More Rhythm: Breaking Beats Into Parts
Beats are not the smallest timing units in music, since even single beats can be divided up into smaller parts. Take a moment and review the" one" "two" "three" "four" rhythm learned in Lesson Two. As you did then, say "One" "Two" "Three" "Four" while you tap your foot. This time, observe your foot very closely.
Notice that your foot raises itself up off the floor in between each tap. Since it is common for a note of a song to be played for less than one entire beat, it is important for musicians to be able to divide beats up into parts.
The most usual way for musicians to count a beat that is broken into two parts is to say: "One and Two and Three and Four and" instead of the usual "one" "two" "three" "four". You should be saying each "and" while your foot is in mid-air, between taps. If you refrain from saying" and" after the "four", you will have just enough time to catch a quick breath before beginning on "one" again.
Practice saying this new rhythm for a while, which can be notated like this. Notice that the beat, as indicated by the timing slash, falls on the numbers" one", "two", "three", and "four", which represent the actual taps of your foot on the floor. The "ands" occur in between the slashes, and represent the time that your foot is raised in between taps.
Playing the Doublet Rhythm Pattern
Play the rhythm as either a chord or single note, as you prefer. Use a "ta", "da", or "ka" tonguing to break the note into two parts, rather than two separate puffs of air.
Using Partial Beats In The Train
Applying a more complex rhythm to the Train will make it more exciting and realistic sounding. Try tonguing a two syllable "Da ta", "Ta ta", or "Chuck-a" for each exhale chord of the train.
Whichever of these three doublet syllables you choose to use for your tonguing pattern, notice that the first syllable occurs when your foot hits the floor (directly under a timing slash), and the second syllable occurs in between taps (and between timing slashes).
And if you’ve mastered your inhaled tonguing effect, tongue a "Da ta" or "Chuck-a" for each chord, exhale and inhale.
Using Partial Beats In Songs
It is often possible to notate the timing of a song in more than one way. For example, in the previous notation for, each note was played for one beat. In the following notation version, many of the notes are only played for one half of a beat. Practice playing notes which do not occur on the beat, as indicated below.
Be sure to tap your foot only on the notes with timing slashes. You may fin d t hat the song has a "bounder" or more "flowing" fee ling to it, when played according to this notation. Otherwise it will sound exactly t he same as t he previous one note per beat version.
More Songs With Partial Beats
You may want to return to the one note per beat songs of Lesson Nine, and play them using partial beat rhythms rather than as notated previously. The following notation is probably considered more standard than the one note per beat versions, although both are perfectly acceptable.
Additional folk, classical, and holiday songs that use partial beats are presented in Lessons Fifteen, Sixteen, Seventeen, and Eighteen. The last two of these songs feature three notes per beat, as described more fully in Lesson Fifteen. Here is the first line of each.
