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Page 1: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Basic Intermediate Rhythm Practice Samuel Stokes

2010 - http://stokesmusic.tripod.com

Page 2: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Rhythm Sheet #1

2 3 4

" # # # # # # $ # # $ # # $ # # #

5 6 7 8

" # # # $ # % # # # % % # #

9 10 11 12

" % & & % % % # # # # # #

13 14 15 16

" # # # # # # # # # # # # # # # # # # # # # # #

17 18 19 20

" # # # # # # # # # # # # # $ # # # # $ # # # # #

21 22 23 24

" # # $ # # $ # # # $ # # # # # % # # % #

25 26 27 28

" #' ( #' ( #' ( #' ( ( #' ( #' # # ( # # # # $ $ # # $ # #

29 30 31 32

" # # # # # $ $ ( #' # ( #' # ( #' #' # #' # # # # # #

Page 3: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Rhythm Sheet #2

2 3 4

" # # #$ #% #$ #% # # # # # #$ #% #% # #% &

5 6 7 8

" # # # #$ ' # # # # # # #$ #% #$ #% # # # # &

9 10 11 12

" # # # # # # # # # ' #% #% ' ' #% #% ' ' #% #% ' ' #% # # ' #% #% ' ' #%

13 14 15 16

" # # ' #% # # ' #% ' # # # ' # # # ' # # ' ' # # ' ' # # # &

17 18 19 20

" &$ # # ( # ( ( ( # ( # ( # #% ' ' #%

21 22 23 24

" #% ' ' #% #% ' # # ( ' #% ( # # #% # #% #% # #% # # ' #% # (

25 26 27 28

" # # ( ' #% ' #% ' #% ' # # # ' #% ' #% ' #$ # # ( ' # # '

29 30 31 32

" ' #% ' #% # ( & #% ' #% ' ' # # # ' # #% #% # #% # (

Page 4: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Rhythm Sheet #3

2 3 4

" # # # $ # # # # $ # # # # # $ # # # # # # # $

5 6 7 8

" # # # # # # # # $ % # # # # # # $ % # # % # # # $ #& % % # # # $

9 10

" # # # # # # # # # #& % % # # # # # % # # #& %

11 12

" # # # # # # # # # # #& % # # # # # # # # # # #& %

13 14 15 16

" #& # #& # # # #& % #& # #& # # # #& % # # # #& # # # #& % #& # # # # # # #& %

17 18 19 20

" # # # # # # # # % #& # # # % # # #& % # # # # # # # # # % #& # # #

21 22 23 24

" #' # # # # # # #' # # # # # # # #' # # % #& # #' # #' # # # # #

25 26 27 28

" # #' # # #' # # #' # # # # # # # # #' # #' # #& % # # # # #' # # # #

29 30 31 32

" # # # # # #' # #& % $ % #& # # # #' # # # % #& #' # # # #' # # # # #& % $

Page 5: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Rhythm Sheet #4

2 3 4

" # #$ # # # # #$ # # # # #% & # #$ # # # # # # # # # # # '

5 6 7 8

" # # # # # # # # # # # # # # # # # # # # # # # # # # # # #% &

9 10 11 12

" # # # # # # # # # # ( # # # # # # # # # # # # # '3 3 3 3 3

13 14 15 16

" # # # # # # # # # # # # # # # #3 # ' # # # # #3

3 3

17 18 19 20

" # #$ # # # # # #$ # # # # # # # # # # # # #$ # # # # # # # # '

21 22

" # # # # # # # # # # # # # # ) # # # # # # ) # # # # # #

23 24

" & # # # # # & # # # # # # # ) #* # # # # '

25 26 27 28

" ( # # # # ( # # & #% & #% & #% # ' ' #

29 30 31 32

" ' & #% ' #% & #% & ' & #% ' #% # & & # & # # # # '

Page 6: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Rhythm Sheet #5

2 3 4

" # # $ $ $ $ $ # $ $ $ $ $ $ $ $ %

5 6

" $ $ $ $ $ $ $ $ $ $ $ $ $ & $ $ & $ $ $ $ $

7 8 '!" ( $) $) ( $ & $ $ $) ( $) $ ( $ $ $) %

'!9 10 11 12

" $ $ $ $ $ $ $ $ $ $* $) $ $ $ $ $

13 14 15 16

" $* $) $ $ $* $) $ $ $ $ $ $ $ $ $* $ $ $ %

17 18 19 20

" $ # # $ $) $ $) $ $ $* $) $

21 22 23 24

" ( $) ( $) $ ( $) ( $) ( $) $ $ $* $ $ $ $ $ %

25 26 27 28

" $ $ $ $ $ $ $ $ $ $ $ $ $ $ $) ( & $ $ $ $ & $ $ $ # %

29 30 31 32

" ( $) $) ( ( $) $ $ ( $) $) ( ( $) $ $ ( $) $ $ $ %

Page 7: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Rhythm Sheet #6

2 3 4

# $ $ $ $% $% $ $ $ $ $ $ $ $& $ $& $ $ $

5 6 7 8

# $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $& $% '%

9 10 11 12

# $ $ $ $ $ ( $ $ ( $ $ $ $& ( $& $& ( $& $ $ $ $& ( (

13 14 15 16

# $ $ $ $ $ $& $& $ $ $ $ $ $ $& $ $ $ $% $& ( (

17 18 19 20

# $ $ $ ( $ $ ( $ $ ( $ $ $& ( $& $ $ ( ( $ $ $& ( $&

21 22 23 24

# $ $ ( $ $ ( ( $ $ $ $% $ $ $ $ $ $ $ $& $& ( (

25 26 27 28

# ( $ $ $& ( $& ( $ $ $ $ ( ( ( $& ( ( $& ( $ $ $%

29 30 31 32

# ( $ $ $ $ $ $ $ $ $ $ $ $ $& ( $& $& $ $& $ $& $ $& ( (

Page 8: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Rhythm Sheet #7

2 3 4

" # # $ # $ $ $ $ $ $ $ $ $ $ $ $ $

5 6 7 8

" $ $ $ $ $ $ $ $ $ $ $ $ % # $ % $ % $

9 10 11 12

" % $ $ $ $ % % $ $ % $ $ $ $ % $ $ % #& %

13 14 15 16

" $& $' $ $ $ $ $ $& $' $& $' # $& $' $ $ %

17 18 19 20

" $' $& $ $ $ ( $& ( $' $ $ $ ( $& ) ( $&

21 22 23 24

" $' % $' % ( $' $' ( ( $' %& $' $ $ $ $ $ $ $ $ $ $' $&

25 26 27 28

" % $ ( $ $ ( % $ ( $' $' ( $ $ $ $ $ $ $ $ $ $ $ $

29 30 31 32

" $ $ $ $ $ $ $ $ $' $ $' $' $ $' $ $ $ $ $ $ $ % )

Page 9: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Rhythm Sheet #8

2 3 4

# $% $ $ $% $ $ $ $% $ $% $% $ $ $%

5 6 7 8

# $% $& $ $%& $%& ' $%& $%& ' $&

9 10 11 12

# $( $( $ $ $% $% $% $% '

13 14 15 16 )"# $% $ $ $ $ $% $ $ $ $%& ' $%& $%(

)"17 18 19 20

# $% $ $ $% $ $ $% $ $%& ' ' $& $% $% ' $&

21 22 23 24

# $ $ $ $ $ $ $( $& $& $% '

25 26 27 28

# $ $ $ $ $ $ $% $ $% $

29 30 31 32

# $& $% $& ' $ ' $ $% $ $% $% *

Page 10: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Page 11: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Page 12: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Page 13: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Page 14: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Page 15: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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2010

Page 16: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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2010

Page 17: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Page 18: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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2010

Page 19: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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2010

Page 20: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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2010

Page 21: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Basic Rhythm Practice Samuel Stokes

2010 - http://stokesmusic.tripod.com

Page 28: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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2010 - http://stokesmusic.tripod.com

Page 29: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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Page 32: 2-4 Basic Intermediate Rhythm Practice (1)schsfalconband.weebly.com/.../schs_rhythm_sheets_.pdf · 2018. 4. 24. · LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory

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2010 - http://stokesmusic.tripod.com

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LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory Fundamentals

16

Section 1.5

T I M E S I G N A T U R E S I N S I M P L E M E T E R

A beat is a repeating musical pulse. Listeners sense the beat when they tap

their feet or clap their hands in time with the music. Musicians group beats

into units called measures or bars. Every measure ends with a barline. A

special final barline indicates the end of the movement or piece.

A time signature (or meter signature) indicates how many beats there are

in one measure and what rhythmic value gets one beat (this value is called

the beat unit). For time signatures in simple meter, the top number is the

number of beats in each measure, and the bottom number is the beat unit.

Time signatures are not fractions, so there is no line between the numbers.

Meters (that is, time signatures) with two beats per measure are duple,

those with three beats are triple, and those with four beats are quadruple.

Each beat in simple meter divides into two equal beat divisions, or four

equal beat subdivisions. Below, one quarter note beat equals two eighth

notes or four sixteenth notes; see 1.4 Rhythmic Values.

&measure or bar measure or bar

barline

measure or bar

final barline

œ œ œ œ œ œ ˙ œ œ ˙

44&1

442

= 4 beats in each measure= q gets one beat

3 4 1 2 3 4 1 2 3 4

œ œ œ œ œ œ ˙ œ œ ˙

24 34 44& 1

Duple meter:

= 2 beats = q gets beat

242 & 1

Triple meter:

34= 3 beats= q gets beat

2 3 & 1

Quadruple meter:

44= 4 beats= q gets beat

2 3 4

œ œ œ œ œ œ œ œ œ

24 24 24& 1

Beat units:

2

___

& 1

Beat divisions:

2

___

& 1

Beat subdivisions:

2

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Beat

Measure

Bar, Barline

Final barline

Time signature

Beat unit, Simple

time signature

Duple, Triple,

Quadruple

Beat division and

subdivision

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Chapter 1: Music Notation

17

The bottom number in a simple time signature indicates the beat unit: two

means half note, four means quarter, eight means eighth, and so on. The

first time signature below is also called cut time or alla breve. The second

time signature is common in Baroque music; sometimes the eighth notes

are written with flags instead of beamed together. The last time signature is

sometimes called common time.

An anacrusis (or pickup measure) is a partial measure that begins some

pieces. An anacrusis is often one beat long, but not always. If there is an

anacrusis, the final measure will be shortened so that the anacrusis and the

final, shortened measure together equal the length of one regular measure.

The downbeat is the first beat of each measure. The downbeat is

fundamental and stable (a strong beat) because it initiates each new group

of beats. The last beat of each measure is unstable (a weak beat) because it

pulls forward to the following measure. The last beat of a measure often

seems to have more energy than the downbeat, because it propels the

rhythm forward to the more stable, stronger downbeat.

The following stress patterns for beats are common:

1. Duple meters: Meters with two beats follow a STRONG-weak stress

pattern for the two beats.

2. Triple meters: Meters with three beats follow a STRONG-weak-weak

stress pattern for the three beats.

3. Quadruple meters: Meters with four beats follow a STRONGEST-

weak-STRONG-weak pattern for the four beats.

22

38

44&

1

22 is sometimes written

22 = 2 beats = h gets beat

2

C

&

1

38

= 3 beats= e gets beat

2 3

&

1

44 is sometimes written

44

= 4 beats= q gets beat

2 3 4

c

˙ ˙ œ œ œ œ œ œ œ

44&1

anacrusis (pickup)

1 2 3 4 1 2 3 4

shortened final bar(because of the anacrusis)

1 2 3

œ œ œ œ œ œ œ œ œ œ œ œ

Other beat units

Cut time

Alla breve

Common time

Anacrusis

Pickup measure

Downbeat

Strong beat

Weak beat

Stress patterns

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LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory Fundamentals

18

Section 1.6

C O M P O U N D A N D A S Y M M E T R I C M E T E R

Beats in compound time signatures divide into three division notes, not

two. The top number indicates the number of division notes per measure.

The bottom number indicates the division rhythmic value (not the beat

unit). It takes three division notes (not two) to make one beat.

A time signature with 6, 9, 12, or 15 on top is compound. To get the

number of beats, divide the top number by three. The beat unit is a dotted

rhythmic value one larger than the bottom number; sixteen on the bottom

means a dotted-eighth beat unit, eight on the bottom means a dotted

quarter, and so on. Compound time signatures can be duple, triple,

quadruple, or even quintuple (five beats).

Sometimes tempo can make a normally compound time signature into a

simple time signature, or a normally simple time signature into a

compound one. This is especially common if the top number is six or three.

68&1 2

= 6 division notes = e is division of beat

One beat = e + e + e = q. 2 beats (Duple)

68œ ™œ œ œ

œ ™œ œ œ

916 128&1

= 9 division notes = x is division of beat

One beat = x + x + x = e. 3 beats (TRIPLE)

916

2 3

&1

= 12 division notes = e is division of beat

One beat = e + e + e = q. 4 beats (QUADRUPLE)

128

2 3 4

œ œœœ ™j

œœœœ ™j

œ œœœ ™j œ ™

œ œ œœ ™œ œ œ

œ ™œ œ œ

œ ™œ œ œ

Very fast Very slow

64 64&1

= 6 division notes (2 beats) = q is division of beat

One beat = q + q + q = h. Compound Duple

64

2

OR... &1 2

64 = 6 beats = q is beat unit

Simple Sextuple

3 4 5 6

œ˙ ™œ œ œ

˙ ™œ œ

œœ œ

œœ œ

œœ œ

œœ œ

œœ œ

œœ œ

Compound time

signatures

Decoding

compound time

signatures

Tempo and Meter

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Whole Note

Half Note

Quarter Note

Eighth Note

Sixteenth Note

This "rhythm tree" shows values from the whole note through the sixteenth note.

A tie connects two notes that are the same pitch. Add the tied notes together to get the new duration.

For example, =

A dot makes a note longer. You add one-half of the original note's value when you add a dot to it.

For example, =

A note that is double dotted adds one-half of the original note's value and one-half the value

of the first dot. For example, =

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Meter

Duple meters (strong - weak) contain 2 beats.

Triple meters (strong - weak - weak) contain 3 beats.

Quadruple meters (strong - weak - somewhat strong - weak) contain 4 beats.

Division of the beat

Beats that divide into 2 equal parts are called simple beats. Simple beat notes are not dotted.

Beats that divide into 3 equal parts are called compound beats. Compound beat notes are dotted.

Both simple and compound meters can be duple (2 beats a measure), triple (3 beats a measure), or quadruple

(4 beats a measure).

Time Signatures (meter signatures) show how many beats are in a measure and which note value gets a beat.

Time signatures for simple beats have 2, 3, or 4 at the top. The top number shows the number of beats in a

measure, while the bottom number shows the beat note value. Simple meters with 2 at the top are duple, those

with 3 as the top number are triple, and those with 4 are quadruple.

If the bottom number in a time signature is 4, the quarter note is the beat note. If the bottom number in a time

signature is 8, the eighth note is the beat note. If the bottom number is 2, then the half note is the beat note.

Some common simple meters are:

2 3 4 2 3 4 2 3 4

8 8 8 4 4 4 2 2 2

4

4

3

2

3

8

The beat is the pulse of the music. It is what we clap to, dance to, and march to. Tempo describes how fast

the beats occur. It is described through the use of words (often Italian) and by the use of metronome markings.

Metronome markings show how many beats occur in a minute. For example, means that there are

60 quarter notes occuring every minute, or one a second. Some beats are accented, which means they are

stronger than other beats. Note that the first beats (downbeats) are all strong.

4 beats per measure, with each beat dividing into 2 eighth notes

3 beats per measure, with each beat dividing into 2 quarter notes

3 beats per measure, with each beat dividing into 2 sixteenth notes

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Time signatures for compound beats have 6, 9, or 12 at the top. The top number shows the number of

divisions in a measure, while the bottom number shows the division value. Dividing the top number by 3

will yield the number of beats in the measure. For example, 6 ÷ 3 = 2, which means that meters with 6 as

the top number are duple meters; 9 ÷ 3 = 3, which means that meters with 9 as the top number are triple

meters; 12 ÷ 3 = 4, which means that meters with 12 as the top number are quadruple meters.

A compound time signature with a bottom number of 8 means that the division is an eighth note and that

the beat is a dotted quarter. A compound time signature with a bottom number of 16 means that the division

is a sixteenth note and that the beat is a dotted eighth. A compound time signature with 4 at the bottom

means that the division is a quarter and that the beat is a dotted half.

Some common compound meters are:

6 9 12 6 9 12 6 9 12

16 16 16 8 8 8 4 4 4

6

8

9

16

12

4

2 beats per measure, with each beat dividing into 3 eighth notes

3 beats per measure, with each beat dividing into 3 sixteeth notes

4 beats per measure, with each beat dividing into 3 quarter notes