(Down - Top) RC 3.1 - Syncopation
Syncopation is the main rhythmic feature in Jazz, Blues and most Latin style music (Bossa Novas).
Syncopation either displaces a strong accent from beat 1 or 3 to beat 2 or 4 (Example 2) , or from any downbeat to an offbeat (Examples 3 and 4).
Syncopation is produced by the use of :
Examples 3 and 4 are cases of anticipated syncopation where the notes occur earlier than expected.
(The accents are expected on beats 3 and 4, but occur on offbeats 2+ and 3+.)
In this Lesson we start with quavers and longer notes, without rests or ties.
(Down - Up - Top) RC 3.2 - Subdivision of the 4/4 Bar
For ease of reading sheet music in 4/4 time (4 crotchet beats to each bar, also called 'Common time') generally avoids placing black headed notes (and their rest equivalents) across the middle point (downbeat of 3) of the bar.
As a consequence of this rule almost all rhythms in 4/4 time (as used in most Western music including Blues, Jazz, Pop and Latin) can be created from only a small number of rhythmic building blocks, each only 2 beats (half a bar) long. (Down - Up - Top) RC 3.3 - The 8 Basic Rhythm Segments
Shown below are the 8 most basic Rhythm Segments. Press on any Rhythm Segment to hear its Audio.
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Clap or play a long with each of above demos to become thoroughly familiar with each one.
Here are the same 8 basic Rhythm Segments, each one used twice to form a complete bar.
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Clap and play the Preparatory Exercise 1 a few times, until confident, before embarking on the next Chapter. (Down - Up - Top) RC 3.4 - Rhythm Patterns 1 - 24 Rhythm Patterns 1 - 12 and 13 - 24 consist of combinations of Rhythm Segments 1 to 8 only.
Clap and play these patterns first at a comfortable tempo (about 60 bpm) until you can play them confidently without any mistakes.
The downbeats 1 and 3 are shown below each bar. If you have trouble reading a particular pattern write the additional beat positions (numbers and plus signs) underneath it in pencil, but rub them out as soon as you can play the pattern with some confidence correctly.
The following active links are embedded in the sheet music for all Rhythm Patterns ![]() (Down - Up - Top) RC 3.5 - Downbeat Anchor points
Music notation, where possible, groups quavers and shorter notes together into whole beats by beaming. The start of a beam indicates therefore almost always the point of a downbeat.
As explained in Chapter 3.2 above, written music shows the middle point (downbeat 3) of each bar. In general only notes with white note heads run across the middle point of a bar. Crotchets are almost always split into 2 quavers (on 2+ and 3) tied together, except in situations where a crotchet makes the reading easier.
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Rests of 2 beats and shorter duration are written to show the downbeats and do not cross the middle point of the bar.
![]() When playing from written music always look for the following anchor points :
(Down - Up - Top) RC 3.6 - The Circle of Fifths Play-a-Longs Once you are familiar with clapping and playing the rhythm patterns with and without a Metronome you can use the Circle of Fifths Play-a-Long tracks. The tracks use dominant 7th chords, 2 bars for each chord, in anti-clockwise Circle of Fifths order.
![]() The various instruments start at different points on the Circle of Fifths as shown above.
Which notes to play You can select any one note from each dominant 7th chords for playing with the Circle of Fifths tracks. For example :
Keep it simple at first using one single note only : the main objective is to play the rhythms accurately and on time. Gradually experiment with using more notes : good improvisation practice for note selection and phrasing skills. (Down - Up - Top) RC 3.7 - Practice Material
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