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Specialized Lessons
Rhythm
Technically rhythm is the timing pattern created by notes of different
durations. (A measure may contain more or less notes than beats.) Rhythm
is superimposed upon the beat. (To illustrate this sing Jingle Bells while clap-
ping your hands to a steady beat.
Another use of the word has to do with an attribute of a musician. ("That
player has good rhythm .") Here the word refers to a player's coordination
in sync with time. It is this sense of the word that we will deal with in this
chapter.
Lack of rhythm (coordination) can be a major cause of frustration for
beginners but is also evident in many intermediate players. It may mean the
difference between success and failure as rhythm difficulties slow down the
learning process, both in terms of technique and in perception of musical
phrases. Also, within a group a single player without rhythm may become a
"rhythm parasite", relying on others to keep the beat while creating havoc
with the tempo of the music.*
*I find that many bluegrass players in their rush to play fast, have ignored rhythmic develop-
ment. The result is "snowballing", or rushing of the tempo. (It only takes one person in a
group of four or five to create this undesirable effect. Watch a player's foot to see if they are
tapping right on the beat or if they are tapping arbitrarily.) The following exercise is invalu-
able not only as a remedy for rushing, but also for long term rhythmic development and
coordination.
The exercises in this chapter are a form of bilateral motor development,
a type of physical therapy if you will. The exercises are heiarchial and each
can be achieved quickly with patient focussed intent.
WALKING AND CHEWING GUM
Every musician must be a "drummer" in the sense that your body must be
in sync with the music you are playing. (Many professional musicians I know
are able to play drums.) These coordination exercises will be played on an
imaginary drum kit. (Tap your hands on your legs while you tap your feet.)
The following is a common 4/4 drum pattern that involves the four limbs. It
is the final goal of the exercises.
| LEFT FOOT | (hi-hat) | 1 | 2 | 3 |
4 | | RIGHT FOOT | (bass drum) | 1 | | 3 | |
| LEFT HAND | (snare drum) | | 2 | | 4 |
| RIGHT HAND | (ride cymbal) |
1 and
|
2 and | 3 and |
4 and |
This drum pattern can be learned step-by-step in four phases. The follow-
ing exercises should be done with a metronome starting at 60-80 beats per
minute. Do each exercise until it becomes automatized . (That is, until it is
automatic--You should be able to carry on a conversation while doing this.)
Then speed up gradually.
PHASE ONE: SINGLE LIMBS
THE LEFT FOOT keeps the meter (steady beat) while tapping quarter notes
(single-beat notes) on the "high-hat". (On a drum kit, this is the foot pedal
that clangs two cymbals together.) Practice while counting with the metro-
nome. (Start at 60-80 bpm then gradually increase.)
NOTE: Keep the foot on the ground until the next beat occurs--do not invol-
untarily pick up the foot on the "up-beat" (the "and") as this will encourage
rushing. (You are after total control with no flinching!)
| count: |
1 (and)
|
2 (and)
|
3 (and)
|
4 (and)
| . . . |
LF:
|
tap(hold)
| tap (hold) | tap (hold) |
tap (hold) | . . . |
THE RIGHT FOOT taps the "bass drum", half notes (two-beat notes) on beats
one and three. Keep the foot on the ground until the next tap.
| count: |
1
| 2 | 3 | 4 | .
. . |
RF:
|
tap
|
(hold)
| tap | (hold) | . . . |
THE RIGHT HAND taps continuous eight notes (half beats) on the "ride cymbal"
(right knee).
| count: |
1 and
|
2 and
|
3 and
|
4 and
| . . . |
RH:
|
tap tap
|
tap tap
|
tap tap
|
tap tap
| . . . |
THE LEFT HAND taps quarter notes on the "snare drum" (left knee) on beats
two and four. (Keep the hand down until the next beat.)
| count: |
1
| 2 | 3 | 4 | .
. . |
LH:
| (hold) |
tap
| (hold) |
tap
| . . . |
EXERCISE: Playing In A Circle
The four limbs create a "circle". Clockwise starting from the left foot the
order is LF-LH-RH-RF. Starting slowly (with a metronome), play each limb for
four measures while you count "1-2-3-4 2-2-3-4 3-2-3-4 4-2-3-4".
Without stopping proceed to the next limb and do the same. Continue with
each limb around the circle until it becomes fluent. Then do the same in a
counterclockwise circle (LF-RF-RH-LH). Gradually increase speed in both
directions. When this is mastered decrease the number of measures played
by each limb to two measures while counting "1-2-3-4 2-2-3-4". Play in both
directions (continually, then increase speed). Finally, play one measure with
each limb (four continual measures in either direction) while counting
"1-2-3-4 2-2-3-4 3-2-3-4 4-2-3-4". Gradually increase the speed.
Do not advance to phase two until phase one is mastered.
PHASE TWO: PAIRS
Now you must walk and chew gum. The following exercises are done two
limbs at a time. There are six combinations. Start at 60-80 bpm, do each
exercise until it becomes automatic, then increase speed.
FEET
| count: |
1
| 2 | 3 | 4 | . . . |
LF:
| tap | tap | tap | tap | . . . |
RF:
| tap | (hold) | tap |
(hold) | . . . |
HANDS
count:
|
1 and
|
2 and
|
3 and
|
4 and
| . . . |
LH:
| (hold) | tap | (hold) | tap | .
. . |
RH:
|
tap tap
|
tap tap
|
tap tap
|
tap tap
| . . . |
LEFT SIDE
| count: |
1
| 2 | 3 | 4 | . . . |
LF:
| tap | tap | tap | tap | . . . |
LH:
| (hold) | tap | (hold) | tap | .
. . |
RIGHT SIDE
count:
|
1 and
|
2 and
|
3 and
|
4 and
| . . . |
RF:
| tap | (hold) | tap |
(hold) | . . . |
RH:
|
tap tap
|
tap tap
|
tap tap
|
tap tap
| . . . |
DRUM CROSSOVER
count:
|
1
|
2
|
3
|
4
| . . . |
RF:
| tap | (hold) | tap |
(hold) | . . . |
LH:
| (hold) |
tap
| (hold) |
tap
| . . . |
CYMBAL CROSSOVER
count:
|
1 and
|
2 and
|
3 and
|
4 and
| . . . |
LF:
| tap | tap | tap | tap | . . . |
RH:
|
tap tap
|
tap tap
|
tap tap
|
tap tap
| . . . |
Be sure to rid your body of flinches (involuntary movements) such as the
left foot, right foot, and left hand lifting too soon. (You want to attain total
control!) Do not advance to phase three until phase two is mastered.
EXERCISE: Switching Pairs
Combinations of the six pairs of limbs can be systematically practiced as
follows.
HANDS-FEET: Starting slowly (with a metronome) play the hands in four-
measure increments while counting "1-2-3-4 2-2-3-4 3-2-3-4 4-2-3-4".
Without stopping shift to the feet. Speed up gradually until fluent. Reduce
to two-measure increments while counting "1-2-3-4 2-2-3-4", then reduce to
one-measure increments while counting "1-2-3-4 2-2-3-4 3-2-3-4 4-2-3-4".
LEFT SIDE-RIGHT SIDE: Starting slowly (with a metronome) play the left side
in four-measure increments while counting "1-2-3-4 2-2-3-4 3-2-3-4
4-2-3-4". Without stopping shift to the right side. Speed up gradually until
fluent. Reduce to two-measure increments while counting "1-2-3-4 2-2-3-4",
then reduce to one-measure increments while counting "1-2-3-4 2-2-3-4
3-2-3-4 4-2-3-4".
DRUM CROSSOVER-CYMBAL CROSSOVER: Do the same exercise as above with
these combinations.
LEFT SIDE-FEET: (same)
LEFT SIDE-HANDS: (same)
LEFT SIDE-DRUM CROSSOVER: (same)
LEFT SIDE-CYMBAL CROSSOVER: (same)
RIGHT SIDE-FEET: (same)
RIGHT SIDE-HANDS: (same)
RIGHT SIDE-DRUM CROSSOVER: (same)
RIGHT SIDE-CYMBAL CROSSOVER: (same)
HANDS-DRUM CROSSOVER: (same)
HANDS-CYMBAL CROSSOVER: (same)
FEET-DRUM CROSSOVER: (same)
FEET-CYMBAL CROSSOVER: (same)
Do not advance to phase three until all elements of phase two are mas-
tered.
PHASE THREE: TRIOS
Now you must walk, chew gum, and recite the Gettysburg Address. The
following exercises are done three limbs at a time. There are four combina-
tions. Start at 60-80 bpm, do each exercise until it becomes automatic,
then slowly build up speed.
NO LEFT HAND
count:
| 1 | 2 | 3 | 4 | . . . |
LF:
| tap | tap | tap | tap | . . . |
RF:
| tap | (hold) |
tap | (hold) |
. . . |
RH:
| tap tap | tap tap | tap tap | tap tap | . . . |
NO RIGHT HAND
count:
| 1 | 2 | 3 | 4 | . . . |
LF:
| tap | tap | tap | tap | . . . |
RF:
| tap | (hold) |
tap | (hold) |
. . . |
LH:
| (hold) | tap | (hold) | tap | .
. . |
NO LEFT FOOT
count:
| 1 | 2 | 3 | 4 | . . . |
LH:
| (hold) | tap | (hold) | tap |
. . . |
RF:
| tap | (hold) |
tap | (hold) |
. . . |
RH:
| tap tap | tap tap | tap tap | tap tap | . . . |
NO RIGHT FOOT
count:
| 1 |
2 | 3 | 4 | . . . |
LF:
| tap | tap | tap | tap | . . . |
LH:
| (hold) | tap | (hold) | tap |
. . . |
RH:
| tap tap | tap tap | tap tap | tap tap | . . . |
EXERCISE: Switching Trios
Combinations of the four trios of limbs can be systematically practiced as
follows.
NO LEFT HAND-NO RIGHT HAND: Play in four measure increments, then two
measures, and finally one measure. Slowly at first, then increase speed.
NO LEFT HAND-NO LEFT FOOT: (same)
NO LEFT HAND-NO RIGHT FOOT: (same)
NO RIGHT HAND-NO LEFT FOOT: (same)
NO RIGHT HAND-NO RIGHT FOOT: (same)
NO LEFT FOOT-NO RIGHT FOOT: (same)
Do not advance to phase four until all elements of phase three are mas-
tered.
PHASE FOUR: ALL TOGETHER NOW!
Starting at 60-80 bpm, do the exercise while counting "1-2-3-4 2-2-3-4
3-2-3-4 4-2-3-4". until it becomes automatic. Gradually increase speed,
then go join a rock band as a drummer.
count:
| 1 | 2 | 3 | 4 | . . . |
LF:
| tap | tap | tap | tap | . . . |
RF:
| tap | (hold) | tap | (hold) | . . . |
LH:
| (hold) | tap | (hold) | tap |
. . . |
RH:
| tap tap | tap tap | tap tap | tap tap | . . . |
GET SYNCHOPATED!
Let's advance to the next level. Assuming you've made it this far, this will
not take a lot of work. Change only the bass drum (right foot) as follows:
count:
| 1 |
2 and
| 3 |
4 and
| . . . |
RF:
| tap | (hold) tap | tap |
(hold) tap | |
Go through all exercises involving the right foot.
If you enjoy drumming (and who doesn't--just look at Animal in the Muppet
Band!) there is a great device for the novice. The Yamaha company makes
makes an electronic drum kit that can be bought for $300.00 or under
(adapter sold separately). It is the model DD-50 (digital drums) and does
so many amazing things, among them:
It is complete touch-sensitive 5-piece drum set complete with hi-hat
trigger (opened and closed), bass drum trigger, snare, three toms, and two
cymbals. It is very light and about the size of a breadbox (do they still make
those things?).
Two speakers are built in. It gets pretty loud, so if you want to jam with the
stereo . . . There is also headphone input that deactivates the speakers if you
want to practice in private. You can also plug it into an external amplifier or
p.a. system. It sounds amazing! It can run on batteries, but I strongly sug-
gest getting the a.c. adapter.
75 on-board percussion sounds can be assigned to any pad or trigger.
(In otherwords you can design your own sets.) It has memory storage for
20 different kits.
Now the clincher. Besides having a built-in metronome it also has 100
songs of varying style built in. You can change tempo and add or subtract
the drums. (Can you tell I used to work in a music store?)
All in all it's a super impressive tool (and toy) for not too much moola. Many
of my students have bought them and it has made a marked improvement in
their overall rhythm. (Besides being able to work out their frustrations by
pounding on something!)
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