Rhythm Variations On The Doublet Pattern
The following rhythm patterns break certain beats into two parts. These rhythms, and variations built upon them, will be used to play blues and rock songs in later lessons.
Although a number with a timing slash is meant to be played as one entire beat, it is acceptable to play it as a half or short note, and catch a quick breath during the rest of the beat, if desired. The ways in which these timing variations would be written in standard musical notation is explained in Appendix B at the end of this book.
A Blues Style Rhythm Pattern
This variation is simpler than the original doublet rhythm, since it leaves one entire beat in which to breathe. Do not omit the silent beat, represented by the slash without a note. It must be tapped out, mentally or by foot, before repeating the pattern.
A Word To the Wise
Practice the Blues Style Rhythm Pattern above on the 123i chord. If you eventually plan to work seriously in the blues genre, then practicing this pattern on the 2i note by itself will also be useful. Re-read the end of Lesson Three if you find this difficult.
The Blues Style Rhythm Pattern may also be played with two notes on the first beat.
A Classical Style Rhythm Pattern
A portion of this pattern, in which a particular note is held for one-and-a-half beats, and the next note is held for one-half a beat, is common to many folk and classical songs. Practice to prepare for its use, with many variations, in the songs of the following lessons.
A Rock And Roll Style Rhythm Pattern
This pattern is a basic version of what is probably the most popular rock and roll rhythm. Try to emphasize the notes that fall on the second and fourth beats, as indicated by the explanation points on the tonguing.
In the following verse, space has been conserved by placing the first repeat sign at the end of the top line, rather than writing the top two measures out twice. Thus the top line represents four, not two, measures.
Use a fast, fluttering hand vibrato on the long 45i and long 45e in the tenth and eleventh measures, and repeat the entire verse as indicated by the second repeat sign, at the end of the verse.
The following rock and roll style verse is based both on the Twelve Bar Chord Structure, and on the rock rhythm presented earlier in this lesson. Many rock songs, like this one, drop the chord change from D to C in the ninth and tenth measure by holding one chord (D) throughout both measures. This verse also omits the turnaround. On the recording, the first verse is played with more chords, and the second verse is played with more single notes.
As indicated by the exclamation point in the rock rhythm pattern described on page 54, rock songs usually place emphasis on the second and fourth beat of each measure. Also, notice that the first line must be repeated, as indicated by the repeat sign at its end.
Once again, if you have enjoyed these simple blues (and rock) pieces, you will find many more in Progressive Blues Harmonica, and Progressive Blues Harmonica Licks.
