Rhythm and Time Signatures Guitar Lesson

Chapter 1: (03:04) Lesson Overview & Rhythm This lesson marks the beginning of several lessons within this series that focus solely on rhythm. In the current lesson as well as many lessons to follow, Matt will present several exercises designed to help your rhythmic and counting abilities. This lesson starts with the absolute basics. The exercises presented here feature very simple rhythms in 4/4 time. Eventually, as the series progresses, these exercises will become much more difficult. For example, Eastern rhythm concepts, polyrhythms, and music written by the band Meshuggah will be discussed in future lessons.

Remember, solid rhythm begins with a firm understanding of the basics. If you do not understand a certain rhythmic concept presented in these lessons, make sure you email Matt directly on the JamPlay site. Do not proceed to the next rhythm lesson until you clear up any confusion. Chapter 2: (05:25) Basics of Notation and Time Signatures Clef Signs

Every piece of music begins with a clef symbol and key signature. Guitarists almost always play in treble or "G" clef. The loop of the treble clef symbol indicates where the note G is located on the staff. On a few rare occasions, you may see a 7-string or baritone guitar part written in bass clef.

Time Signatures

The clef and key signature are followed by the time signature. Almost all time signatures consist of two numbers. Most often there is one top number and one bottom number written in ration or fraction form. Occasionally you may see a few numbers on top. For example, you may see something like this: 3+2+3 all over 8. This specifies how groups of notes should be divided within the measure. Advanced time signatures such as this will be discussed in later lessons.

Top Number

The top number in a time signature indicates how many beats are in a measure.

Bottom Number

The bottom number indicates which note is counted as the beat. Memorize the following examples listed below.

2 on bottom = Half note gets the beat.

Common signatures: 2/2, 3/2.


4 on bottom = Quarter note gets the beat

Common signatures: 4/4, 3/4, 6/4, 5/4, 7/4.

8 on bottom = Eighth note gets the beat

Common signatures: 6/8, 12/8, 8/8, 7/8, 9/8, 3/8, 15/8.

16 on bottom = Sixteenth note gets the beat.

It is fairly rare for a sixteenth note or smaller value to be counted as the primary unit of the beat.

Introduction to Counting Syllables

When counting out a rhythm, specific counting syllables are applied to make things more manageable for the musician reading them.

A. Numerals

The note value that receives the beat is counted /written as a numeral. For example, in 4/4 time the quarter note receives the beat. As a result, the first beat is designated with the number "1." For a measure consisting of four quarter notes, you would count, "1, 2, 3, 4."

B. The "+" Sign

A "+" sign is used to denote eighth notes that occur on the upbeats. For example, look at rhythm exercise no. 4 in the "Supplemental Content" section. This exercise is comprised solely of eighth notes. Numerals can be applied to the notes that occur on downbeats (the 1st, 3rd, 5th, and 7th eighth notes in the measure). A "+" symbol can be used to label the remaining eighth notes that occur on weak beats. This measure should be counted, "1+2+3+4+." Chapter 3: (12:32) Notes and Timing Exercises Scales

All examples in this scene are applied to a C major scale in open position. Before you begin these exercises, you must learn, and memorize this scale. Watch Jim Deeming's 13th phase 1 lesson for a review of how to play this scale. Also open up the "Supplemental Content" tab for tablature corresponding to the C major scale. Other scales will be applied to rhythm exercises in future lessons.

Picking

For exercises containing note values no smaller than a quarter no note, use strict downstrokes for every note. Eighth notes occurring on weak beats are picked with an upstroke.

Practice Directions

1. ALWAYS practice these exercises with a metronome. Do not play them without one!

2. Strive for accuracy, and rhythmic clarity at all times. Speed is not important at this phase in your development.

3. Play each rhythmic example on the same note in the scale for a full measure. Then, move to the next note in the scale and repeat the same exercise. Remember to ascend as well as descend the scale.

Exercise 1

This exercise consists solely of whole notes. Although this exercise is quite easy, Do not neglect it! It will give you a solid internal feel for the metronome which will carry through the rest of the exercises.

Count "1, (2), (3), (4)" for each measure. Notes in parenthesis are counted, however no note is struck on these beats.

Exercise 2

This exercise consists of two half notes. Count "1, (2), 3, (4)" for each measure.

Exercise 3

This exercise consists solely of quarter notes. Count "1, 2, 3, 4" for each measure.

Exercise 4

This exercise consists solely of eighth notes. Count "1+2+3+4+" for each measure.

Exercise 5

This exercise consists of six eighth notes followed by a quarter note.

Count "1+2+3+4" for each measure.

Exercise 6

This one is a little bit tricky! Watch and listen to Matt several times. This exercise consists of five eighth notes, one quarter, then one eighth note. Count "1+2+3+(4)+" for each measure.

Exercise 7

This exercise consists of four eighth notes, one quarter, then two eighth notes. Count "1+2+3 4+" for each measure.

Exercise 8

This exercise features a tie. A tie adds the rhythmic value of the second note to the first note. The second note is not picked. For example, an eighth note tied to another eighth note receives the value of a quarter note. Watch and listen to Matt closely as he plays through this example. Count "1+2+(3)+4+" for each measure.

Exercise 9

You may find this one a little difficult as well. If so, spend more time practicing it. Count "1+(2)+3+4+" for each measure.

Make sure you can play all of these exercises before proceeding to the next lesson. Email if you have questions.

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