Rhythm and Timing (Guitar Lesson)

Chapter 1: (01:05) Lesson Intro This lesson provides a review and some new, additional information pertaining to rhythm and counting. Dennis begins by explaining how to use a metronome properly in your practice sessions. You'll also learn about rests. Finally, you will have a chance to apply these new skills to a few exercises and sample riffs.
Chapter 2: (02:54) Metronome Basics Rhythm is the most important aspect of music. It is the foundation of music. Regular practice with a metronome or a similar time keeping device is the only way to improve your rhythmic feel. It should come as no surprise that constant practice with the metronome is crucial.

Different Types of Metronomes

Essentially, there are two types of metronomes--analog and digital. Analog metronomes typically feature an adjustable wheel with a selection of tempos listed on it. (The old fashioned swinging beam metronomes are analog metronomes and work in this way.) Digital metronomes will allow you to choose any tempo. This flexibility obviously provides many advantages.

Note: JamPlay will soon have a digital metronome available in the Teaching Tools section. This section is accessible from the homepage.

Using a Metronome Properly

Many beginners fail to realize when they begin to get off track with the metronome. Recognizing when this happens is the first step in correcting rhythm.

You must first be able to perform the most basic rhythms without the guitar before you try playing along with the metronome. Practice clapping quarter notes along with a metronome set slightly under 60 beats per minute. You shouldn't hear the metronome at all. Your clap should coincide perfectly with the metronome. Then, play the same rhythm on guitar with all muted strings. Strum along with every click of the metronome. Practice this exercise at a variety of tempos.
Chapter 3: (05:15) Whole, Half, and Quarter Note Riffs Play all of the exercises presented in the following scenes as slowly as you need to. Staying in time with the metronome is your highest priority.

Whole Note Riff

Note: Tablature and notation to "Whole Note Riff" is a part of "Rhythm Review." This document is listed under the "Supplemental Content" tab.

Instructions

1. Start at the slowest tempo that Dennis has indicated in the notation.
2. Once you master the riff at this tempo, move the metronome up one notch. If you have a digital metronome, move the speed up 2 beats per minute at a time.
3. Continue with this process until you reach the fastest tempo in the range Dennis has listed.
4. Count out loud and tap your foot. This will help you internalize your sense of rhythm in the most efficient manner.

Half Note Riff

Repeat the same process listed above with this riff.

Quarter Note Riff

Once again repeat the same process listed under "Whole Note Riff." This riff may take some extra practice since the rhythm is much busier. This forces your hands to move more quickly in order to keep up with the metronome. Also, make sure to utilize the spider riffing principles that Dennis introduced in the previous lessons. This will eliminate any unnecessary position shifts.

Final Riff

The last riff combines all of the rhythms discussed previously in this scene. Remember to always count when working on any new piece of music. Count aloud a few times as you play. Then, play through the exercise while counting silently to yourself. Chapter 4: (07:39) Rests and Ties For additional information concerning rests and ties, please visit Matt Brown's Reading Music and Rhythm lessons.

Counting Rests

Quite simply, a rest indicates silence for a specific rhythmic value. Even though you are not playing during a rest, you must continue to count . Counting becomes even more important when a large number of rests appear in the score. It is much easier to lose your place in a piece of music when you are not playing. In an orchestral setting, a specific player may count rests for the first couple minutes of the piece. If he or she is not completely precise with the counting, he/she will most likely enter at the wrong time and ruin the piece.

Identifying Rests

Every note value that Dennis has discussed has a rest equivalent. The whole note rest looks like an upside-down hat. The half note looks like a hat resting on someone's head. Remember that "hat" and "half" both start with the letter "H". This will help you differentiate between the half note rest and the whole note rest.

Whole Note Rest Riff

Note: Tablature and notation to "Whole Note Rest Riff" is a part of "Rhythm Review (pg. 2)." This document is listed under the "Supplemental Content" tab.

Play this exercise with a metronome while counting and tapping your foot. Dennis provides you with an opportunity to play along with him for extra practice.

Half Note Rest Riff

Just like the half note, a half rest counts for two beats of silence.

Quarter Note Rest Riff

This riff involves only 2 chords. Be careful to cut each chord off at exactly the proper time. Many beginners get sloppy with quarter note rests. Do not let this happen to you!

Mixed Rests

This is the most difficult exercise featuring rests. However, if you count the rests properly, you shouldn't have any problems. It may be helpful to print out the notation for this riff and write in the appropriate counting syllables below the staff. This will keep you on track as you are sight reading through the exercise.

Ties

A tie is a curved line that connects two pitches of the same note name. It extends the length of the first note under the line by the length of the note it is tied to. For example, a quarter note tied to another quarter note receives two beats. A quarter tied to an eighth note receives one and a half beats. Remember that the second note under the tie line is not picked!

If you are slightly confused by this definition, take a look at page 3 of the "Rhythm Review." Compare what is written to what Dennis is playing. This should help eliminate any confusion. Chapter 5: ( 07:22) Eighth Note Riffs An eighth note is the next smallest division of the beat. In a bar of 4/4 time, there are 8 eighth notes. Thus, an eighth note is one eighth of a measure. An eighth note is equal to one half of a quarter note. A series of eighth notes is counted 1+2+etc.

Eighth Note Exercise

Practice this exercise with a variety of picking patterns. First, play the exercise using all down strokes. Then, play the exercise using alternate picking starting with a downstroke. Next, use alternate picking again. This time around, start the picking pattern with an upstroke. Finally, play the exercise with all upstrokes. For additional practice, play through all of these picking variations while palm-muting.

Eighth Note Riff

Instructions

1. Palm-mute the open strings.
2. Play this riff at a variety of tempos.

Eighth Note Rest Riff 1

An eighth note rest has a single flag that extends from the left side. Do not confuse this rest with the quarter rest!

Eighth notes can be bracketed in groups of four or two. Or, they can be written individually with a single flag connected to the note stem. Use both your right hand and left hand to mute the appropriate strings when a rest occurs. Just bring your right hand down lightly on the low E string to cut it off.

Eighth Note Rest Riff 2

This exercise may throw you off since it starts with a rest. It may take some extra practice to nail the rhythm down. After practicing along with the metronome, play along with Dennis to make sure you are playing perfectly in time. Chapter 6: (10:50) Sixteenth Note Riffs and Wrap-up Sixteenth Note Overview

The next smallest division of the beat is the sixteenth note. A sixteenth note comprises 1/16 of a measure in 4/4 time. There are four sixteenth notes to a quarter note. Typically, sixteenth notes are played with strict alternate picking. Most players choose to count "1 e+a" or "1 ah+a" for a set of four sixteenth notes.

Exercise

This exercises is most commonly attributed to Joe Satriani. However, it has been popularized by many of his star pupils including Metallica's Kirk Hammett. Matt Brown also taught this same exercise in his Phase 2 Rock series.

Instructions

1. Focus on producing a consistent tone and rhythm.

2. Begin practicing this exercise at the slowest tempo that you can stand. Then, gradually move the metronome up a few notches at a time as you become more comfortable.

3. Be very careful when crossing strings. Simply lower your wrist when the crossing comes.

Sixteenth Note Riff

This riff features some sixteenth notes combined with quarter notes. The rhythm of this riff is reminiscent of the breakdown rhythm in "Creeping Death."

Up until now, all sixteenth notes have appeared in steady groups of four. However, rests and ties frequently break them up. This requires very careful counting.

The Gallop

The sound of this particular rhythm (one eighth followed by two sixteenths) sounds very similar to a horse galloping across an open field. This rhythm is found in countless classic metal songs including "Battery" and "The Trooper." The appropriate picking pattern for this rhythm is down, down, up.

Reverse Gallop

The reverse gallop not quite as common. This rhythm consists of two sixteenth notes followed by one eighth note. Pick down, up, down, for this rhythmic grouping.

Gallop Riff

Play this slowly with palm-muting and gradually speed up the tempo. The gallop is most effective at rapid speeds.

Reverse Gallop Riff

Many beginners confuse this rhythmic grouping with the triplet. Like Dennis demonstrates, these two rhythmic groupings sound completely different. Practice this riff with palm-muting as well. This will require that you play a little more deliberately and forcefully with your right hand.

Riff 3

In this riff, the "and" is taken out of the sixteenth pattern. This leaves an eighth note sandwiched between two sixteenths. This rhythm is usually very confusing to many beginners. Listen to Dennis play this rhythm several times before you try it on your own. Count "1 e ah, 2 e ah", etc." Pick down, up, up for this grouping.

Final Thoughts

Rhythmic tightness drives the sound of a group and increases the overall heaviness of any song. If you need proof, pick up a copy of Pantera's live album entitled 101 Proof. Music that is rhythmically sloppy has no groove. Keeping a steady groove is the single most important aspect of rhythm guitar playing. Even if you are the "lead guitarist" in your group, you will find yourself playing rhythm guitar about 75% of the time.

Metal Lesson 7

The next lesson in the metal series features an original, instrumental song written by Dennis. The song, entitled "Metal Poisoning," combines all of the practice rhythms presented in this lesson. This will give you an opportunity to directly apply these groupings within the context of a metal song.

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