Syncopation Tenths (The Beat and Rhythm Workbook, Module Two) | Bob Chappell | Skillshare

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Syncopation Tenths (The Beat and Rhythm Workbook, Module Two)

teacher avatar Bob Chappell, Your Creative Keyboard Companion

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

6 Lessons (52m)
    • 1. Syncopation Tenths: Video Introduction

      4:38
    • 2. Video One: The Basic Riff

      6:30
    • 3. Video Two: Shuffle Feel and Anticipation

      10:53
    • 4. Video Three: More Right Hand Anticipation

      14:25
    • 5. Video Four: The Octave Span and a New Left Hand Rhythmic Motif

      5:46
    • 6. Video Five: Final Touches - Advanced Rhytmic Options and Improvisation

      9:26
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About This Class

Syncopation Tenths is the second module in the Beat and Rhythm Workbook.

Before you start, please watch the Beat and Rhythm Workbook introductory video at the start of the Snake Dance Syncopation Challenge (and repeated here for convenience) and complete the four-lesson build-up to the Snake Dance basic performance.

After that, you'll be ready to start this Syncopation Tenths course at any time.

Each Syncopation Tenths lesson video builds on the one before, so bookmark your progress as you work through.

  1. The first video teaches the 'basic riff' - a string of four descending tenths with next-door in-between notes;
  2. The second video moves the riff into 'shuffle-feel' (swing quavers) and starts coaching the right-hand anticipation;
  3. The third video continues to anticipate the remaining right hand notes and introduces a long-short rhythmic motif in the left hand;
  4. The fourth video extends the four-note descending pattern over the whole octave and revises the cumulative anticipation over the new extended span; and
  5. The last video adds tuplets into the rhythmic mix.

You don't have to work through all the lessons in one go! Rather get familiar with all four Beat and Rhythm Workbook modules (Snake Dance, Syncopation Tenths, the Swinging Hanon and Rhythmic Pentatonic Scales), and set yourself a daily beat and rhythm practice element from one or more modules.

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Bob Chappell

Your Creative Keyboard Companion

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Transcripts

1. Syncopation Tenths: Video Introduction: Hi there, Hope Chapel for music, outer hair. Now I think we can all agree that most popular music has a strong rhythmic component. And the modern styles keyboard player needs well-developed beating rhythm skills just to keep up. Sadly, many people subconsciously believe that when it comes to syncopation and advanced rhythms, you've either got it or you haven't. Well, that's just not true. What has been lacking on methodical approach to improving or rhythm skills. The music R2P rhythm workbook, as for full progressive lesson series, that will give you absolutely the best chance to get over the hump and master professional level 200 syncopation and rhythms. Our usual way I've tried to get difficult rhythms, namely just trying again and again, is unscientific, inefficient and frustrating with the right learning material. Anybody could be much better syncopation than they ever thought possible. And musicality has gone all out to make sure you get all the help. You deserve that material and sympathetic coaching right from the start. What's essentially good learning material is to build up to the complicated thing gradually. And that's of course, is what the music art upbeat and rhythm workbook makes quite sure happens that you get the basics down and build up from there. And you learn the right way to approach complicated rhythms for yourself. Not once, not twice, but four times over with different material. So you don't get bored. You've always got something different to practice or brush-up on or get better apps. And to ensure you have no trouble putting the productive hours in. And let's be honest, I can't eat muscle memory skill. This is what you need to do. So then what have we got? First? The snake does that tightness, novelty piano teachers hate, but everyone can do a silly downstream. It's fun. And it's the basis in the music art and beaten with a workbook for the whole Raf to big and bold two-handed rhythmic patterns to get you started. Patterns which transfer wholesale to a broad sweep of pop genres. Next up, syncopation and anticipation. Ted's very poppy might not be the style of music you're looking to. The rhythm skills involved a bit more micro. The sine terms will never be out of debt. Talk about practicing the piano and sooner or later you're talking about Hawaii. I was 150 year-old piano exercises which just well lie down and die. Because of course, they work at a very efficient way to train your fingers. Why not train your rhythm skills at the same time just as an authority? Third, she also progressing rhythmic patterns fit into master in an easy, stationary five finger position first, that's really itself would be sufficient. But here you apply them to the hands-on exercises, which are also demons for anyone can get them. And with a quick listen to the examples. Your daily finger warm-up is doubled its functionality, mostly rhythmic pentatonic scales. Everybody will tell you the good players of all London scanners. And that's not about passing exams. It's about getting up and down your people, that variety of kings. But popular music is based more often than not, on the five-note pentatonic scales, which have an effect, no wrong notes. That rather practice tells them while we're about it. How about swearing in subcu, jazz blues rhythms? So for you, six minor pentatonic scale is explained a demonstrated with entry-level practice roles and a progressive series, jazz blues rhythms to play the game. It really is music of the shelf. So join the beach in rhythm workbook, fast-track. Don't be defeated by ineffective trial and error efforts. The bees in rhythm workbook levels the playing field with ONE TAP structured learning material guarantee to take everybody forward further and faster than they ever thought possible. See you on the course. 2. Video One: The Basic Riff: The beach and rhythm workbook, syncopation and anticipation. This is the rhythmic example we're working up to in this series of lessons. Just watch and listen carefully. There it is based on these four pairs of them. How did that let's just check what all on the same page referred to the flashcard. The lead Job in the left-hand, C, down to dream. Doesn't really matter what fingers, but sundown to four works looming in the right-hand pretends higher. That's an octave, h plus two more 9104 notes. E down to be, say finger fall down to the cell. Rough clothing. The law. Listened for the counting then four times through phi. So 56. Now we split the notes in half. So we have two of each pair, like this. Mg step, seeing the long note at the end, and musical finish, no matter how simple the music. So that's what we will do. This for the counting. They'd play level two times ending with the long note. And the same thing again straight away. And again straight away. Alright, let's check that we have at least minimal hadn't did dependent. Listen to this minute circle half notes in one hand, quarter notes or crotchets into the two houses of the example in this first half, gone notes in the left-hand, shoulder apps in the right-hand, ends with a long pair, of course, second half, one notes in the right-hand, short notes in the left lung pack. Held that foreign play a lot. Next development, the same but change twice as quickly. See what's happening for him. And off we go. Next development, slice and dice those short notes even fine using next-door notes. Listen to this one and then 23421234, though. So he start using next-door notes in the right hand, next door and below. But just for the first three pairs. In the first half, long notes in the left hand. In the second half, quarter. Let's go. How are you doing? Make sure you've got that down before you go onto the next video. 3. Video Two: Shuffle Feel and Anticipation: The beach and rhythm cookbook, syncopation and anticipation. The second video. First, let's recap the final video one performance. Make sure you're up to speed with that before you go on. Now listen to these two ways of playing the shorter eighth notes are quasars. Five sake, self, and named the first way. The second way. The first way. The second way. The first way, how we been thinks so far is called evil or straight quavers. Ten, terminal, downtown, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap, tap. The other way is called swing quavers or swing or shuffled feed. Determine town to town to our ten tiao. Tiao. Tiao, tiao. Tiao, tiao, tiao, tiao, tiao, tiao. Play along with the next demo to get the feel of the difference. Alternating two of each, starting with straight quavers. Ten, chapter, ten, chapter swing Quakers tower to turn down. Ten tower. Straight quavers. Factor tau1 to tau2. Swing quaint, town to town to town. Now played the video 13F with swing quavers all the way through. Got that. Next, we get our first taste of anticipation, which in music means playing notes before that expected. Here's our REF In swing quavers with one anticipated meant, the last one in the right-hand. Just a demonstration. So just watch and listen. 1234. Here it comes again to answering his aversion once without the anticipation, once with again, without it again, with this, I'm super closely I'll count the first time through 123412341234123. Let's look at the new anticipated note on its own. This the hand is pray together, bound together by black, left, gathered back together, right and left. 123123 for play than you anticipated notepad continuously. 1234103 for 123, for 12 entry for four times through the series. Swing quavers with the last right-hand note anticipated every time. And along noted the left to end. Next, we do the same thing at dissipate the right-hand notes halfway through the first half. Like this. Let me come back for you until around 323123234. So from C and D, you play 123 and rest, and then from a NC. And 234, like that with a little rest between self and name. One more time. Now let's go for continuous keep going and allowing them to finish. Next. We anticipate that is bringing forward the right-hand note halfway through the roof. The last one left, excepting the first note. Sounds like this. 1234 onwards and two, entry for 12, E13 and outward to entry for let's let to bury give those anticipated a bit of room. 123412, answering together, right together, right, left, right, left, right, left, left. 12341234. Together, right together, right, left by China, right, left, right, left, left. Gaps just once through. Any good. A few more goes with a little rest between. Then we go onto continuous four times through with a long note to finish 5678. Now continuous. Good. That'll do for this video. I'll leave you with the section risk getting well bedded in before you go into video three. 4. Video Three: More Right Hand Anticipation: The music counter, beach and rhythm workbook, syncopation and anticipation videos three, his own module, target portfolio. The first thing that you hear, of course, is that the baseline has caught the bug and is now skipping merrily along. So let's get to it. Star by paying the pairs of notes in crotchets. That's quarter notes in the US, with along B in the right hand at the end. Now I did long-short element to the left-hand pairs of nodes, 131213123. And now we're going to add in our first right-hand anticipation pattern from video to like this. And to answering four pages at the end. 1234. Try practicing the first two pairs of nodes, both in the same rhythm. Now anticipation over and over like this. If you need to break it down further, strip out the rhythm, adjust, rehearse that together, left, right. Events like this. Another right together, right, right. Right. I have to act. Then back to the Sweden quavers version. The second half of the reef where the anticipation is, suppose like this. Looking at that in slow mo, we can see that there's a discordant pair of notes where the right-hand anticipate. Expect to hear that and don't stop playing. And they do one of those in the pipeline. So the whole roof so far. Now bringing in the next anticipated right-hand note, halfway through the first half. The first two pairs are like this. Under the microscope, we can see another of those discordant pairs. Let's get ourselves over that by playing those first two pairs slowly. It even quavers, concentrating on that together left, right, or TLR4 patent. Together, together. Together, together, manner, right. Now back up to speed, swing quavers. One path of that at time four counts in between and continuous space. The first two pairs, the second half of the reef is the same as before. So let's put it together. And now the last right-hand anticipated note, halfway through the riff. And 341234, unworthy. And to act. Looking at that in slow motion, we find that all the together, apart from that y, let us start at the patent. And now these discourses that only resolve in the left-hand drops play along in this rithmetic, the supernova, and back to the bounce. But our target performance has two different joining up it. Watch and listen carefully. First type, second term, first-time. Strip, back to basics. The first type is just this. But then that first right-hand node is actually anticipated. That actually that right-hand anticipated note will come with a left-handed ten t, ten t term, t, making them a discordant pair. So let's practice our Riff with just the typewriter join. In the time to join, the run-up is in the left hand. And it gets back to the start early with the left-hand tab and determined to ten t Note. This becomes stripped back to slow even quavers with no rhythm. It's this. Check that together, left, right. Together. The F, F, F, F prime prime that have run, run, run back in swing quavers up to speed. Just the joy that type two full weeks between coming on. You say 787878. Now alternating Type one and Type two join us with that same four counts in between. Vi siete 7878567878. And finally the video riff. Notice the two even notes in the left hand at the end to finish properly. Write stuff. Well done. Good application. Go into video for now for some real life developments. I'll leave you with the module Risk. 5. Video Four: The Octave Span and a New Left Hand Rhythmic Motif: The beaten rhythm cookbook, syncopation and anticipation video for. Well, we put in the two joining up bits to complete the videos three, Ref, watch and listen carefully. Those type. Second term, first-time. Strip back to basics. The first type is just this. But then that first right-hand node is actually anticipated. That actually that right-hand anticipated note will come with a left-handed T1, T2, T, that making them a discordant pair. So let's practice our Riff with just the tight white enjoy now, in the type to join, the run-up is in the left hand. And it gets back to the start early with the left hand and determined to ten t Note. This becomes stripped back to slow even quavers with no rhythm. It's this. Check that together. Left, right, left, right, F, F, F, F, Right, right, right, right, right, left, left, right, right, right. Back in swing quavers up to speed. Just the joy that type two full weeks between coming on at say, 78785678. Now alternating Type one and Type two join us with that same four counts in between. Vi siete, 78787878. And finally, the video RIF. Notice the two even notes in the left hand at the end to finish properly. Great stuff, well done. Good application. Go onto video for now for some real life developments. I'll leave you with a module Risk, good work, good application, good skills to have in your repertoire. Now go into video five for some real variations of this kind of pay. 6. Video Five: Final Touches - Advanced Rhytmic Options and Improvisation: The beach and rhythm cookbook, syncopation and anticipation that video file. Here's our F so far. But we're picking up the speed a bit to 92 beats per minute. And the second half, you pay the right-hand an octave higher. Next, let's start playing around with a right-handed in-between nodes. Dry the tonic above G were injured. While we mess around it. The right-hand, That's rollback, the left-hand debit to straight crotchets and drop the fancy joined. The second half right-hand is an octave higher. Again. That last GE sounds a bit off key to me. Let's substitute and next stored above note. Notice that an F sharp has crept into the left-hand. Better. Now let's try the tonic G below. Again with that next door above noted the third time. Start with the right-hand finger five, the little finger on IE. Second half right hand is an octave higher again. In fact, the music shows the octave higher version. That's nice to notice the F sharp in the left hand is disappeared. Better or worse. You do miss it. Now let's try a combination of tonics above and below. And next door notes. Bring a bit of bounce back into the left hand and drop one of the right-hand anticipated notes just for variety. And by the way, the left-hand F sharp is back. Here's a variation with the right-hand coming in after the beat. Actually, all you do is drop some of the on the beat notes. So if you can work it out. Now here's the same thing with an optional top g semi held and playing regardless, you'll recognize the style. Now with the right-hand going down to Next Door notes the first two times sounds more like a melody. Mixed straight and bouncy left-hand with F sharps and join us. As soon as you hear 17 like that. Mentally toss out the rhythm and just think of a droning up or down string of notes like this. But we can't have that right-hand falling, falling, falling all the time. Here's a variation with the right-hand climbing. Here's that example again, there's no rhythm at a simplified left-hand. That right-hand sounds to me like he wants to carry out. So here it is again, leading into a solo which uses bits from older variations in this section. Rehearse the sections, and see if you can branch off into your own improvisations. Good. Did you find something of your own? Next, go into video sinks where we see if we can play the rhythmic patterns all the way down over a whole octave.