Reading Music - Rhythm Training

1. Course Promo: Right. 2. SECTION 1: Beat vs Rhythm: We'll begin our study of rhythm rating by learning the differences between beat and rhythm. Meat and rhythm are very different parts of music. But many people confuse the two terms and actually use them interchangeably as important that you understand them correctly before moving on. Beads is the underlying pulse of the music. Beat is what people move to and dancing or what you tap your foot to all the senior music. It is constant and uniform. Here is an example of beat. Rhythm is an ordered group of notes typically consisting of various durations. Here's the rhythm to the song, Happy Birthday. Rhythms always follow along to a beat. Here again is part of the song, Happy Birthday. This time with the beats in the background so that you can hear how the rhythm falls along to the beat. Some notes in music are equal to one beat. Some notes are longer than one beat, and others are shorter than one beat. We will start learning to read rhythms using the quarter note. Quarter note is equal to the duration of one beat. Let's try playing along with some quarter notes. For all the examples in this course, we will use G4. For those unfamiliar with music. G4 is the fourth G from the bottom of the piano. Here's a picture so that you can find it. If you don't have a piano clap along instead, if this is easy for you, don't worry, things will get harder as we progress through the course. 12, ready go. Many people believe that one beat is equal to 1 second. This is not the case. 1 second of time is always 1 second of time. You cannot speed up or slow down the actual time. B, on the other hand, can be any speed, can be fast, slow, or anything in between. Here are some examples. In the next section, we will learn about notes that are multiples of the beat. 3. SECTION 2: Half Notes and Whole Notes: In the last video, we learned that the quarter note is equal in duration to one beat. In this lesson, we are going to learn about multiples of the beat. These are notes that are equal and duration to multiple quarter notes. The note that is equal and durations to two quarter notes is called a half-note. Listen to a half note being played and counted. 12. That is equal and duration to four quarter notes is called a whole note. Listen to a whole note being played in counted 1234. In both of the previous examples, we counted using a method called unit counting or beat counting. In this method you count the number of b's each node is equal to. We will use this method of union counting as a starting point because it is simple to understand and easier for beginners. As the course Advanced is, we will switch over to metric counting, which is the standard for musicians. Before moving on to the rhythm exercises, we first need to explain why the nodes are named the way they are. Notes are named according to their relation to the whole node. This fact will become important later on for understanding subdivisions. We call the half note a half note because it is half the duration of whole net. Two halves make white hole. We call the quarter note a quarter note, because it is one-quarter the duration of whole note. Four quarters make one hole. In the next set of videos, we will practice reading rhythms made up a quarter notes, half notes, and whole notes. 4. Imitation Exercises (quarter-half): Each example a twice on the first time through just Lawson. On the second term theorem. Clapper play along to ready, go. One, two, ready, go. Ready to go. 12. Ready, go. One, two, ready, go. 12, ready, go. One, two, ready, go. One, two, ready to go. 12, ready, go. 12, ready, go. One, two, ready, go. One, two, ready, go. Two, ready, go. One, two, ready, go. 5. Reading Exercises (quarter-half): Read each rhythm twice on the first time through, count out loud using unit counting. On the second time through. Play the rhythms. If you can't play, just clop along. 12. Ready, go. Ready? 12, ready, go. One, two, ready? 12, ready, go. 12, ready, go. One, two, ready, go. One, two, ready. 12, ready, go. 12, ready, go. One, two, ready, go. One, two, ready. 12, ready, go. 12, ready, go. One, two, ready. 12, ready, go. 6. Writing Tips: In the next video, you'll hear some rhythms and be asked to write them down. Here are a few tips. Remember the each clicky here represents one beat. If you hear one note per one click, then write a quarter note. If you hear a note that last for two clicks, than write a half note, the answer key will contain some things you may or may not know about yet, such as bar lines and the time signature. Do not worry about these until section for when we discuss metric counting, your only focus should be getting the correct nodes. 7. Writing Exercises (quarter-half): Listen to the following rhythms. Pause the video after each for them, and then write the rhythm down on a piece of paper. If you prefer, you can use MuseScore or any other notation software for choice. Listen to the rhythm as many times as you need in order to notate it correctly. You can check your answers with the answer key PDF that accompanies this video. One, two, ready, go. Born. Ready to, ready to, ready to go. 12. Ready, go to ready, go to Ready, go. 8. Answer Key_quarter-half: Check your answers from the previous video, but the following PDF attached with this course. 9. Imitation Exercises (quarter-half-whole): Each example will be heard twice. On the first time through. Just listen on the second time through. Klopper play along. 12, ready, go. One, two, ready, go. One, two, ready, go. Go. One, two, ready? Go. One, two, ready, go. Ready, go. 1212121212. Ready, go. 12. Ready, go, go. Go. Go. 121212. Ready, go. 10. Reading Exercises (quarter-half-whole): Read each rhythm twice on the first time through, count out loud using unit counting. On the second time through. Play the rhythms. If you can't play, just clap along. 12. Ready, go. One, two, ready? Go. 12, ready, go. One, two, ready, go. One, two, ready. 12, ready, go. 12, ready, go. One, two, ready, go. One, two, ready. 12, ready, go. 12, ready, go. One, two, ready, go. One, two, ready. 12, ready, go. 12, ready, go. One, two, ready. 12, ready, go. One, two, ready, go. 12, ready, go. One, two, ready, go. 11. Writing Tips 2: In the next video, you'll hear some rhythms and be asked to write them down. Here are a few tips. Remember that each click U here represents one beat. If you hear one note per one click, then write a quarter note. If you hear a note that last for two clicks, then write a half note. If you're a note that lasts for four clicks and write a whole note, the answer key will contain some things you may or may not know about yet, such as bar lines and a time signature. Do not worry about these until section for when we discuss metric counting, your only focus should be getting the correct nodes. 12. Writing Exercises (quarter-half-whole): Listen to the following rhythms. Pause the video after each for them, and then write the rhythm down on a piece of paper. If you prefer, you can use MuseScore or any other notation software for choice. Listen to the rhythm as many times as you need in order to notate it correctly. You can check your answers with the answer key PDF that accompanies this video. One, two, ready, go. Ready, ready, ready, go. One, two, ready, go. 12, ready, go. One, two, ready, go, go. Go. 12, ready, go. 13. Answer Key_quarter-half-whole: Check your answers from the previous video, but the following PDF attached with this course. 14. Unit Counting Assignment: Download the PDF assignment, complete the assignment, and then check your answers against the answer key. 15. SECTION 3: 8th Notes and 16th Notes: In the last section, we learned that multiples of the beat are notes that are equal to multiple quarter notes. In this lesson, we will learn about subdivisions of the beat. Subdivisions of the beat are notes that are equal to fractions of a quarter note. The eighth note is a subdivision or fraction of a quarter note. 1 eighth vote is half of a quarter note. This means the 2 eighth notes are equal and duration to one beat. When playing eighth notes, you must play two-eighths in the same amount of time is one quarter note. Here's an example. You will hear the metronome click once for each quarter note beats, and the piano playing 2 eighth notes for every beats. The 16th notes is a subdivision or fraction of a quarter note. 1 16th note is 1 fourth of a quarter note. This means that 4 16th notes are equal and duration to one beat. When playing 16th notes, you must play four sixteenths and the same amount of time as one quarter notes. Here's an example. You will hear the metronome click each quarter note beat, and the piano playing 4 16th notes for every beat. Let's talk about where the names eighth, 16th come from. Remember, notes are named according to their relationship to the whole mode. In the lesson on multiples, we saw that the half-note is called a half note because it is half of a whole note. And the quarter note is called the quarter note because it is a quarter of a whole notes. If we look at subdivisions of the beat, we will see that they are also named according to their relationship to the whole note. We call the eighth note an eighth note because it is 1 eighth, the duration of a whole note. In other words, eight eighths make ONE Hall. We call the 16th note or a 16th note, because it is 1 16th the duration of a whole NAT. In other words, 16 sixteenths make one hole. One important thing to be aware of as we move forward is that nodes who typically beam together in such a way that the nodes beam together equal one beat. Writing music in this way makes it easier for the performer to read the music quickly and accurately. Take a look at the following example. Even though there are many nodes, we can easily see that there are a total of six beats. If we count all the beams. There are times when there are exceptions to be me notes in this manner. But in this course, we'll try and maintain the standard when possible. Beginners typically have trouble playing, are clapping rhythms that involve subdivisions in order to help them master these rhythms is more effective if we start by saying everyday words to these rhythms, rather than counting numerically. Once these are learned, we can easily switch to numeric counting of the beats. In this course, we will use the names of fruits to help us remember various rhythm patterns. When we see a quarter note, we will say pair. When we see a pair of eighth notes, we will say Apple. And when we see a group of 4 16th notes, we will say watermelon. Here are few examples. Care apple, pear, apple, pear, watermelon pair watermelon, capital watermelon, Apple, watermelon, pear, apple, watermelon, pear, apple pear watermelon pair. 16. Imitation Exercises (quarter-8th): Clapper play along with the following examples. While saying the names of the fruit we learned for each type of note. 12, ready go. One, two, ready to go. 12, ready, go. One, two, ready, go to go. 12, ready, go. One, two, ready, go. Now re-watch this video. But this time, Clapper play along without saying the names of the fruits. 17. Reading Exercises (quarter-8th): Each for them twice. On the first time through, clap and say the fruit name x2. And for each note on the second time through, play without saying the fruit names. If you can't play, just clap. 12, ready, go. One, two, ready? Go. 12, ready? 12312. Ready go. 12312312. Ready? Go. 12. Ready to ready to ready to ready. 12, ready, go. 12, ready, go. One, two, ready. 12, ready, go. 18. Writing Tips 3: In the next video, you'll hear some rhythms and be asked to write them down. Here are a few tips. Remember that each click U here represents one beat. If you hear one note per one click, then write a quarter note. If your two notes per click than write a pair of eighth is the answer key will contain some things you may or may not know about yet, such as bar lines and a time signature. Do not worry about these until section for when we discuss metric counting, your only focus should be getting the correct nodes. 19. Writing Exercises (quarter-8th): Listen to the following rhythms. Pause the video after each for them, and then write the rhythm down on a piece of paper. If you prefer, you can use MuseScore or any other notation software for choice. Listen to the rhythm as many times as you need in order to notate it correctly. You can check your answers with the answer key PDF that accompanies this video. One, two, ready, go. 12, ready, go. One, two, ready, go. One, two, ready, go. One, two, ready, go. One, two, ready, go. 12. Ready, go. One, two, ready, go. 20. Answer Key_quarter-8th: Check your answers from the previous video, but the following PDF attached with this course. 21. Imitation Exercises (quarter-16th): Each example will be heard twice. On the first time through. Just listen on the second time through. Klopper play along. 12. Ready, go. One, two. Ready, go. One, two, ready, go. 12, ready, go. One, two, ready? Go. One, two, ready, go. One, two, ready, go. One, two, ready, go. 12. Ready, go. One, two, ready, go. One, two, ready to go. 22. Reading Exercises (quarter-16th): Each for them twice. And the first time through, clap and say the fruit name x2. And for each note on the second time through, play without saying the fruit names. If you can't play, just cloud. Ready, go. One, two, ready, go. 12. Ready, go. 1212. Ready, go. One, two, ready, go. One, two, ready, go. 12, ready, go to ready, go to Ready, go. One, two, ready. 12, ready, go. 23. Writing Tips 4: In the next video, you'll hear some rhythms and be asked to write them down. Here are a few tips. Remember that each cookie here represents one beat. If you hear one note per one click, then write a quarter note. If you here four nodes per click than write 4 16th notes. The answer key will contain some things you may or may not know about yet, such as bar lines and a time signature. Do not worry about these until section for when we discuss metric counting, your only focus should be getting the correct nodes. 24. Writing Exercises (quarter-16th): Listen to the following rhythms. Pause the video after each for them, and then write the rhythm down on a piece of paper. If you prefer, you can use MuseScore or any other notation software for choice. Listen to the rhythm as many times as you need in order to notate it correctly. You can check your answers with the answer key PDF that accompanies this video. One, two, ready, go. 12, ready, go. One, two, ready, go. One, two, ready, go. One, two, ready, go. 12. Ready, go. 25. Answer Key_quarter-16th: Check your answers from the previous video, but the following PDF attached with this course. 26. 8th and 16th Combinations: Now that you're familiar with eighth notes and 16th notes, we will be looking at some typical pairings of these notes. But in order to do that, we must first compare the durations. You can see in the following diagram that 2 16th notes are the same duration as 1 eighth, 1 fourth, 1 fourth equals 1.5. Because of this fact, we can swap out any two sixteenths and replace them with an eighth of the beams notes will still be equal to a total of one beat. In this example, we have swapped the first 2 16th notes with 1 eighth note. For this rhythm pattern, we will say straw berry. Listen to this example twice. First with the fruit syllables, and then with the piano. Strawberry, strawberry, strawberry, strawberry. In this example, we have swapped the last 2 16th notes with 1 eighth note. For this rhythm pattern, we will say nectarine. Listen to this example twice. First with the fruit syllables, and then with the piano. Vector rain, nectarine, nectarine nectar rain. In this example, we have swapped the middle 2 16th notes with 1 eighth note. For this rhythm pattern, we'll say banana. Listen to this example twice. First with the fruit syllables, and then with the piano. Banana, banana, banana, banana. You will see these patterns strung together in music in order to create more complex rhythm structures. In the next few videos, we will practice imitating, reading and notating these rhythmic patterns. Here's an example. 12, ready go, watermelon, straw, berry, banana, and nectar rain. 12, ready go. 27. Imitation Exercises (8th-16th Combos): Each example will be heard twice. First, say the fruit names to the rhythms. Then Klopper, play along without the fruit names. 12, ready go, watermelons, job Mary, watermelon, straw berry. 12, ready go. One. Two, ready, go. Watermelon, nectarine, watermelon nectarine. 12, ready? Go. One. Two, ready go. Watermelon, banana, watermelon banana. 12, ready, go. 12, ready go. Strawberry nectarines, strawberry nectarine. 12, ready? Go. One, two, ready? Go. Strawberry Banana, Strawberry Banana. 12, ready, go. 12, ready? Go. Nectarine, banana, nectarine, banana. One, two, ready? Go. One, two, ready, go. Watermelons. Job barrier, banana, nectarine. 12, ready? Go. Two, ready, go. Bananas, draw bear0 watermelon nectarine. 12, ready? Go. 28. Reading Exercises (8th-16th Combos): Each rhythm twice. On the first time through clap and say the fruit name x2. And for each note on the second time through, play without saying the fruit names. If you can't play, just clap. 12, ready? Go. One. Two, ready, go. 12. Ready? Ready. Ready. 12, ready, go. 12, ready. Go. One, two, ready, go. One, two, ready? One, two, ready. 12. Rarely go. One, two, ready. One, two, ready? Go. One, two, ready, go. One, two, ready, go. 12. Ready, go. 29. Writing Tips 5: In the next video, you'll hear some rhythms and be asked to write them down. Here are a few tips. Remember that each click U here represents one beat. Listen for the rhythm patterns you learned in the last lesson video. On each click you will either here, watermelon, strawberry lecturing, or banana, right? One of these patterns for each click you hear, the answer key will contain some things you may or may not know about yet, such as bar lines and a time signature. Do not worry about these until section for when we discuss metric counting. Your only focus should be giving the correct nodes. 30. Writing Exercises (8th-16th Combos): Listen to the following rhythms. Pause the video after each for them, and then write the rhythm down on a piece of paper. If you prefer, you can use MuseScore or any other notation software of your choice. Listen to the rhythm as many times as you need in order to notate it correctly. You can check your answers with the answer key PDF that accompanies this video. One, two, ready? Go. 12. Ready? Go. One, two, ready, go. One, two, ready, go. One, two, ready. Go. 12. Ready? Go to Ready, go. One, two, ready, go. 31. Answer Key_8th-16th combos: Check your answers from the previous video, but the following PDF attached with this course. 32. Imitation Exercises (quarter-8th-16th): Each example will be heard twice. First, say the fruit names to the rhythms. Then Klopper, play along without the fruit names. 12, ready, go up bow watermelon, bear. Ready, go. One, two, ready, go up bowl, watermelon pair up bowl. Ready? 12, ready, go. Watermelon, pear, apple, pear. Ready? Go. One, two, ready, go. Watermelon, apple, apple, pear. Ready? Go. 12, ready? Go out. Bokeh pair, watermelon pair. Ready? Go. One, two, ready, go pear, pear, apple watermelon. Ready? Go. One, two, ready, go pear, apple watermelon, nap bo, Ready, go. 12, ready, go pair, watermelon up boat pair. Ready, go. One, two, ready, go. Pear, apple, banana, pear. Ready, go. One, two, ready, go up. Vote pair, strawberry pair, ready, go. One, two, ready TO nectarine, nap ball, nectarine pair. Ready go. One, two, ready go. Banana, apple, strawberry pair. Ready, go. 33. Reading Exercises (quarter-8th-16th): Each for them twice. On the first time through, clap and say the fruit name x2. And for each node on the second time through, play without saying the fruit names. If you can't play, just clap. 12312312312312. Ready? Go. 12. Ready? Go. 12, ready go. 12312. Ready? Go. One, two, ready? Go. 12, ready? 12312, ready, go. 12312. Ready? Go. 12, ready? Go. 12312, ready go. 12312. Ready? Go. One, two, ready. 12312312. Ready? Go. 34. Writing Exercises (quarter-8th-16th): Listen to the following rhythms. Pause the video after each for them, and then write the rhythm down on a piece of paper. If you prefer, you can use MuseScore or any other notation software of your choice. Listen to the rhythm as many times as you need in order to notate it correctly. You can check your answers with the answer key PDF that accompanies this video. Ready, go, ready. Ready, go, go, go, go, ready. Ready, ready, ready, ready, ready, go. 35. Answer Key_quarter-8th-16th: Check your answers from the previous video, but the following PDF attached with this course. 36. SECTION 4: Metric Counting Multiples of the Beat: In all of the exercises you've done so far, we've been using a method of counting called unit counting or beat counting. We will now learn how to count the way musicians do and switch over to the method of metric counting. With metric counting, instead of counting the total number of beats, each node is equal to count the total number of beats in each measure of music. So in this example, we would not count 1111, but rather 1234. A measure is the distance from one bar line to the next. Measure can also be referred to as a bar. The numbers at the beginning of the music are called the time signature. A time signature tells us how many beats in each measure of music. The time signature is also called the meter. In this example, we can see there are a total of four beats in each measure. This time signature is called 44 time. Or for a four meter. Four on the top indicates that there are four beats per measure. The force on the bottom just stands for quarter. To make this clearer, imagine the bottom four as a quarter notes and think of it as four quarter time. In other words, there were four quarter-note beats per measure. This time signature is called 34 time, or 34 meter. That three out of the top indicates that there are three beats per measure. And again, the four on the bottom just stands for quarter. To make this clearer, imagine the bottom four as a quarter note and think of it as three-quarter time. In other words, there are three quarter note beats per measure. This time signatures called 24 time or to four meter. The two on the top indicates there are two beats per measure. And the four on the bottom, as always stands for quarter. Once again, it may help to imagine the bottom four as a quarter note and think of it as two quarter time. In other words, there are two quarter note beats per measure. Here are few examples using metric counting. In 24 time. We'll count one to every measure. No matter what the notes are. 121212123 for time, we all count 1-2-3, every measure, no matter what the notes are. 123. In the 44 time, we'll count 123 for every measure, no matter what the nodes are. 123123412424. In the next video, we will practice playing rhythms while counting the meter. 37. Metric Counting Assignment 4.1: Download the PDF assignment, complete the assignment, and then check your answers against the answer key. 38. Metric Counting Exercises (multiples): You will hear each example twice. And the first time through. Just listen. On the second time through. Glare, clap along while counting the meter yourself. 12, ready, go. One, two, ready, go. Ready, go to ready. 12312, go 12, ready, go. 23412. Ready, go. Daddy, go. Ready. 12312, go. 39. Metric Counting Subdivisions of the Beat: In the last few lessons, we learned how to use metric counting when counting multiples of the beat. In this lesson, we will learn how to use metric counting when counting subdivisions of the beat. Let's start by looking at eighth notes from a previous lesson. We learned that each leaf node is 1.5 of a beat and the 2 eighth notes are equal to one meet. Since these subdivisions are fractions with V8, we will need a method to count out these fractions. We can see that there are four beats in this example. But if we just counted each beat, we would not be counting anything for the eighth notes that occur in between the beats. For these we will say, and which is represented here by the plus sign 1234. It is important to understand that we are counting fractions of the beach. For example, when we say one, we've only counted the first half of the beat. The other half of the beat is not counted until we say. And next, let's look at 16th notes. From a previous lesson, we learned that each 16th note is 1 fourth of the beat, and the 4 16th notes are equal to one beat. Since these subdivisions are fractions, the beat, we will need a method to count out these fractions. We can see that there are four beats in this example. But if we just counted each beat, we would not be counting anything for the 16th notes that occur in between the beats. For these, we will say E. And it is important to understand that we are counting fractions of the VT. For example, when we say one, we've only counted the first fourth beat. The other three-fourths of the veto not counted until we say E. And next, let's look at eighth, 16th note combinations. We will count these the same way, but leave off any syllables where 16th notes do not occur. So for the first combination, we will say 123. For the second combination, we will say 100W and Bonnie. And three. For the third combination, we will say y ny. One, meaning to me. 40. Metric Counting Assignment 4.2: Download the PDF assignment, complete the assignment, and then check your answers against the answer key. 41. Metric Counting Exercises (subdivisions): You will hear each example twice. And the first time through, just listen. On the second time through. Glare, clap along while counting the meter yourself. 12, ready? Ready? 12. Ready? Ready, go. Ready. Go to ready to go. Ready to go. Ready? Ready, go. Ready, go. 42. SECTION 5: Multiples and Subdivisions: Now that we've covered multiples of the bead and subdivisions of the beat. In the next three videos, we will be playing, reading and notating rhythms that contain a combination of multiples and subdivisions. 43. Imitation Exercises (multiples & subdivisions): Each example or be heard twice. On the first time through. Just listen on the second time through. Klopper play along to go. 123 go. 12312312. Co one to go. 12. Go, go. Go. Go. Go. 112. Ready? Go to Brody. Go. One, two, ready? Go. 12, ready, go. 44. Reading Exercises (multiples & subdivisions): Read each rhythm twice on the first time through, count out loud using metric counting on the second time through. Play the rhythms. If you can't play, just clap along. 12, ready, go. One, two, ready go. 12121212121211. Go to 31 to 31212. Ready? Go. 45. Writing Exercises (multiples & subdivisions): Listen to the following rhythms. Pause the video after each for them and then write them down on a piece of paper. If you prefer, you can use MuseScore or any other notation software of your choice. Listen to the rhythm as many times as you need in order to notate it correctly. You can check your answers with the answer key PDF that accompanies this video. Here's a quick tip for determining the time signature. The first beat of each measure is the strongest beat. If you listen for the star beats, you will be able to tell when each measure begins. 123123, go 12, go, go, go. Go. 12. Ready, go. One, two, ready, go. 46. Answer Key_writing exercises (section 5): Check your answers from the previous video, but the following PDF attached with this course. 47. SECTION 6: How Dotted Notes Work: In this section of the course, we'll be learning how to play, read, count, and notate dotted notes. In order to do this, we must first learn what single eighth notes and single 16th notes look like. So far, all the eighth notes and 16th notes in our examples had been in pairs of two or four. When we write a single eighth note, we write it with one flag instead of one beam. A single eighth node is 1.5 of a beat. When we write a single 16th note, we write it with two flags instead of two beams. A single 16th note is 1 fourth of a beat. Okay, so now onto dotted notes. When you add a dot to note, you are increasing its duration. Let's demonstrate with some examples. We know that a whole note is equal to 2.5 notes. Adding a dot to a whole note is like making it another half-note longer. We know that a half-note is equal to two coordinates. Adding a dot to a half-note is like making it another quarter note longer. We know that a quarter note is equal to 2 eighth notes. Adding a dot to a quarter note is like making it another eighth longer. We know that an eighth node is equal to 2 16th notes. Adding a dot to an eighth note is like making it another 16 no longer. Now let's look at the actual math. A dot is equal to half of the node it is placed next to. You may have already caught this fact from the previous examples. And in case you missed it, here are the numbers. A whole note is four beats. Adopt place next to a whole note, will be half of four, which is two, plus two equals six. And data whole note is therefore six beats in duration. A half-note is two beats. Adopt place next to a half note will be half of two, which is 12 plus one equals three. A dotted half-note is therefore three beats and duration. A quarter note is one beats. Adopt place next to a quarter note would be half of one, which is 1.51 plus 1.5 equals 1.5. Jada quarter note is therefore 1.5 beats and duration. Counting any dotted note that is not a whole number, will involve counting the subdivisions of the beat. So in order to count a node that is 1.5 beats, we will need to count each half of the beat. In the lessons on subdivisions. We learned that this is done by saying, and in between each beat. Since a dotted quarter note is equal to 3 eighth notes, we will need to count 3.51 beats. In this diagram, each box is equal to 1 eighth vote, or 1.5 of a Beat. It is important to understand that when we say one, we're only counting the first half of the first beat. When we say, and we are counting the second half of the first beat. And when we say two, we are counting the first half of the second beat. Dotted quarter notes are almost always followed by a single eighth. That the reason for this can be seen from the following diagram. Since the dotted quarter note is 1.5 beats, we need one more half of a beat to reach a whole number. So whenever you see a dotted quarter note followed by an eighth note, it is always a total of two beats. The opposite is also a total of two beats. But this is not as common as the first pattern. Try and remember this fact and look for the dotted quarter note plus a 3AU patterns when reading rhythms. Here's how you would count these patterns. 121. And since the dotted eighth note is equal to 3 16th notes, we will need to count 31 fourth beats. In this diagram, each box is equal to 1 16th note, or 1 fourth of a beat. And it's important to understand that when we say one, we're only counting the first fourth at the beat. When we say e, we are counting the second fourth beat. When we say, and we are counting the third fourth of the beats. Dotted eighth notes are almost always followed by a single 16th note. The reason for this can be seen from the following diagram. Since a dotted eighth though, is three-fourths of a beat, we will need one more fourth of a beat to reach one beat. So whenever you see a dotted eighth note followed by a 16th note, it is always a total of one beat. The opposite is also a total of one beat. But this is not as communist. The first pattern. Try and remember this fact and look for the dotted eighth, 16th note patterns when reading rhythms. Here's how you would count these patterns. 48. Imitation Exercises (dotted notes): Each example bearer twice. The first time through just Lawson. On the second time through Clapper. 2222 derby, 1231231234512345, Joe Joe. 123123123 49. Metric Counting Assignment: Download the PDF assignment, complete the assignment, and then check your answers against the answer key. 50. Reading Exercises (dotted notes): Read each rhythm twice on the first time through, count out loud using metric counting on the second time through. Play the rhythms. If you can't play, just clap along. 12, ready go. One, two, ready go. 121212. Ready go. 1231 to 312. Ready go. 123456123456111112. Ready? Go. Two. Thirty two, thirty one to 30. 51. Writing Exercises (dotted notes): Listen to the following rhythms. Pause the video after each for them, and then write the rhythm down on a piece of paper. If you prefer, you can use MuseScore or any other notation software of your choice. Listen to the rhythm as many times as you need in order to notate it correctly. You can check your answers with the answer key PDF that accompanies this video. Here's a quick tip for determining the time signature. The first beat of each measure is the strongest, Bs. If you listen for the strong beats, you will be able to tell when each measure begins. 123, go 1231234233. 52. Answer Key_writing exercises (section 6): Check your answers from the previous video, but the following PDF attached with this course. 53. SECTION 7: Types of Rests: Music is not just sound and is also made up a silence. Sound is notated using notes. Silence is notated using arrests. Every note that you've learned about in this course so far has a corresponding rest. You count rests the same way that you count notes. But instead of playing, you are silent. Let's go over them. A 16th note is 1 fourth of a beat. A 16th rest is also 1 fourth of a beat. An eighth note is 1.5 of a beat. An eighth rest is also 1.5 of a beat. A quarter note is one beat. A quarter rest is also one beat. And a half. Notice two beats. Have rest is also two beats. A whole note is four beats. Hall rest is also four beats. It's important to know that the whole rest is the only rest which changes duration according to the time signature. In music. We use a whole rest to fill any empty measure with silence. What this means is that a whole rest in 44 time will be worth four beats. All rested in 34 time will be worth three beats. And whole rest in 24 time will be worth two beats. Rests are placed on specific lines and spaces. A 16th rests is placed in the two middle spaces. An eighth rest is placed on the third space from the bottom. A quarter rest is placed in the middle of the five staff lines. A half rest sits on top of the middle line. A whole rest hangs under the fourth line from the bottom. As mentioned previously, rests are counted the same way that you count notes. We will briefly go over a few examples to demonstrate. 123424212342412. Just like notes. Rest can also be dotted. Dotted whole node is six beats. A dot at whole rest is also six beats. Dotted half note is three beats. A dotted half rest is also three beats. A dotted quarter note is 1.5 beats. And dotted quarter rest is also 1.5 beats. A dotted eighth note is three-fourths of a beat. A dotted eighth rest is also three-fourths of a beat. If you look closely at the following examples, you will see that they are both exactly the same. The top example uses a half rest plus a quarter rest, which is the same as the bottom example, which uses a dotted half rest. Since a dot is equal to half of the rest of it is next to a dot to a half rest is like adding a quarter rest. Some people prefer one method over the other. Sometimes there are good reasons to use one method over the other. We won't get into that debate here. It's just important that you know, the both ways exists so that if you encounter them, you won't be confused. Here's how you would count and play the example 12341234. These two examples are also exactly the same. The top example uses a quarter rest plus and a thrust, which is the same as the bottom example, which uses a dotted quarter rest. Since a dot is equal to half of the rest of it is next to adding a dot to a quarter. Rest is like adding a thrust. Here's how you'd count and play the example 1234. These two examples are also exactly the same. The top example uses an eighth rest plus the 16 thrust, which is the same as the bottom example, which uses a dotted eighth rest. Since a dot is equal to half of the rest is next to adding it to an eighth rest is like adding a 16th rest. Here's how you'd count and play the example. 12. Beams are used to connect eighth notes and 16th notes, but beams are never used to connect dress. We can however, use beams over arrest. This is done so that we can still easily see the beat. Each of these examples is equal to one beat. Here's how you would count them, play these. And and 54. Imitation Exercises (rests): Each example twice. On the first time through. Just listen on the second time through. Clapper play along to ready to ready. 121212. Ready, go. One, two, ready? Go. Go. Go. Go. Go. Go. Go. Go to go. 12. Ready? Go. 12121212. Go. Go. 55. Metric Counting Assignment (sesction 7): Download the PDF assignment, complete the assignment, and then check your answers against the answer key. 56. Reading Exercises (rests): Read each rhythm twice on the first time through, count out loud using metric counting on the second time through. Play the rhythms. If you can't play, just clap along. 123, go 123, go 1232323123, go 12121212. Go, go, go. Go. 123. Go 123. Go to three to three. To go. To go. Go, go. 57. Writing Exercises (rests): Listen to the following rhythms. Pause the video after each for them, and then write the rhythm down on a piece of paper. If you prefer, you can use MuseScore or any other notation software of your choice. And listen to the rhythm as many times as you need in order to notate it correctly. You can check your answers with the answer key PDF that accompanies this video. Here's a quick tip for determining the time signature. The first beat of each measure is the strongest, Bs. If you listen for the strong beats, you will be able to tell when each measure begins. 123, go 123, go 12321, go 23123, go 12, go. 58. Answer Key_writing exercises (section 7): Check your answers from the previous video, but the following PDF attached with this course. 59. SECTION 8: Artificial Divisions: Earlier in the course, when you're learning all the various types of notes, you may have noticed that larger nodes are always divisible into two smaller nodes. For example, a whole note is divisible into 2.5 notes. Half-note is divisible into two quarter does. A quarter note is divisible into 2 eighth notes. And an eighth note is divisible into 2 16th notes. We call these natural divisions. When music is written in meters, such as 24 time, 34 time, or 44 time. Artificial divisions occur when you divide a note by a number other than two. Here we see each node has been divided into three smaller nodes rather than two. We call these specific artificial divisions triplets. Since this is a beginning course, we'll be focusing on the eighth note triplets was look at the math and then we'll demonstrate with some examples. When one beat is divided into two equal parts, each note is worth 1.5 of a beat. When you artificially divide one beat into three equal parts, each note is worth 1 third of a beat. So the eighth notes in the bottom example would be slightly shorter than the ethos and the top example. That's because we're fitting 3 eighth notes into the normal space of 2 eighth notes. Although this is the case, each of these examples will actually take the same amount of time to play because they are both equal to a total of one beat. In order to distinguish normally thoughts from triplet eighth notes, a single number three is placed over the notes. This is the most common method of notating triplets. Other methods you may encounter R3 with the brackets, a three with a curved line. And a ratio of three to two, meaning three notes in the same time as two notes. For this course, whenever you count triplets, you will count the beat and then say triplet. For example, 1234. Here are normal eighth notes and triplet eighth notes back to back. So you can hear and compare the difference. 122. 60. Imitation Exercises (triplets): Each example twice. The first time through on the second time through 123123123123. To go. To go. Why? Go? 123123123123. 61. Metric Counting Assignment (section 8): Download the PDF assignment, complete the assignment, and then check your answers against the answer key. 62. Reading Exercises (triplets): Read each rhythm twice on the first time through, count out loud using metric counting. On the second time through. Play the rhythms. If you can't play, just clap along. 123, go 232323 to go to 222332323. 63. Writing Exercises (triplets): Listen to the following rhythms. Pause the video after each for them and then write them down on a piece of paper. If you prefer, you can use MuseScore or any other notation software of your choice. Listen to the rhythm as many times as you need in order to notate it correctly. You can check your answers with the answer key PDF that accompanies this video. Here's a quick tip for determining the time signature. The first beat of each measure is the strongest bees. If you listen for the strong beats, you will be able to tell when each measure begins. 123123, go. One to go. Why? 123? 64. Answer Key_writing exercises (section 8): Check your answers from the previous video, but the following PDF attached with this course. 65. SECTION 9: Adding Notes Together: By now you've probably noticed that there are only so many types of note lengths. We are basically limited to multiples of the beat and subdivisions of the beat. Sure, we can add dots to these notes to create new types of no lengths. But even this is limited. This is where the Thai comes in. A ties, a curved line that connects two or more nodes. Think of it as a piece of rope that ties denotes together, creating an unbroken chain of sound. In this example, a dotted half note is tied to a half note to make five beats. When the performer encounters a tied note, they play the first note and continued to hold the node for the duration of both notes. They do not start a new sound on the second note. So if you are clapping This example, you would not clap on the second note. 3-4-5. Ties are used in music for three basic reasons. Ties are used to create note lengths that we are unable to notate using the standard set of notes. Ties are used to continue the sound between measures. And ties are used as an alternate method of notation, which highlights the beat and makes the music easier to read. We will go over each of these with examples. One, ties are used to create note lengths that we are unable to notate using the standard set of notes. There is no note that is equal to seven beats and duration. But if we tied together a whole notes and a dotted half note, we can make a note that is held for a total of seven beats. To create even longer notes, we can string together multiple ties. In this example, you would play the first note and then continue to hold the note for a total of nine beats. We can also combine multiples with subdivisions to create all new note lengths. In this example, a half-note is tied to an eighth note to create a note that is 2.5 beats and duration to ties are used to continue the sound between measures. In this example, the last node of the first measure is tied to the first node, the second measure. Although these tied notes equal a total of two beats and are basically the same thing as a half note. We are unable to place a half note at the end of the first measure, since this would be too many beats in a measure of 44 time. Three, ties are used as an alternate method notation, which highlights the beat and makes them easier to read. Any musician should be able to count and play this example without any problems. Although there's nothing incorrect with the notation, there is a better way to notate it using a TI. Notating it in this way highlights the beat by separating groups of notes into beats, thus making it easier to read. Both of these examples sound exactly the same. Sometimes ties are used instead of dotted notes for the same reason. Again, this highlights the beat. By separating groups of notes into beats. It makes it easier to read. Both of these examples sound exactly the same. Two and Three. Counting ties is no different than the metric counting you've already learned. Here's an example that contains a triplet. 66. Imitation Exercises (ties): Each example will be heard twice. On the first time through. Just listen on the second time through. Klopper play along. 123, go 123, go 123123123123121211, go 121212. Go go. Go. 67. Metric Counting Assignment (section 9): Download the PDF assignment, complete the assignment, and then check your answers against the answer key. 68. Reading Exercises (ties): Read each rhythm twice on the first time through, count out loud using metric counting. On the second time through. Play the rhythms. If you can't play, just clop along. 123, go 123, go 123123123, go 23, go, go, go. Go. 123123. Go. Now. To go. Go. Go. 69. Writing Exercises (ties): Listen to the following rhythms. Pause the video after each for them, and then write the rhythm down on a piece of paper. If you prefer, you can use MuseScore or any other notation software for choice. Listen to the rhythm as many times as you need in order to notate it correctly. You can check your answers with the answer key PDF that accompanies this video. One, 23, go 12312312. Go 123121, go. 70. Answer Key_writing exercises (section 9): Check your answers from the previous video, but the following PDF attached with this course. 71. SECTION 10: Changing the Beat: So far, all of the time signatures we have learned about in this course have had the number four on the bottom. A four on the bottom indicates that the quarter note has been designated as the beat. Time signatures with a 23 or four on top are called simple meters. When the bottom number on a time signature is an age rather than a four. This means that the eighth note has been designated as the beat, rather than a quarter note. This will be explained shortly. Time signatures with a 69 or 12 on top are called compound meters. In a measure of 68 time, we can fit a maximum of 6 eighth note beats. Let's take a closer look at what designating the eighth note as the beat entails. In compound meters, all of the notes will continue to have the same relationship to one another. What does change are the numerical values of the notes. Because the eighth note has been designated as the Beat, It will now have a value of one. Since it has a value of one, the quarter note will now have a value of two. Why? Because a quarter note is twice the duration of an eighth, that if you look at this chart, you'll see that all the nodes on the right are doubled. The valley of the notes in the left. Let's compare 34 time with 68 time. To highlight another important distinction. In both of these meters, you can have a maximum of 6 eighth notes. Because of this, many people believe that 3-4 and 6-8 are interchangeable. This is very far from the truth. Notice how the eighth notes in 34 time are grouped in sets of two. And how the eighth notes and 68 time are grouped in sets of three. This grouping affects the emphasis and the music and also how we perceive the beat. Listening. Compare 123123456. Even though there are six beats in the bottom measure, our ear perceives two beats because of the grouping. Each group of 3 eighth notes, Ziegel to dotted quarter note. This is why some music theorists argue that 68 time has two beats per measure. And then the dotted quarter note is to beat. To avoid any confusion. In this course, we will call the dotted quarter note the perceived beat. And the eighth though, the actual beat. Here are some more diagrams that show the perceived to beat. 98 time will fill like three beats per measure. 128 time will fail like four beats per measure. This is why these meters are called compound, because each perceived beat is made up of compounded, of 3 eighth note beats. Let's look at some examples so we can learn how to count and play rhythms and compound meters. It all of the exercises we will focus on 68 time. Since this is the most common of the compound meters. It will take awhile to get used to counting the eighth note as one. 1-2-3, 4-5-6, 1-2-3, 4-5-6. You can think of the quarter note as the new half-note, since it is now two beats. And you can think of the dotted quarter note as the new dotted half note. Since it is now three beats. 1-2-3, 4-5-6, 1-2-3, 4-5-6. Think of 16th notes as the new eighth note subdivisions. We'll count these the same way we counted eighth note subdivisions by saying and 123456123456. 72. Imitation Exercises (compound meter): Each example will be heard twice. On the first time through. Just listen on the second time through. Klopper play along. 12345 go 1-2-3-4-5 go 1234512345. Go 12345123451234512345, go 12341234512345, go 1-2-3-4-5, 12121212345 73. Metric Counting Assignment (section 10): Download the PDF assignment, complete the assignment, and then check your answers against the answer key. 74. Reading Exercises (compound meter): read each rhythm twice on the first time through count out loud using a metric counting on the second time through play the rhythms if you can't play just clap along one two three four one two three four five one two three four five one two three four five one two three four five one two three four five one two three four five one two three four five one two three four five two three four five one two three four five one two three four five one two three four five one two three four five one two three four five one two three four five 75. Writing Exercises (compound meter): Listen to the following rhythms. Pause the video after each for them, and then write the rhythm down on a piece of paper. If you prefer, you can use MuseScore or any other notation software for choice. Listen to the rhythm as many times as you need in order to notate it correctly. You can check your answers with the answer key PDF that accompanies this video. 1-2-3-4-5, 123451245123451234, go 123451512345. 76. Answer Key_writing exercises (section 10): Check your answers from the previous video, but the following PDF attached with this course.