Chords for HOW TO READ ANY RHYTHM
Tempo:
139.45 bpm
Chords used:
G
F
Bb
Ab
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hey everybody, I'm Rick Beato.
On today's Everything Music, I'm going to teach you how to read any rhythm.
What we're going to need to do is we're going to memorize six different rhythms that I call sight rhythms.
There are two elements to rhythm reading.
One is notes and the other are rests.
We're going to start with notes first.
I'm going to use sixteenth notes to demonstrate these six patterns,
but we can easily use eighth notes or quarter notes.
I'll show you that as well.
The first pattern you're going to memorize is four sixteenth notes.
We're going to subdivide it like most people do, which is the beat number.
One, E, and, ah.
The E is the second sixteenth note, the and is the third sixteenth note,
and the ah is the fourth sixteenth note.
So it'll go one E and a two E and a three E and a four E and a.
Here's pattern one.
One, two, three, four.
I just want to go over something real quickly.
When we're counting this out,
the one E and, the plus sounds like and.
That's how people typically say it.
So one E and a two E and a.
Here are eighth notes represented.
So if you were to count eighth notes, you'd go one and two and.
So those ands line up with these ands.
Here's pattern two.
One, two, three, four.
Here's pattern three.
One, two, three, four.
Here's pattern four.
One, [Bb] two, three, [F] four.
Anytime you have a fourth sixteenth note in a grouping, it always belongs to the next set of [G] sixteenths.
So it'd be one E and [Ab] a two, a two.
So you want to make these, [G] this is going to belong to the next one.
This is going to belong to three.
Okay?
So you always want to think about.
Da da, da da da, da da da.
So remember.
Da da, da da da, two, three, four.
Da da, da da da, da da da.
So it's a [F] pick up to the next grouping.
Here's pattern five.
One, two, three, four.
And the last pattern, number six, goes like this.
One, two, three, four.
Next I'd like to talk about equivalent rhythms.
All of these rhythms sound the same if you look at the BPMs.
This rhythm at 50 BPMs [Abm] sounds identical to this rhythm at 100 BPMs.
And it sounds identical to [Em] this rhythm at 200 BPMs.
So all you need to do is know how to read these patterns and know that they are rhythmic equivalents.
So this pattern, three [Bb] and four and.
Da da [F] da da, da da da da.
This top rhythm is the same if I go one, two, three, four.
Da da da da, da da da da.
That would be the same in eighths and quarters.
And the same thing here if I did twice the rhythm, which is really too fast to clap.
Okay, so let's talk about rests next.
Now with rests, many of these patterns sound identical to the other ones.
Just the sixteenth note is shorter.
For example, [G] this pattern, this first [N] pattern.
Da da da, da da da.
One e and, one e and.
It sounds like this would be a short eighth note.
Which you could write it either way.
And you'll see rhythms written this way many, many times.
Where you could have an eighth note with a dot on it and it would be the same thing.
This, however, is a unique rhythm.
That's why I have this star here.
Rest da [G] da da, rest da da da, rest da da da.
Rest e and a, [Gb] e and a, [F] e and a.
E and a, e and a, e and a.
Number three would simply be da da da da.
It sounds like two short eighth notes, but it's really sixteenths.
So it's one e and.
So one and then and.
So da da da da da da.
They're just short.
So if you wanted somebody to articulate it short,
if you're playing a trumpet part, for example,
this rhythm you would see played commonly.
Now, I wrote it this way with a beam
because it's more of a modern way to write it.
Instead of writing a sixteenth note, sixteenth rest,
another sixteenth note, another sixteenth note rest.
Typically you would see that in [N] orchestral writing.
You'll see this as a shortcut.
This is a unique rhythm.
So it would be one e and a, one e and a. Three, four.
Ah, ah.
Number five, you could have written as an eighth note
with a dot on it so it's short.
But it'd be like one e and a, two e and a, three e and a.
Da, da, da, da, da.
So that's not unique.
Number six here is unique.
Rest da, rest da.
So one e and a, one e and a, one e and a.
Number seven, since the sixteenth note lies on a beat,
it's not unique because it comes on and.
Number eight is a unique rhythm
because we have a sixteenth note on the last
so it would be one e and a.
Three, four, one e and a, one e and a, one e and a,
one e and a, okay?
Number nine and number ten sound identical actually.
[G] If you went, now this is an eighth note,
rest, sixteenth note, and this is sixteenth,
rest, rest, sixteenth.
[F] But you could say it's da, da, da, da, da, da, da.
This would be da, da, da.
This would be dat, dat, dat, dat, dat, dat, dat.
All you need to do is memorize these ten patterns with the rests.
Combine them with the six patterns from before
and you have all the possible combinations of four sixteenth notes.
Or if you make them eighth notes, it's the same thing.
Change everything here to eighth notes
and then you know how to perform these same rhythms as eighth notes.
Okay, the last thing we're going [G] to talk about are triplets.
Now, I did the same thing with these triplet equivalents.
Triplet sixteenth notes at 50 [F] BPMs
are going to sound the same as eighth note triplets at 100 BPM,
which are going to sound the same as quarter note triplets at 200 BPMs.
But in reality, the way that these would work is this.
If we put these all against a quarter note,
the triplet [Eb] sixteenth would sound like this.
Da, da, da, da, da, da, da, da, da, da, da, da, da, da, da.
The eighth note triplet would sound like this.
Three, four.
Da, da, da, da, da, da, da, da, da, da, da, da, da.
With the downbeats on both of those falling on strong beats.
But with the quarter note triplets, it's a little bit different.
You get this three against two feel or hemiola,
which would be this, a pattern like this.
Three, four.
Ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba.
So every half note, you fall on a [N] downbeat. Three, four.
Ba, ba, ba, ba, ba, ba, ba, ba, ba.
That's a three against two pattern or a hemiola.
Any of you that watch any of my jazz videos
will know that we use triplets a lot on the second beat in bebop
because that's kind of a Charlie Parker thing
or really a bebop thing.
[Ebm] Respa da da da da da da [Eb] da da da da da. Boo ba.
Now, this is a tied note,
but really it's playing da da da.
Da da da.
Da da da da da.
Okay?
In jazz, we play swing eighth notes.
See, these eighths are played as triplets with a triplet feel.
It's called a swing feel.
These are called swing eighths.
So three, four.
Ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba.
Okay, let's take a look at a real world example.
This is John Williams' Superman theme.
Let's take a look at this [Gm] rhythm.
[C]
[G]
[C]
[Ab] [Bb]
[Gm]
That's all for now.
Please subscribe here to my Everything Music YouTube channel.
And if you're interested in the Beato book,
you can write me at rickbeato1 at gmail.com.
Don't forget to hit the subscribe button
and the notification button.
Thanks for watching.
I'm Rick Beato.
[N]
On today's Everything Music, I'm going to teach you how to read any rhythm.
What we're going to need to do is we're going to memorize six different rhythms that I call sight rhythms.
There are two elements to rhythm reading.
One is notes and the other are rests.
We're going to start with notes first.
I'm going to use sixteenth notes to demonstrate these six patterns,
but we can easily use eighth notes or quarter notes.
I'll show you that as well.
The first pattern you're going to memorize is four sixteenth notes.
We're going to subdivide it like most people do, which is the beat number.
One, E, and, ah.
The E is the second sixteenth note, the and is the third sixteenth note,
and the ah is the fourth sixteenth note.
So it'll go one E and a two E and a three E and a four E and a.
Here's pattern one.
One, two, three, four.
I just want to go over something real quickly.
When we're counting this out,
the one E and, the plus sounds like and.
That's how people typically say it.
So one E and a two E and a.
Here are eighth notes represented.
So if you were to count eighth notes, you'd go one and two and.
So those ands line up with these ands.
Here's pattern two.
One, two, three, four.
Here's pattern three.
One, two, three, four.
Here's pattern four.
One, [Bb] two, three, [F] four.
Anytime you have a fourth sixteenth note in a grouping, it always belongs to the next set of [G] sixteenths.
So it'd be one E and [Ab] a two, a two.
So you want to make these, [G] this is going to belong to the next one.
This is going to belong to three.
Okay?
So you always want to think about.
Da da, da da da, da da da.
So remember.
Da da, da da da, two, three, four.
Da da, da da da, da da da.
So it's a [F] pick up to the next grouping.
Here's pattern five.
One, two, three, four.
And the last pattern, number six, goes like this.
One, two, three, four.
Next I'd like to talk about equivalent rhythms.
All of these rhythms sound the same if you look at the BPMs.
This rhythm at 50 BPMs [Abm] sounds identical to this rhythm at 100 BPMs.
And it sounds identical to [Em] this rhythm at 200 BPMs.
So all you need to do is know how to read these patterns and know that they are rhythmic equivalents.
So this pattern, three [Bb] and four and.
Da da [F] da da, da da da da.
This top rhythm is the same if I go one, two, three, four.
Da da da da, da da da da.
That would be the same in eighths and quarters.
And the same thing here if I did twice the rhythm, which is really too fast to clap.
Okay, so let's talk about rests next.
Now with rests, many of these patterns sound identical to the other ones.
Just the sixteenth note is shorter.
For example, [G] this pattern, this first [N] pattern.
Da da da, da da da.
One e and, one e and.
It sounds like this would be a short eighth note.
Which you could write it either way.
And you'll see rhythms written this way many, many times.
Where you could have an eighth note with a dot on it and it would be the same thing.
This, however, is a unique rhythm.
That's why I have this star here.
Rest da [G] da da, rest da da da, rest da da da.
Rest e and a, [Gb] e and a, [F] e and a.
E and a, e and a, e and a.
Number three would simply be da da da da.
It sounds like two short eighth notes, but it's really sixteenths.
So it's one e and.
So one and then and.
So da da da da da da.
They're just short.
So if you wanted somebody to articulate it short,
if you're playing a trumpet part, for example,
this rhythm you would see played commonly.
Now, I wrote it this way with a beam
because it's more of a modern way to write it.
Instead of writing a sixteenth note, sixteenth rest,
another sixteenth note, another sixteenth note rest.
Typically you would see that in [N] orchestral writing.
You'll see this as a shortcut.
This is a unique rhythm.
So it would be one e and a, one e and a. Three, four.
Ah, ah.
Number five, you could have written as an eighth note
with a dot on it so it's short.
But it'd be like one e and a, two e and a, three e and a.
Da, da, da, da, da.
So that's not unique.
Number six here is unique.
Rest da, rest da.
So one e and a, one e and a, one e and a.
Number seven, since the sixteenth note lies on a beat,
it's not unique because it comes on and.
Number eight is a unique rhythm
because we have a sixteenth note on the last
so it would be one e and a.
Three, four, one e and a, one e and a, one e and a,
one e and a, okay?
Number nine and number ten sound identical actually.
[G] If you went, now this is an eighth note,
rest, sixteenth note, and this is sixteenth,
rest, rest, sixteenth.
[F] But you could say it's da, da, da, da, da, da, da.
This would be da, da, da.
This would be dat, dat, dat, dat, dat, dat, dat.
All you need to do is memorize these ten patterns with the rests.
Combine them with the six patterns from before
and you have all the possible combinations of four sixteenth notes.
Or if you make them eighth notes, it's the same thing.
Change everything here to eighth notes
and then you know how to perform these same rhythms as eighth notes.
Okay, the last thing we're going [G] to talk about are triplets.
Now, I did the same thing with these triplet equivalents.
Triplet sixteenth notes at 50 [F] BPMs
are going to sound the same as eighth note triplets at 100 BPM,
which are going to sound the same as quarter note triplets at 200 BPMs.
But in reality, the way that these would work is this.
If we put these all against a quarter note,
the triplet [Eb] sixteenth would sound like this.
Da, da, da, da, da, da, da, da, da, da, da, da, da, da, da.
The eighth note triplet would sound like this.
Three, four.
Da, da, da, da, da, da, da, da, da, da, da, da, da.
With the downbeats on both of those falling on strong beats.
But with the quarter note triplets, it's a little bit different.
You get this three against two feel or hemiola,
which would be this, a pattern like this.
Three, four.
Ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba.
So every half note, you fall on a [N] downbeat. Three, four.
Ba, ba, ba, ba, ba, ba, ba, ba, ba.
That's a three against two pattern or a hemiola.
Any of you that watch any of my jazz videos
will know that we use triplets a lot on the second beat in bebop
because that's kind of a Charlie Parker thing
or really a bebop thing.
[Ebm] Respa da da da da da da [Eb] da da da da da. Boo ba.
Now, this is a tied note,
but really it's playing da da da.
Da da da.
Da da da da da.
Okay?
In jazz, we play swing eighth notes.
See, these eighths are played as triplets with a triplet feel.
It's called a swing feel.
These are called swing eighths.
So three, four.
Ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba.
Okay, let's take a look at a real world example.
This is John Williams' Superman theme.
Let's take a look at this [Gm] rhythm.
[C]
[G]
[C]
[Ab] [Bb]
[Gm]
That's all for now.
Please subscribe here to my Everything Music YouTube channel.
And if you're interested in the Beato book,
you can write me at rickbeato1 at gmail.com.
Don't forget to hit the subscribe button
and the notification button.
Thanks for watching.
I'm Rick Beato.
[N]
Key:
G
F
Bb
Ab
Eb
G
F
Bb
Hey everybody, I'm Rick Beato.
On today's Everything Music, I'm going to teach you how to read any rhythm.
What we're going to need to do is we're going to memorize six different rhythms that I call sight rhythms.
There are two elements to rhythm reading.
One is notes and the other are rests.
We're going to start with notes first.
I'm going to use sixteenth notes to demonstrate these six patterns,
but we can easily use eighth notes or quarter notes.
I'll show you that as well.
The first pattern you're going to memorize is four sixteenth notes.
We're going to subdivide it like most people do, which is the beat number.
One, E, and, ah.
The E is the second sixteenth note, the and is the third sixteenth note,
and the ah is the fourth sixteenth note.
So it'll go one E and a two E and a three E and a four E and a.
Here's pattern one.
One, two, three, four. _ _ _ _ _
_ _ I just want to go over something real quickly.
When we're counting this out,
the one E and, the plus sounds like and.
That's how people typically say it.
So one E and a two E and a.
Here are eighth notes represented.
So if you were to count eighth notes, you'd go one and two and.
So those ands line up with these ands.
Here's pattern two.
One, two, three, four. _ _
_ _ _ _ _ _
Here's pattern three.
_ One, two, three, four. _
_ _ _ _ _ _
Here's pattern four.
One, [Bb] two, three, [F] four.
_ _ _ _ _ _
_ Anytime you have a fourth sixteenth note in a grouping, it always belongs to the next set of [G] sixteenths.
So it'd be one E and [Ab] a two, a two.
So you want to make these, _ _ [G] this is going to belong to the next one.
This is going to belong to three.
Okay?
So you always want to think about.
Da da, da da da, da da da.
So remember.
Da da, da da da, two, three, four.
Da da, da da da, da da da.
So it's a [F] pick up to the next grouping.
Here's pattern five.
One, two, three, four. _ _ _ _ _
_ _ And the last pattern, number six, goes like this.
One, two, three, four. _ _
_ _ _ _ _ _
Next I'd like to talk about equivalent rhythms.
All of these rhythms sound the same if you look at the BPMs.
This rhythm at 50 BPMs [Abm] sounds identical to this rhythm at 100 BPMs.
And it sounds identical to [Em] this rhythm at 200 BPMs.
So all you need to do is know how to read these patterns and know that they are rhythmic equivalents.
So this pattern, three [Bb] and four and.
Da da [F] da da, da da da da.
_ This top rhythm is the same if I go one, two, three, four.
Da da da da, da da da da.
_ That would be the same in eighths and quarters.
_ And the same thing here if I did twice the rhythm, which is really too fast to clap. _ _
Okay, so let's talk about rests next.
Now with rests, many of these patterns sound identical to the other ones.
Just the sixteenth note is shorter.
For example, [G] this pattern, this first [N] pattern.
Da da da, da da da.
One e and, one e and.
_ It sounds like this would be a short eighth note.
Which you could write it either way.
And you'll see rhythms written this way many, many times.
Where you could have an eighth note with a dot on it and it would be the same thing.
This, however, is a unique rhythm.
That's why I have this star here. _
Rest da [G] da da, rest da da da, rest da da da.
Rest e and a, [Gb] e and a, [F] e and a.
E and a, e and a, e and a.
_ Number three would simply be da da da da.
It sounds like two short eighth notes, but it's really sixteenths.
So it's one e and.
So one and then and.
_ So da da da da da da.
They're just short.
So if you wanted somebody to articulate it short,
if you're playing a trumpet part, for example, _
this rhythm you would see played commonly.
Now, I wrote it this way with a beam
because it's more of a modern way to write it.
Instead of writing a sixteenth note, sixteenth rest,
another sixteenth note, another sixteenth note rest. _
Typically you would see that in [N] orchestral writing.
You'll see this as a shortcut. _ _
This is a unique rhythm.
So it would be one e and a, one e and a. Three, four.
Ah, ah.
Number five, you could have written as an eighth note
with a dot on it so it's short.
But it'd be like one e and a, two e and a, three e and a.
Da, da, da, da, da.
So that's not unique.
Number six here is unique.
Rest da, rest da.
So one e and a, one e and a, one e and a.
Number seven, since the sixteenth note lies on a beat,
it's not unique because it comes on and.
_ Number eight is a unique rhythm
because we have a sixteenth note on the last
so it would be one e and a. _
Three, four, one e and a, one e and a, one e and a,
one e and a, okay?
_ Number nine and number ten sound identical actually.
[G] If you went, now this is an eighth note,
rest, sixteenth note, and this is sixteenth,
rest, rest, sixteenth.
[F] But you could say it's _ da, da, da, da, da, da, da.
This would be da, da, da.
This would be dat, dat, dat, dat, dat, dat, dat.
All you need to do is memorize these ten patterns with the rests.
_ Combine them with the six patterns from before
and you have all the possible combinations of four sixteenth notes.
Or if you make them eighth notes, it's the same thing.
Change everything here to eighth notes
and then you know how to perform these same rhythms as eighth notes.
_ _ Okay, the last thing we're going [G] to talk about are triplets.
Now, _ I did the same thing with these triplet equivalents.
_ _ _ Triplet sixteenth notes at 50 [F] BPMs
are going to sound the same as eighth note triplets at 100 BPM,
which are going to sound the same as quarter note triplets at 200 BPMs.
But in reality, the way that these would work is this.
If we put these all against a quarter note,
the triplet [Eb] sixteenth would sound like this.
Da, da, da, da, da, da, da, da, da, da, da, da, da, da, da.
The eighth note triplet would sound like this.
Three, four.
Da, da, da, da, da, da, da, da, da, da, da, da, da.
With the downbeats on both of those falling on strong beats.
But with the quarter note triplets, it's a little bit different.
You get this three against two feel or hemiola,
which would be this, a pattern like this.
Three, four.
Ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba.
So every half note, you fall on a [N] downbeat. Three, four.
Ba, ba, ba, ba, ba, ba, ba, ba, ba.
That's a three against two pattern or a hemiola.
Any of you that watch any of my jazz videos
will know that we use triplets a lot on the second beat in bebop
because that's kind of a Charlie Parker thing
or really a bebop thing.
[Ebm] Respa da da da da da da [Eb] da da da da da. Boo ba. _
Now, _ _ this is a tied note,
but really it's playing da da da.
Da da da.
_ Da da da da da.
Okay?
_ In jazz, we play swing eighth notes.
See, these eighths are played as triplets with a triplet feel.
It's called a swing feel.
These are called swing eighths.
So three, four.
Ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba. _
Okay, let's take a look at a real world example.
This is John Williams' Superman theme.
Let's take a look at this [Gm] rhythm. _ _ _ _
_ [C] _ _ _ _ _
_ _ _ _ _ _
_ _ _ [G] _ _ _
_ _ _ _ [C] _ _
_ _ _ _ _ _
_ _ [Ab] _ _ _ [Bb] _
_ _ [Gm] _ _ _ _
That's all for now.
Please subscribe here to my Everything Music YouTube channel.
And if you're interested in the Beato book,
you can write me at rickbeato1 at gmail.com.
Don't forget to hit the subscribe button
and the notification button.
Thanks for watching.
I'm Rick Beato.
_ [N] _
On today's Everything Music, I'm going to teach you how to read any rhythm.
What we're going to need to do is we're going to memorize six different rhythms that I call sight rhythms.
There are two elements to rhythm reading.
One is notes and the other are rests.
We're going to start with notes first.
I'm going to use sixteenth notes to demonstrate these six patterns,
but we can easily use eighth notes or quarter notes.
I'll show you that as well.
The first pattern you're going to memorize is four sixteenth notes.
We're going to subdivide it like most people do, which is the beat number.
One, E, and, ah.
The E is the second sixteenth note, the and is the third sixteenth note,
and the ah is the fourth sixteenth note.
So it'll go one E and a two E and a three E and a four E and a.
Here's pattern one.
One, two, three, four. _ _ _ _ _
_ _ I just want to go over something real quickly.
When we're counting this out,
the one E and, the plus sounds like and.
That's how people typically say it.
So one E and a two E and a.
Here are eighth notes represented.
So if you were to count eighth notes, you'd go one and two and.
So those ands line up with these ands.
Here's pattern two.
One, two, three, four. _ _
_ _ _ _ _ _
Here's pattern three.
_ One, two, three, four. _
_ _ _ _ _ _
Here's pattern four.
One, [Bb] two, three, [F] four.
_ _ _ _ _ _
_ Anytime you have a fourth sixteenth note in a grouping, it always belongs to the next set of [G] sixteenths.
So it'd be one E and [Ab] a two, a two.
So you want to make these, _ _ [G] this is going to belong to the next one.
This is going to belong to three.
Okay?
So you always want to think about.
Da da, da da da, da da da.
So remember.
Da da, da da da, two, three, four.
Da da, da da da, da da da.
So it's a [F] pick up to the next grouping.
Here's pattern five.
One, two, three, four. _ _ _ _ _
_ _ And the last pattern, number six, goes like this.
One, two, three, four. _ _
_ _ _ _ _ _
Next I'd like to talk about equivalent rhythms.
All of these rhythms sound the same if you look at the BPMs.
This rhythm at 50 BPMs [Abm] sounds identical to this rhythm at 100 BPMs.
And it sounds identical to [Em] this rhythm at 200 BPMs.
So all you need to do is know how to read these patterns and know that they are rhythmic equivalents.
So this pattern, three [Bb] and four and.
Da da [F] da da, da da da da.
_ This top rhythm is the same if I go one, two, three, four.
Da da da da, da da da da.
_ That would be the same in eighths and quarters.
_ And the same thing here if I did twice the rhythm, which is really too fast to clap. _ _
Okay, so let's talk about rests next.
Now with rests, many of these patterns sound identical to the other ones.
Just the sixteenth note is shorter.
For example, [G] this pattern, this first [N] pattern.
Da da da, da da da.
One e and, one e and.
_ It sounds like this would be a short eighth note.
Which you could write it either way.
And you'll see rhythms written this way many, many times.
Where you could have an eighth note with a dot on it and it would be the same thing.
This, however, is a unique rhythm.
That's why I have this star here. _
Rest da [G] da da, rest da da da, rest da da da.
Rest e and a, [Gb] e and a, [F] e and a.
E and a, e and a, e and a.
_ Number three would simply be da da da da.
It sounds like two short eighth notes, but it's really sixteenths.
So it's one e and.
So one and then and.
_ So da da da da da da.
They're just short.
So if you wanted somebody to articulate it short,
if you're playing a trumpet part, for example, _
this rhythm you would see played commonly.
Now, I wrote it this way with a beam
because it's more of a modern way to write it.
Instead of writing a sixteenth note, sixteenth rest,
another sixteenth note, another sixteenth note rest. _
Typically you would see that in [N] orchestral writing.
You'll see this as a shortcut. _ _
This is a unique rhythm.
So it would be one e and a, one e and a. Three, four.
Ah, ah.
Number five, you could have written as an eighth note
with a dot on it so it's short.
But it'd be like one e and a, two e and a, three e and a.
Da, da, da, da, da.
So that's not unique.
Number six here is unique.
Rest da, rest da.
So one e and a, one e and a, one e and a.
Number seven, since the sixteenth note lies on a beat,
it's not unique because it comes on and.
_ Number eight is a unique rhythm
because we have a sixteenth note on the last
so it would be one e and a. _
Three, four, one e and a, one e and a, one e and a,
one e and a, okay?
_ Number nine and number ten sound identical actually.
[G] If you went, now this is an eighth note,
rest, sixteenth note, and this is sixteenth,
rest, rest, sixteenth.
[F] But you could say it's _ da, da, da, da, da, da, da.
This would be da, da, da.
This would be dat, dat, dat, dat, dat, dat, dat.
All you need to do is memorize these ten patterns with the rests.
_ Combine them with the six patterns from before
and you have all the possible combinations of four sixteenth notes.
Or if you make them eighth notes, it's the same thing.
Change everything here to eighth notes
and then you know how to perform these same rhythms as eighth notes.
_ _ Okay, the last thing we're going [G] to talk about are triplets.
Now, _ I did the same thing with these triplet equivalents.
_ _ _ Triplet sixteenth notes at 50 [F] BPMs
are going to sound the same as eighth note triplets at 100 BPM,
which are going to sound the same as quarter note triplets at 200 BPMs.
But in reality, the way that these would work is this.
If we put these all against a quarter note,
the triplet [Eb] sixteenth would sound like this.
Da, da, da, da, da, da, da, da, da, da, da, da, da, da, da.
The eighth note triplet would sound like this.
Three, four.
Da, da, da, da, da, da, da, da, da, da, da, da, da.
With the downbeats on both of those falling on strong beats.
But with the quarter note triplets, it's a little bit different.
You get this three against two feel or hemiola,
which would be this, a pattern like this.
Three, four.
Ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba.
So every half note, you fall on a [N] downbeat. Three, four.
Ba, ba, ba, ba, ba, ba, ba, ba, ba.
That's a three against two pattern or a hemiola.
Any of you that watch any of my jazz videos
will know that we use triplets a lot on the second beat in bebop
because that's kind of a Charlie Parker thing
or really a bebop thing.
[Ebm] Respa da da da da da da [Eb] da da da da da. Boo ba. _
Now, _ _ this is a tied note,
but really it's playing da da da.
Da da da.
_ Da da da da da.
Okay?
_ In jazz, we play swing eighth notes.
See, these eighths are played as triplets with a triplet feel.
It's called a swing feel.
These are called swing eighths.
So three, four.
Ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba, ba. _
Okay, let's take a look at a real world example.
This is John Williams' Superman theme.
Let's take a look at this [Gm] rhythm. _ _ _ _
_ [C] _ _ _ _ _
_ _ _ _ _ _
_ _ _ [G] _ _ _
_ _ _ _ [C] _ _
_ _ _ _ _ _
_ _ [Ab] _ _ _ [Bb] _
_ _ [Gm] _ _ _ _
That's all for now.
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Thanks for watching.
I'm Rick Beato.
_ [N] _