrests Silent down and silent down Stay silent Silent down on B two and silent down on before they were hitting them Way, way Alright Has a little bit more life to when we speed it up. Yvonne, swing your hand constantly Example Five. We have dotted half note. Remember the dot. All right, This time we're applying it to a beat half, so they have no gets two beats normally dot says at half of the original value to it. The original used to beats. So half of that is one B. We're adding it, adding one b to it. So it now gets three meats, three beats don't have and then rest on for the eighth rest. We're gonna hit the and before for aunt. Okay, so this one really is gonna have to strong's of it. The first peak and then the and of four three way when you have a long spaces bill like this, where you're either holding out a court were arresting. Um, I understand you may feel kind of stupid doing this, especially if you're have people watching me play. You may feel silly doing this. So what I do and I actually do this all the time. I usually will do it almost subconsciously at this point, I'm doing it so much, but you might not notice that I'm doing it because I will do tiny little movements with my arm just to keep track of beat so I may be going way that makes sense. So that's something you could do if you have people watching you and you feel kind of silly than just do tiny room motions. But keep on moving down, up, down, up, down, up, down Without your timekeeper. Okay, it's keeping time for you. You're doing it to help yourself out. So do yourself a favor and help yourself out. Move your hand even if it's just a little bit. Okay. Wow, what we got through these pretty quickly. So review these and I'll see you in the next video. 8. 6th Lesson (page 6): Let's go through some more examples. Okay, Number one, we have one chance and then rest on 23 and four. But we are hitting the ends of 23 and four now. One of the things we talked about was mentally circle the total of each be. So here's beat Juan. This rest in it. That's p two. His rested A knows b three. This rested A That is before. So that's an easy way to see what's going on. Okay, we speed this one out. May sound a little bit different. Themed things that's happening here is that strong Plus the fact that we're going down on beat one. Okay, that establishes the polls. So that shows you boom beat one is here, and then the rest of them are beats way you can see it. There is a lot of life into it. When we do that, it also shows you beat one. That's where it pulls is. It shows you this is the beginning of the measure. So that's important to do. Sometimes when you're creating your own rhythms. All right. Really good. Number two, we have coordinated 28 notes to aunt. We have eight rest on three, but we're hitting the an of three. You know, I have four hands. So way, in a sense. Alright, Really? It example three Level three is one of my favorites. I'm used this one a lot. Um, this is what I would consider to be a Latin rhythm. So And Lenin as it is, used in a lot of land. Spanish flamenco kind of music. But that also means it's been used in a lot of classical jazz, Lot of styles, music. Um, so we're really only have the total three strong is going on here. Okay, so we're struggling on one. We can see that. And we are. We have arrested a thrust on B two or hang the end of two. So at the end of two, then we have What's this guy? This, uh, mining bull or a giant e looking three? It's 1/4 rest. So it's all of the three is rested, and they were hitting before. So what? The end of two and four. Okay, so way. There's a lot of swinging going on in this one, but it is very syncopated, meaning that the words syncopated is essentially saying that we have different, different kinds of beats going on, so we got the ups and the downs. But we have established where the measures start because we're hearing beat one. But then the rest of the beads were mixing it up a lot, putting some emphasis on the ups and some of the downs kind. That makes it syncopated. All right, so let's speed this up just a little bit way. Don't forget that last up on the end of four. Great, really good. So be our example. Three is one of Dan's favorite, so on. Variations of this are a rhythm that I use a lot either this or little variations of it, meaning that I may add a couple beats in. But there is a concept of rhythm where you talk about the syntax. This in tax between. Beat this in taxes, that space. Okay, this in taxes. That space between the beats or between the notes and, um, sometimes thes space between the notes is more interesting than the notes themselves. So we want to have rests. We want to have these spaces, the syntax between the notes and beats. It's good because it's interesting, and so We don't always need to be blazing away and strumming every single, tiny be that we could possibly find. I mean, that's good to do sometimes to get the energy out. But sometimes if you want to create really cool music, you want to create the space is Okay, Good. Let's look at number four. So we got one end rest on two, but I have an attitude. B three. We're rests on four, but his and a four. Good. A single. Look, let's see that up just a little bit. Good. Do good, Good. Look at number five. Done it. Quarter rest. Okay. We haven't seen this yet. We've seen thoughts. We've seen quarter arrests, so we just put them together to court arrest. So we know it's a whole beat of rest at least. Um, but he's got a dot so the dot tells us add half of the original value. Okay, So what's half of 1/4 note in its note? We could fit 2/8 notes inside of 1/4. So 1/8 note is half of 1/4 note or quarter rest. We could fit to eighth rests inside of the quarter rest. All right, So we're going to add an eighth rest to this quarter court arrest. And what's going on is that if we can have to eighth rests, it's 1/4 rest. We're adding another one we can say is equal to three eight arrests. Okay, so how would you count that one and two? Okay. Right. When we get to the end of two, that's where the next thing happens. Whatever the next thing is, it's on the end of two one and two, and it's on the end of two that the next thing happens. Okay, Got any quarter rest now? Next thing that happens is a dotted quarter note. All right, this is gonna be our first strong. And we said it happens on the end of two. Okay, so it's the exact same idea the dot ads have of the value to the to the note or rest. So what's half of 1/4 note? An eighth note. Half of 1/4 note isn't eighth note. So we're gonna add in an antidote to the corner, and we could say it's like 3/8 notes equal to 3/8 notes, so we're gonna hold it out for tree a business. We said that this was going to start on the end of two. So hands three and okay, and then this last quarter boat happens on the four. That makes sense for end just to finish out the measure. Sometimes when I am looking at something, a rule that weird or strange rhythmically, um, looks end of the measure. If the beginning is kind of weird or strange, look at the yet. Okay, So, for example, is just 1/4 note that's gotta be beat for it has to be the for. Okay, So I know that speak for so somewhere in here this is a beast. 123 The thing about dots that I didn't mention before because it hasn't come up yet is that sometimes when you're dealing with dots, they are difficult to see what you're on because they can spill over into the middle of the next beat. That's what makes dot special. It didn't happen when we were doing the half notes and the half breasts because those were just, you know, quartered us, adding quarter notes. So just going from one body to the next, when you're doing something smaller than half knows, like the quarter knows, half of a corpse and eighth notes. So that means now you're going to spill into half off the beat of the next to beat, so that gets confusing. We can't clearly see what's going on. At first glance when we're doing dotted quarter notes. Okay, so you just want to count it up. So the dotted rest got a court, arrested one and to have the dog. So there's my three rests one and two. Yeah, that's and three and and four. Okay, So it's going to sound. We're only doing to strums tool, and we're hitting the end of two. And for one Teoh. So if you see these, I want you to know how to figure them out. You may be a little slow, and that's okay. And normal thoughts take a little bit to get used, Teoh. But I don't want you to see it and feel like I have no idea how to do that. You can do it. Just go slow. Take your time chanted out, Use your fingers when your gin with dotted quarter rest still beats, use your fingers and each fingers and eighth note. Okay, So a dotted quarter. Whatever is going equal. Three. Okay, normally would equal to eighth notes where Notre or arrest is gonna be 2/8 notes. And when we do the dot it adds one more. So is three Okay, one and two and three. And for it, Right. I hope that makes sense. Okay. You have done so well. We are going to be moving to the next level in the next video. I think it's time. So review these and I'll see you in the next video. 9. 7th Lesson - sixteenth notes (page 7): all right, we have graduated to the next level. This is pretty exciting. We are working on 16th notes. Okay, Beginning. We said that there were five basic kinds of beats we were going to deal with. We had a whole notes. Half notes. Quarter notes. Eighth notes in 16th notes. So now let's talk about 16th notes. 16th notes are breaking each quarter note into four pieces. When we did the eighth notes, we broke the quarter into two pieces. They are going to break the quarter boat into four pieces. 16th notes. There's a whole lot of exciting stuff that can happen with your rhythms when you're dealing with 16th notes. So let's dive right it Okay, um 16 thoughts are very much like a thin. It's a lot of the stuff that we learned with eight notes were going to do the same thing. Just double it. The first thing that we want to look at is our strumming direction. Up until now, we said, any time you have eight notes, we're going to go down on 1234 and up on the ants. Okay, we are going to make a rule that says any time we're dealing with 16th notes. We're going to go down 1234 And also down on the ants guy. We're going to go up on these new beats, which are the ease and the those the ease And those are gonna be our new ups. So when you're looking at a rhythm, if you see that it is 16th notes, you're going to change your old thinking and we're gonna go down on 23 4 and the ends and we're going up on the ease and us, and we're gonna constantly use that new system of swinging or arm. Okay, let's look at how we count 16 us. So number one is just a strength of 16 knows what we can see is that there are four of them for each beat. Okay, was four for 4 to 4 for beat. 344 b four. We've got a double bar. Okay, double bar up above. Really? What's going on with that? Let's just take a look over here for a minute. Over here. I've got 1/16 note by itself, just like with the eighth note. When you got 1/16 note by itself, it has two flags. Okay, eighth note has one flag. The 16th note has to flex. That's easy, right? You see the flags you know you're doing with the 16th 1 flag even up. That's it. So if you have a 16 through by itself, it's not next to other 16th knows or eighth notes. Then it just has the flags going down. But if it is next to something else as a flag, and that's really the rule, if it's next to anything else with the flag, we can connect the flag and make beans. Okay, so we've got the beams, you've got the bars of the top, and we are trying to group them by beat, so that's easy to read. Good. So if we have two beams or two flags, we know we're dealing with 16th notes. The rest is the same thing, so it looks. It's gotta Slash has got two flags on it. The a pressed is a slash with one flag on it. Okay, 16th is a slash with two flags on her. It's got two flags hanging down. You know it's 1/16 out. Basically, it has got to sell things on it. Two flags. So where were two beams? That it's a 16. Either notes or rest. It has got one flag or one being on it. 2/8 notes or rest. That's it. Now, how do we count it? OK, we still have one ends two and three and four. And in between, we have e than O. So that e is just the letter e. Okay, now we haven't a at the very end of each group of each peak in that a were saying it like, Oh, oh, oh, but, uh, yeah, okay. Oh, so is one and oh, one e and A to E and up three e and a four e and okay, won t end of two key and a three end of four feet end a one D and two D and 34 feet 16th notes. You may be thinking they're fast, right? Yes. Um, basically there fast, but they don't have to be fast, but normally they are. Yes. Um, and they are exactly twice as fast as eighth notes. So if we said that the half note exactly twice as fast as the whole note, the quarter note is exactly twice as fastest 1/2 note. The eighth note is exactly twice as fast as 1/4. The 16th note is exactly twice as fast as the eighth note. Exactly twice as fast. Not a little speed up. Exactly, exactly twice as fast. Okay, so we are going to be going and going open that he's in the US down on the ones in the ants way, Chuck this encounter. Six year old better one and a two p and a three e and a four p. And now I like you saying this out loud in the beginning, when you're practicing this, I like you to be counting out loud while you play What we strong. Okay, It's really good practice. I think you may know this about me, but I was a drum that was a drummer before I ever touched the guitar. And that's part of how I'm able to do this stuff explaining to use because I sat around and I practiced counting and tapping out all the time. So it's really good for you. Practice counting out loud with your mouth counted out loud. It's good and start gang to where it's just it feels comfortable just saying this quickly, do you for P? And don't forget the other yet would be, Uh, Okay, four p. Don't forget that up at the end. Okay, good. So let's string it together. Way good. He's right. These are 16th notes. Okay, Now, what I want to do next could go through the next four examples. What I'm doing is I thought it would be best to look at every permutation of 16th notes and rests just one beat at a time. Because, as we've said a few times, if you can look at each feet one at a time, he wanted to be three before and just kind of isolate them mentally in your mind. Then you can play any complex rhythm you can strong any rhythm. So if we go through, all the permutations were gonna do right now. Then you should be good to go on 16th notes. Okay, let's jump it. So we're looking at example two got two different things going on here. We have 16 thrust and then e end up. There's just one B. Okay, Just one. He's worth of 60 minutes. Rest on one. Hit e and Okay, 11 What? Okay. What one. Now, if I was gonna put this together and do this four times equal at a measure. What thing? 234 Okay, let's look at the second measure of example to all right. I haven't eight rest, so that's one e because there are 2/16 notes that can fit inside of the eighth. Anything in eighth note in eighth rest. You can hold 2/16. Okay, So when I see an eighth rest since we're in 16th World, I'm thinking about everything in 16th notes. I'm thinking for everything. When he had to eat and a three and a four e n one e end to E and a three e of four end up for everything I'm looking at. Any time I see the 60 if I see a single 16th anywhere in the rhythm, then the whole thing has to get thinking like when he handed to me and a three and a four. Yet I'm thinking about everything that way. Okay, so when I see a dressed, I'm thinking one e so resting on one one E e one e 234 Yes. When we get into 16th knows there's a lot of arms swinging, Going up Thio Thio three Theo. Good, Good. Let's move on to example. Three. You don't get All right, So we have a dotted eighth rest. Oh, no. Got an eighth rest. You're doing good. Dotted A trice. We add half of the value to it. What we say is half of the value of it note or any thrust to 16. We could fit to 16 since I've been eight. Okay, so half of that is 1/16. So we're adding 1/16 note just like we did with the dotted quarters before we said it was equal to 3/8 notes. So a dotted eighth is gonna be equal to 3 16 Okay, so one e and we're going up. Can I see the double flag? So that's just the, uh, myself. Uh, so one e. Okay, so it's a dotted eighth rest one e. And that's the Dominate against 3/16 of rest one e. And and then we have. So let's string that together. Essentially, for this, just the first measure of example. Three. We're going to just hit the up of each feet. Okay? One e and to eat. And three and four one he done to eat and three and four way good. Okay, let's look at the East. Second measure of example. Three. I want you. What do you And then we're gonna rest on Anna. So see the eighth rest and just rest on an easy one. He and good. Good, good, good. You're good. Okay. Less. Look, at example for good. We've got three measures going on here. Let's look at the 1st 1 Okay. Resting on one. See the slash with T flags? It's 1/16. Rest rest on one. Hit the E and and then rest on. Okay, so it's like it's like one E Oh. One, uh, one p and, uh, one. Uh, okay. One one. Good. Yes. This isn't too bad. Isn't okay. Let's look at the second measure of example for you. Doing good. These are all the permutations so we can get through these. There's nothing. There's nothing left that we're going to see. 16 minutes. All right. Second measure 16. Dress on one 16th. Note on the E. So you seen for us on and 16th note on oh, to resting on one and end. We're hitting either, so we're just hitting the up good one and two and three and four. That's easy. We're just saying ups easing us one p and two and three Now you may be a little slow on that one until you get the hang of saying when he had a TV and a few years before Rienda. But that's something that you can do. You don't even get a guitar to practice that you could be driving sitting in class, seeming at work, saying when he had a two year and a three and a four year the one he had to he had a three d n a four year, one year, two years, three and four una just running that through your head one way. Good. Now, uh, we have last measured off example for rest on one. We're gonna hit the E and then we haven't address or in a press, yes. So we arrest on Anna one e and okay, one or one p. And, uh, so just hitting the E one p and two p and a three and four. And okay, I may have mentioned this before. A lot of times you'll be changing courts on the you know, one court per measure, but sometimes you'll have a core change in the middle of the measure, and that's fine. You just stick with the pattern. And whatever the pattern is, if the court changes on beat three. So maybe you have Ah, a G chord upbeat wanted to. And then you have a C chord on G three and four. Fine. You just change courts. Keep the rhythm, keep the rhythm, whatever it's meant to be. Okay, so we're just hitting e, but we're changing course halfway through the measure on B three one. Teoh three Teoh. Good. All right. Uh, all right, let's relaunch too. Example. Five. I only see three left. Pretty sure I got all of the permutations. Um, all right, so this example five is where we will. People will get a little bit confused. And it's really with the first measure in the third measure here, off example. Five. I alluded to this, so anything with a flag can be connected to anything else with the flag, meaning that we can connect eighth notes and 16th nous in the same beach. Okay. And that's what we're seeing here. We're seeing if notes and 16th notes connected to each other because they have flags and they're within the same beat. So we could do that. We can connect them to each other. When you have small bees in the beginning, then you just continue playing them. There's no pause. Okay? We don't hold anything out. So, for example, here we have small beats. 16th. It's It's the smallest feed we have. So we have 16th notes connected to an eighth. So the small beats you just get played. No pause. One e end and then this. It's not at the end. Remember it notes or equal to two sixties those. So when we say one e and because the end and it's the eighth note, it's and, uh, gets held out. End up because that eighth notes or equal to 2/16 and a has to get held out. It gets held out from 2/16 and up and, uh, one e. And uh, okay, now the opposite is also true. The big B gets held out a little bit longer. Okay, so over here at the very end, we've got a signal connected to to 60 thats so the incidents of bigger be so if you hold it one e, because remember, is not skit. They're equal to 2/16. We could fit 2/16 inside of an eighth. Note. One e s P l for one, one key. And, uh, what we get to the sixteens? They're quick. They're always quick. Okay, one e. And, uh So this one is one e. That's E. But this 1st 1 starts off of the quick little beats. One e end just could tell that the one panda I want the panda. Okay, lucky. And, uh Okay, so a sig alert at this 1st 1 these air all strung together, little bits, no Pulis little bits going into the big be no pass. Okay, let's stream together four times. So do a whole measure one. That's this 1st 1 Okay. And this one here, starting with the eighth note is hell out. One e one e two e three e. This crew being right here is what some, uh, some people refer to as the Gallup. The gallop, like a horse gallop, was used in a lot of heavy metal. Overpower force makes sense. We go. Okay. One and a two and a three and a four and a one and a two and a three and a four and a That's this guy. Okay, One left almost there. The middle one, The middle measure of example. Fuck dotted. 8th 0 my goodness. OK, but we've seen this virus scenes before, pure with the rest dotted. Eighth gets 3/16. Okay, one e ant. And they were just sitting, okay. And they connected to 1/16. But the 1st 8th note is dotted. Now, this right here is something you'll see. A lot. As a matter of fact, any time this rhythm are here, this is the way right where you don't that 1st 8 notes and then we have a little bar double bar showing that the last ones in 16th Okay, he e and e three way excess. All right? You're doing great. Really? Doing great. All right. So I'm pretty sure we did every permutation here. I couldn't, uh, don't see any other permutations of how we could have a beat off 16th notes. So go through these, go through these quite a lot and get really comfortable with every single one of these. And you should be good to go, So we'll look at some more examples going forward, but this should get you really good shape with your strong, especially as we started increasing tempo. So with you, this and then we'll see you in the next video. 10. 8th Lesson (page 8): Let's look at some more examples. Okay. So example number of one. We have half note, quarter note, and then we've got our 16th over here. Okay, so before is four. It's No. So 40 and, uh, four e. And, uh, okay. And we are going Teoh, Keep swinging our arms for all the 16th notes through the half doubt ands the quarter. Okay, on two e and, uh, see, how is it that Okay, that may seem kind of stupid, but if you don't do it, you may rush through the half note in the quarter up. We don't want to rush, so Okay, that last is okay. So studio excess Okay, that last beat is four e. And because we're holding the eighth, no doubt for E our e. You know, we had the and, uh, yeah, exist. The larger beak is held out, larger beat gets held out. Um, if we have an example with a smaller V like we're coming up to you right now, then we will just go right ahead. No pause. But when we have a larger beat, then wait, hold it out. So, actually, example Teoh, I did this. It's sort of a counter point of the rhythm in order to show you the difference between these two because these two groupings will show up. So if you look closely, you'll see that they are opposite. So the one is one and up and Btu's to end B three. It's the same one three and, uh, before the seems to 40 EDT. So it's one and to eat end three and of four eat end. I thought this would be the fastest way for you to really get this absorb. It is for me to kind of cram it'll in there so we could get knocked out of the way now. So when these pop up when you see them, I will make sense to you one and to eat. And three and four feet end when we've got the eighth note. Just remember, we have to hold it for 2/16 worth. So won t Good e and a two because we've got the It's not at the end of two. And so it's to a and good e to e o. And he says, Okay, good. Give you good. Let's take a look at number three. Number three, we've got this. I mentioned this wasn't pretty common grouping that you'll see we're gonna don and eighth connected to a 16 throat on the Oh, okay. And then just a couple of a thin It's two minutes. Do the same thing You got three, uh, four. Good. Over the eighth notes to and for example, we're gonna keep swinging like we're going 16 were always going to swing one eat and two e and three and four feet and up. All right, so let's jump into number three. Try that beauty for U K one E t and A and access. Good. Okay, so, God, over four. Number four, you may have heard in some popular salts. Okay, so, um, one and and then we're resting on two. Yeah, uh, and then, uh, three is rest and is restoration You, uh, and then rests on four. And and, uh, good. Here we have 1/16 connected to an eighth at the end on, and so that's a small beat going into big. So we don't pause. We go right from small meat into Bigbie. Okay? And it's good to kind of group. These right mentally group each beat because you just look at this and they look pretty intimidating. But if we just say OK, that's just why it and this is all the 22 e end up. Okay. And then this is through E and, uh, e and up. That's all of the three. And this is for E. End for E. And so we've got e Teoh three and four. Okay, let's go again. Number four, 234 Okay, lets go. Get a little faster. 34 So way makes us okay. Good. There were five. Number five is also one you may have heard from some popular songs. Um, we will do the same trick that we always do. We're going to just group it, okay? Just take it one bite at a time. All the beats, arrests, that it will be one. Just look at that. That all of these arrested will be to be three and before, for example, I just skip to the end. I see four at Well, that's super easy. Okay, It's just four. And so I just need to deal with this stuff here. So God one he, uh okay. We saw that one of here. We've seen this before. dotted is not connected to the 16th E and good. And here I've got a dressed in eighth note. That's easy to you. And, uh, here, I've got a 60 dressed and a, um, Donald, Uh, that's supposed to be dotted. Eighth. Okay, so we should be correcting that one. Has a dotted eighth note. Dutch quarter the flag. Maybe Just got a little wiped off dotted eighth. And then, uh, 2/8 notes at the end. So be three is three. And, uh, three d ends up and then 40 and okay, so let's look at this again, monkey and to eat. And 3 40 Okay, lets go. Get e 234 Good. Speed it up a little bit. 23 Good. Teoh. Okay. Strike was corpse. Uh, not gonna do it with a course of popular song. Just going to the same course I've been doing way makes us okay. Good. And that is definitely exposed to be a dotted. Um, no. And I dotted. Eighth note gets How many? 16th notes. Three Domine. Eighth note gets 3 63 It's a dotted quarter. Note gets How many? Eighth notes. Three. Right? Gets three. Okay. Dotted. Half note gets how Maney Quarter notes. Three. Yes, because normally the answer is always too right. Half gets 2/4. Um, quarter note gets to eighth. Notes. Anything against to 16th notes. So when we put the dot on, it's like giving it one more. Okay, more of the smaller beat. So what was he, the dominated? That looks like 1/4 out Supposed to be a Nathan. When we see the dotted eighth note, we know that it's getting 3/16 notes worth of time. Okay? And that makes sense because 1/16 rest Don and Eighth would be three more sixties notes. And that equals the 4/16 that we need to complete the whole be three there. This beat three. So I hope that this makes sense when I keep on going on about. Imagine each of the beats groups together. Okay, this is a great thing. That practice. It's very easy to get your hands on sheet music and started looking at rhythms and figuring out how to play them. We're just tap them out or just count them or just chuck them on your guitar will put them over some courts, so it's really easy to do that. Um, and there's tons of sheaves together. There's tons off public domain free stuff that you confined to start experimenting with reading and strumming rhythms. So go through this and review it. I'm gonna see you in the next video. 11. 9th Lesson - triplets (pages 9 - 10): Let's talk about triplets. So we have already covered the five basic beats that I talked about. Whole notes, half notes, quarter minutes, eighth notes and 16th notes. Wow, it's a lot. Triplets are a different way to use all of these beats. So we're still in a 44 time. Okay, We're still doing four beats in a measure. Um, the way that everything has worked so far is what I would call ducal time doable time, meaning that everything is divisible by two. We talked about how we can get to have news in the whole note. We could get to quarter nose and 1/2 note 2/8 notes in 1/4 note and to 16th notes in an eighth note. Triplets used the same beats so we can use all of the same kinds of beats. Teoh applies to triplets, but triplets, as you might have guessed, is putting three breaking them into three pieces of bringing the minute to pieces. Break them into three pieces. Okay, Triplets are very fun. And once we start playing him in just a few seconds, you'll understand the sound because you've heard it before and it sounds space. I'm very cool. And so we are going to talk about triple time. Okay, we've been talking about do full time. Now let's talk about triple time and you'll know you're dealing with triplets because you'll see on the white board all these brackets, these brackets. And there's a three all over the place, three with brackets. That's how you know you're dealing with the triple it. You're always going to see that bracket and a three where it could be a six where it could be a nine. We'll talk about that, but it is so number that's divisible by three. Then you know you're dealing with triplets bracket in a three or bracket and six or bracket nine or 12. You know that you are dealing with triplets. Okay, so the most common kind of triplet is in eighth note triplet. Now all of the same rules apply. Okay, eighth notes are still. They have one flag. The rest looks the same, so the eighth notes look the same. Whether they're do full time or triple time. The bracket is really the main thing that looks different. About an eighth triple it so we can fit 3/8 note triplets into 1/4 note. Say that again we can fit 3/8 note triplets into 1/4 note. The same is true with rests. Of course, we could fit 3/8 note. Triplet rests into 1/4. Okay, so this is what, eight? No triples look like they have one being just like regular eighth notes. But you'll see there's three home, said two of them for each Greek god bracket with three up above. That's how we know we're dealing with triplets. If we don't see that, it's probably not true. Bliss. This is something you see almost every single time you're dealing triplets If if that wasn't there than someone made a mistake, okay, because this is always supposed to be their bracket. With the three year, the six or the nine or 12 different musicians have a different method of counting triplets of When I was a drummer, I was taught by different instructors a few different methods. The one that I like the best is one trick plant to trip. Let three trip plant four trip Plet. Okay, we just say they were triplet with B before it. One but two trip but three trip but for trip, but okay, one trip let to trip. Let three true blood for trip now onto the guitar. I very highly recommends the down strong, all eighth note. Triplets. Everything should be it down. A lot of guitar players like Teoh alternate. They like to go down up when they're doing a triplets, and I understand that desire. The reason I think you should dance from everything I was usually down strong triplets is for timing. It's always about timing. It's always about getting the right amount of time for each. Be to not rush to not drag to get the timing just right. The reason for it is because it's an odd amount of notes. Okay, on DSO, what we're used to is going down the one and don't be, too, when we haven't odd amount of notes. If we alternate are strumming one trip, let's then we're gonna want to come off B two, and that goes against pretty much everything that we've worked for until now. Now eight. No triplets are usually not that fast, so going down strong on all of them. It's easy. It's not a hard day, so let's go down struggling all the triples. One troop let to troop. Let three trip. Let for trip. Okay, one trip. Let to troop. Let three triplet for triplets trip. Let truth that free trip for dressing cores into it. Way easy, right? Okay, good. So that was number one. And by the way, when we have over here Quincy's I wrote the rest. See the oppressed. It's a slash with one fly. We know it's a triple. It rest because it's got the bracket and the three above it. Like I said, that's how you know you're doing with triple it every time you're going to see that right? And if you have an eighth note triplet by itself, then you're going to just seeing eight note bracket in the three above it. It's pretty simple, so they think they're gonna look and operate the rests and beads air gonna operate and look just like they normally would. It's just that three of them equal 1/4 and you know you're dealing with him because the bracket in the three okay, if you don't see the bracket in the three, it's probably just regular eighth notes. Should be all right. Let's take a look at number two. So number two, uh, we've got string of triplets, but we've got a rest in between. Okay? So resting on the trip One true. Let's now Number two is what is considered to be swing, feel or shuffle Feel So when people talk about playing in a swing feel like the blues were playing in a shovel Fuel like the blues So a lot of jazz and blues is swing feel And this would be what is considered the standard beat with standard rhythm strong for blues one of jazz music. It's just straight triplet eighth house But we got arrested Middle rest on the trip. One trait Plet to arresting on the trip that no war. Okay, true. Now you'll notice what I did there I did my quiet, strong and we're still doing everything down. Okay, constantly. One troop led to trip. Let three trip, let for trip. Even if we're resting Kassaly for a second, Just turn these old seventh chords. So we're going to lose weight. Very bluesy. Now when we start going a little faster, you'll see I'm making these tiny, smaller little motions but still making emotion every time to keep myself in time. Okay? But I want to rush. Don't go too fast now. I don't want to drag. I go too slow. Not even a title. That so I'm going to cheat on my arm today. Sure Note. Okay, so number two, that's the swing feel will re rest on trip. All right. It's the shuffle feeler this reveal. All right, let's look at a number three. Number three. Um, so the 1st 2 beats, I'm going. One true. The resting on the plant resting on the planet. I was just looking These 1st 2 beats here. One rest on the easy way now beats three and four arresting on the one be so resting on three. The resting on four from hitting the triplet. So three, three on. Really? I'm just trying to show you here how we can put the rest anywhere we want. It's easy. It's really easy to put the rest of it where we want. Um, so let's strings together where we're resting on the plant. First you beats 34 Last way. Makes us easy Now. Maybe your rhythm. You wouldn't want to have these being different. You might want to pick one and have it be the same. It's really up to you. I mean, words up to what the song is that you're trying to learn. But to go through these drills, Andi, just do them over and over again is a great idea. I highly recommend it. So and all through Rose, this course getting these rhythms is not a matter of getting a correct one time and saying I got it. I'm done with that one. You have to go back and try these over and over again. See if you can do in the next day, See if you can do about a week later. See if you can do in my year later, okay, because we always need to just keep on refreshing our skills and working on these old rhythms that these old patterns that we might not have looked at in a while You're strumming. They become stale after a while, and you may be doing the same patterns over and over again. That's normal. Okay, so we have toe gets a view ideas in our brain. So we contrasting different things out. Okay, good. Let's take a look at number four. Number four we are resting on one trip and we're hitting the planet. Okay, Just doing that for all these. Easy for saying one thing. All right? Really? Okay. It's no triples. Easy, right. And this will start getting you into strumming blues, jazz and all kinds of very cool music. Also, we can come by and Dugal at triple time. Okay? They can co exist. They can co exist in the same measure. They can be right beside each other. All right. And this is something that will really turn you into a rhythm. Master is when you can go from do build a triple time with no problem in the same measure from one being to the next. Eso, because you see triple time or do full time doesn't mean that the entire song has to be that way when a really someone who's really good with rhythm really good a strumming, really good. Uh, just with the beat in general has control over it. You will see a lot of times they will combine of do double and triple going from maybe eight notes to a snow triplets going from a snow triplets into straight 16th notes. So that's something that a rhythm master can easily dio. Okay, that leads us to example. Five example 512 Finish this lesson off with a little bit of a teaser. So right here, we're looking at 16th note triplets. Okay, 16th note triplets. Um, for a lot of musicians, this is usually going to be the fastest. Or, I should say, the smallest beat that they will play most of the time. This will be the smallest speed that I play because they could be played really fast in just about any tempo there. Pretty fast, even in a slower medium tempo. They still kind of come off as fast, fast notes. So what's going on here is their 16th notes. Just sames we talked about with the No triplets. They operate the same way as 16th notes. 16th note. Triplets operate the same way. 16th. It's the only difference. Is that there? Six of them that fit inside of 1/4 note. Okay, so all of this right here fits inside one beat. 1/4 note. There's six of them. See, there's a group of three and another group of three. Okay, Yeah, they have to beans on and you may have noticed the way that I wrote them. Some, some people will write them where they're just connected. All six all the way through. I like to being them like this. Where God double being double beam and they're connected by one being between. That's just the way that Alex we've got the bracket and since six. So it's telling us right away we're dealing with the triplet kind of thing. Even though there's six of us, it's a triple. Okay, 16th note. Triplets. Some people were first of these as six tablets. Some people call these six tablets because there's six of them, and applet is is a term that is used for kind of beat. So six tablet and, um, there we have to fit six. These guys inside of a single quarter real quick. Before we get into that, this is what a six top 16th triplet rest was like. Six. Double arrest looks like a regular 16th. Okay, two slash T flags. It's got a bracket in the sixties. Good. So it makes sense. It's starting. Teoh. Maybe feel little intuitive to you, I hope, because there is a very good method for rhythm that's in place. Sometimes when you're studying melody or harmony, the rules air kind of strange is like how they come up with that. They put that together bizarre away. And that's true with music, Harmony and Melanie. Sometimes the rules are bizarre. Rhythm, I feel, is a very straightforward system. It makes sense. It's like math. It just isn't easy. It's very logical, in a sense. So hopefully this is making sense to you. Um, okay, now, when we're dealing with 16th note triplets, six tablets we are going to alternate are strong. We have to We have no choice. So we're going to see you go. 123456 This works out because it were ready to go down now on the next to beat. Okay, which would leave too. So 1234561234563456 1234 Okay, now, when you are counting 16th note triplets, you can't just like I did. I haven't seen that many good systems for capping because they go so fast. Of the best method that I've seen for County 60 Tripolis is 123456 Okay. And when you're trying to figure Alison bizarre rhythms or more complex rhythms off them, then you just very slowly go. 123456 Put the rest saying where they need to lower examine that more later. So if I was going to do four of these, I'm gonna do this four times to equal one measure, okay? For four times. So I mean, this is evil One beat. So I do this four times equal to 34123456 1234 months of 23 4 24 before. So it's really a matter of your ability to keep track of how many had strong so far. Okay, one of the things that are doing to help myself keep track of it is I'm putting a little accent on the one b 123 and four B. So every time I come to the downbeat the quarter note giving it a little bit more power so I could share it a little bit more way good. Your very last trump should video. Okay, last drums. The up. Good. All right. Really good. We're covering a lot of ground here. This is great. Okay, so go Review the triplets. The eighth. No Tripolis. And consider what we talked about with the 16th Triplets, and I'll see you in the next video. 12. 10th Lesson (page 11): Let's look at some more examples of 16th note triplets. Okay. Is it number one? This is a pretty common one on this is just one B. Okay, so we would need four of the used to equal of measure in 44 time. Um, 123 And then we're going from a small beat. Two large feet. So all the same rules of rhythm apply small me two large pizzas go right into this. And then that is being held for the rest of the six doublet. Okay, so he's known. So, um, in eighth note. Triplet is has three 16th note triplets inside of it. Because before the rule was, each one had to inside of it. So now it's rules. Three revealing triplets. One of the things that you may notice is you're looking at the white board. Is that these? Like this first example only has four notes in it, but it still has the six above it. And the six is important. Always gonna have the six if it's dealing with 16th note triplets, even if it's only got a couple beats. Still gonna have the six to let you know that you are dealing with 16th note triplets. Okay, so and we count these. 123456 All right, so this is being counted as 123456 Good. 123456123456 123456 Once you 3456123456123456 So arresting on the 56 Okay, we're holding out that Beat 123456123456 Try it out in court. Good. Alternating my struggling. All right, That was going at a kind of a slow tempo. So a lot of times when we are doing the eighth note triplets, I want to do everything down because I want to leave the option open to launch into the 16th Triplets way. I want you before 56 The swing is really important and counting. 123456 So just keep in mind what you want to rest on this case. It's the 56 because we're holding out We had for and then we have to hold it. You thought six Okay, let's look at example. Number two. It's kind of the opposite of that. So we start out by holding the one 123 because it's an eighth note triplet, even though it's within the bracket with six tablet. 123456346 1236 23456 23 456 24 6 23 for six. So we hold the first be 123 123 And then we hit the 56123456123456 Good. 1234 to 3 to 3 to 3. 2345 23 23. Right, love. You'll need some water to be carrying this constantly. Nice us your good. That's this out. Okay, now let's look at example. Number three here we have the okay. I still always within the six couple of bracket, so they know. We know it's being out for 123 So we had one. But then 23 Then we have to 16th note rests and then 1/16. Do it at the very yet. Really, we're going 123456 123456123456123456 When we're putting these together, there's a lot of connecting where you're going from 61 61 61 happens really quickly, especially with these 234123451234561234561 crypt. Okay, now, a lot of times this can be mistaken for the 16th Notes. 16 knows can. Because when you're going the oh, right before B one, it's a very subtle difference between the 16th. Down, one up, too. And go 161 So these were happening just a little bit faster. Way, Way. Okay, good. Now let's take a look at example Number or okay. Here. We've got a string of 16th notes, 63 triplets, but we've got one rest, and it is on the second. The second note. Okay, So 123456 were hitting everything. Except for the second note. 123456123456 Part of the reason that you'll I'm tapping sometimes because this good wayto get it in your mind before you start playing so sometimes Good to just kind of tap it out. Just happened up for a second before he strong it. Okay, Especially if it's a little bit complex. 123456123456123456 Okay, so let's listen to it. Very cool. And it's got just one little pause in the middle of it. Very good. Very, very good. Okay, that takes us to example. Number five, saving the best for last Talked about this. I believe in the last video where a what we want to get Teoh with are playing and just the way that we think about rhythm in general, OK, cause that's all that strumming is's rhythm in our ability to manipulate rhythm manipulated and control it. We want to be able to come by and double and triple. That is our goal. And so what I did was I put together, uh, this It's one measure, okay, He's just four beats or here. But what we're doing is we are in order of large pizza. Small B, We are going from. Do pull time to triple time going from eighth notes. No triplets, then into 16th notes that into 16th note triplets. So we're as gradually as rhythmically possible, increasing the speed throughout these. Okay, so let's tap it up before we do this. Okay? One and two. Trip went three D and four on on to trip TP four to trip with a 41 and two trip and four and too true blood. The 41 and two trip with three people before losing my breath on that for I want you 3456 at the very end. 123456 So, 123456 So on And to trip 312345614 Okay, you hear it? This is hard to dio. It's very hard to dio because each time we're going into each be we're going into different frame of time. Okay, Double, triple, double, triple. Okay, let's try recording. It's Europe . Good. Practice it. Pride, is it number five? This is a really hard thing to get. Okay, But like I said, that's you trying to become a rhythm master and This is something that everyone needs to keep working on. This is something that I need to keep working on my ability to do this, to do it better, to have it better, timing on it, to not rushing, not drag, because every time every beat that we jump from do pull a triple triple the ducal. Um, it's really hard to control it and just the tiny little pieces of the time you want to not rush, not drag. You want to be precise. It's a hard thing to do. And this is the kind of thing that musicians will spend their entire life trying to get better at. That's what I am trying to get. But now you know how to start working on this. So the next time you're somebody playing and they're using this kind of technique, this kind of rhythm, you'll know what they're doing. They're combining Do pull a triple. They're throwing the playing, maybe with 16th notes, and then they'll throw 1/16 note triplets in there, and that's where they're getting that cool sound from now, you can start working on this. Okay? Really good. Really. So start working on these. Review these and I will see you in the next video 13. 11th Lesson - time signatures (page 12): Let's talk about different kinds of time signatures. So throughout this course we focused on 44 Time for four. Time is what is considered common time Common time. Sometimes it's marked with a C instead of for for the C stands for common because it's still commonly used. So four beats in a measure is the most common time. You may see some other time signatures, or you may be writing music. In other time, signatures were trying to learn a song in another time signature. So the great thing about time signatures is that everything you've learned so far will work with the different time. Signature beats and the rests all operate the exact same way. Okay, so none of that stuff changes. The only thing that will change is the time signature and the way that the measures are put together. So I wanted to mention two of the common time signatures that you will see other than the 44 time. I would say the most common time signature other than 44 is 34 times a civil. The the high number is telling you the above number is telling you how many and the below number is telling you of what kind. So the four means quarter notes. So you're dealing with quarter notes and there's three of them, so there's 3/4 notes. So here's a measure with just 3/4. Let's go through a couple quarts just doing quarters. Pretty simple, especially compared to yourself that we have been doing. Um, but even in a 34 time, we can start plugging in any kind of notes that we want to any other kinds of rhythms that we want. The only difference between this and a 44 times we've got one less beat. Okay, so the measures will cycle a little bit faster cause there's one less beat so we can throw in some eighth notes. We could throw 1000 throw in 16th notes so we can start using these different time signatures to get a little bit of a different feel. So the 34 is basically the song is going to cycle faster because a So you were going through the course much faster. It seems like it's really just one less beat her measure, but 34 pops up a lot. Okay, now let's talk about the 68 time signature. If I was you, I'd be most concerned about this one because it seems to be totally different. Really? All that's going on here is that the top number tells us how many the bottom number tells us of what kind. So a lot of numbers in eight So eighth knows you're six to their 6/8 notes. 6/8 notes for everybody. Eso here we've got six is nuts, and I connected all of them. Okay, when you're dealing in in eight time, the general idea is that every beat is going to be an eighth note. So before when we've got four for 434245474 Anything with a four A. To bottom the quarter note is the main beat with the main pulse. When we've got eight, as at the bottom is telling us that the main beat or pulse is going to be an eight. The beetle operate the same way the rests elaborate same way. But what's happening is that is telling us there are 6/8 notes in each measure there. Let's just listen to it for a second, okay? And the way that we count this since each eighth note is going to be his own beat is we're going to count, like 123456 I know that we are in the habit of counting eighth notes like one and two and three and four. And but we're going to count this like 123456 Because each eighth note is considered a beat . Okay. Thea underlying reason for using a six a instead of, uh, maybe like, um, why couldn't we say that this was a 34 time? Thanks. I've got to a thickness to It has to eight minutes. So that could just as easily be a 34 time. Couldn't. Mathematically. Yes, it could be a 34 times. The reason that we're using 68 instead or a song would use succeed 734 Because it's got the built in trooper feel. Sometimes music is written without triplets. They just changed the time signature to give it the triple of feel because you can start hearing easily. You may have just heard it. How the triplets are in here if we split this in half is 33 So you start thinking like way Waken instantly start hearing the triplet feel, and we don't have to draw him all the brackets and the threes and sixes, all that kind of stuff now. Personally, it doesn't bother me to have the brackets. I like seeing the people in Triple kind of merged, but it is a sometimes a cleaner way to read and write music to use the 68 or a 98 Instead, it was a 98 time. There were just nine. If those and think about. If there's nine evenness, then you've got three sets. Three. Okay, so that would sound like 66 So it sounds like something familiar We've heard this before. It sounds like triplets, but where you are not having to draw in the triplets because it's just in the time signature. So this is what you can expect if you are trying to learn a song that's in an eight time signature or you're writing a song that's in an eight time signature is the first thing that I would expect to hear is the true bliss out because it's usually what you're going to get. Oh, we can add in the 16th notes in between as easy. It's not a problem. We can also use quarter notes and the same rules applies as they always did. 1/4 note is getting help for 2/8 notes. We could put 1/16 minute in between. So if we're back in the 68 time, we're going way to do this thing where I just kind of pop it up from sitting in the snow or 1/16 between a couple of those 16th does on my up. OK, so if I'm strumming everything down 123456 that I just pop in some of those apps that makes sense. Okay, so there are all kinds of different time signatures, and, um, when we are dealing with eight, you know, 682 pretty common one. You will see 98 and the on time signatures. You will see a less off it like 5878 You will see them occasionally some or, uh, interesting and complex music. You'll see a 38 popped in for compound time signatures with the four, which is more common for fours, obviously where you're mostly gonna deal with next, you'll deal with 34 but you may see some tea for just two beats. In a measure you could see a 54 which is this five piece? Ah, you seven for you see 11 for 11 quarter notes in a measure. So that's all the beats. The rest are going to work exactly the same as you've learned them. It's just that the measures will have different length of time. And that, in a nutshell, is time signatures, so I'll see you in the next video. 14. 12th Lesson - 32nd notes (page 13): okay, As we are starting to wind down our course, I wanted to show you one more thing. I want to explain. 32nd notes to you. 32nd notes would be a six kind of beat. Okay, well, being is a recent. We're going to learn five beats. And we did. We learned the whole notes. Half notes, quarter note, the eighth of 16th note. These were the five basic beats that we deal with a lot of time. And then we learned about triplets and how to apply them. Um, there is another smaller beat below the 16th note and it would be the 32nd. Okay, 32nd notes are twice as fast as 1/16 note twice as fast. That's really fast. We can fit to 32nd notes inside of 1/16 so they are really, really fast. If you want to really push yourself and try to do some blazing fast strumming that you may experiment a little bit with 32nd notes, they are very difficult to count. They are a little bit more of a fuel. I'm gonna show you how to do that, but it's something that you can definitely execute If you wanted to try pushing, you were struggling to the next level. And so the easiest way to get into playing 32nd notes and you'll notice that we got the review. It's OK, so 32nd notes are going to be written and read. The exact same way is eighth notes and 16th notes. The rest. The rest is going to have three flags. Okay, so you see three flags you're doing with 32nd note. Either wrestle, repeat. And, um, just like the name says, You know, there's 30 to 32nd notes that can fit into a measure just like there's 16 16th notes that fit into a measure where there's eighth notes that into matter where there are 4/4 notes that thin to measure to half notes. One whole note fit into measures 30 to 32nd. Does that fit into measure? That's crazy. OK, so this right here is what one beat looks like, all right, and we've got three beams were three flags. Now what I did is I groups this into kind of what looks like two pieces. The easiest way to think about strolling 32nd does, since there's too of them that fit inside his 16th note. What we're gonna do is we're going to consider to Strug's for each he's of 1/16. You're pretty comfortable. 16th notes at this point. Now, when we were strumming 16 so we we're going t end up. So we were alternating are stroke. What I wanted to do to try 32nd nodes is we're going to strong 16th as old down. I know that sounds crazy, but that's what we're gonna dio won t and, uh Okay, hold downs. One. Okay, so, trying to have a whole measure of 16th knows all down. Okay. 1234 Old down stroke. Okay, Good. Now that you got that, all we're going to do is we're going to include the up strong in between all of those, Okay? And that will be 30 seconds. We're going. - He and thistles. The quarter note count of the temple that I'm going out right now. What is going on? If I play that fast, then I'm doing three second. It's OK. So one and a two and a three and four. And if you can play sixties this all down Strom, then just popping the up in between. You will be playing three seconds. All right? Goes really good. Really It 30 seconds or fun and they are blazing fast. Okay, So good job work on your 32nd notes, and I'll see you in the next video. 15. Closing Thoughts : Well, you made it to the end of the course. Well, uh, nice job. We did some pretty difficult things, and you got all the way through it. I'm really proud of you. That's great. It wasn't easy. Some of this stuff towards the end. Pretty tricky. And even though you got through it, I would like you to keep working on this stuff. Uh, rhythm is, as you know, something most guitar players don't work on. Most guitar players get one or two strong's, and they do that over everything. So you are so far beyond that at this point, that is really great. So another worthy of the course what to do next? When I do next, I'm going to give you a couple of ideas. OK, so first thing, watch this again. Watch this again. Just because you got through it doesn't mean that you can't get a little bit better at it to really own it. Okay. So that it's yours that is under your control. That's what you want. So watch this again. Watch this as many times as you need to. Okay? And sometimes just hearing the strong hearing ego through the strong can be really helpful , even though you know how to read it yourself. Now, that was one of our big goals. Was I wanted to get you to where you know how to read rhythms on your own, even though you know how to I know I've had times were even though I know how to read it I just was not sure of myself. And it was helpful to kind of here. Okay, this is what it sounds like. So listen to the videos again. Watch the videos again, guys. Many times as you need Teoh Strong through the PDFs, strong through the PS. So you have them. And hopefully you've got a folder somewhere of them. Or maybe you printed them out. Go through them all. Go through them all. It shouldn't take you, You know, more than 20 or 30 minutes to go through every single pdf, every single example to see if you can do it all and focus on the ones that are hard for you. Okay, The ones that are easy, you're gonna want play. There's a lot because they're easy. Kind of relax into the That's great, but work of the ones they're really difficult for you Spent most of the time on the hard ones. Go to the BDs Ray. You're Lee. OK, listen to the rhythms. Listen to the rhythms of the music that you listen to when you're hearing the music or when you're go see somebody, play, listen to their rhythms. Start thinking like that. You should be able to hear these rhythms now to start understanding what people are doing. He's done here again. Okay, because you can count and you're going to be going throughout your life from now on thinking one into two yen a three and a four yet Won t and T and three NF Oriente. This is your new mantra. This is how you go through life won t end to the end of three NF oriente and you're going to be breaking up all the little bits in your brain off the beach. And when you do that striking in control or all of those little pieces and when you start hearing the easing us, you can recognize them, hear them and you'll know what people are playing just based on listening to them. So start using your ear because there's music all around you all the time and you could start hearing what these changes are with rhythms are Okay, So just open your ear and listen to music. I imagine I was going to grab my guitar right now, cause from that, I think you might be into Okay. Lastly, write your own. This is a pretty important one to do. It is, um it may feel a little bit like homework, but this is a great way to really master rhythm is too right around. You know the deal. You know the rules. Okay, you have. If you're in a 44 time, you got four meats, and so you've got a total combination of 4/4 notes that you need to put down on paper. And you could break up this 4/4 notes any way you want to. You can use eighth notes and 16th notes, and you can use rests. Use half knows. You just draw a circle. The whole note you're done. Do something harder than that. Please do something harder than a whole note. But you can use triplets. You six tablets. You could use 32nd notes if you wanted to go crazy trying right in your own rhythms and really, what you're looking for when you have a piece of paper writing it down. You wanted to eagle out. That's the main thing we're looking for as two. Equal out. Exactly four beats no more, no less. Exactly four beats. Okay, then grab your guitar and see if you can play it. That's halfway to writing a song. Okay, write your own rhythms. Start doing this on a regular basis, come up with a couple core changes and then write down some different rhythm ideas for how you want us from. This court's right, right rhythms. The hardest thing in the beginning is making sure equals out has to equal exactly four meats. Okay, not more than not less than eight sack reform needs, but just used the trick that we talked about. Okay, focus on all the stuff going on a V one. All that stuff in B two, all the stuff in the three. All the stuff before you just take one view at a time and you can make it equal out. Thank you so much for watching this course and being a part of this with me. I had a lot of fun. Rhythm gets me excited because it's a skill that most guitar players are not great at. But you and I are part of the special. Clover were good a room, and that is an excellent thing. So you should feel good about yourself because you are special because you are a guitarist . But you're even more special now because you're guitarist with some real rhythm skills. So thanks again and I'll see you next time.