rhythmic genius - dallas dwight

8/17/2019 Rhythmic Genius - Dallas Dwight

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Dallas Dwight & Ashton McCombs

RHYTHMIC GENIUS

A guide to becoming a master of rhythm in

music.



TABLE OF CONTENTS

Chapter I: Introduction

Chapter II: Tempo

Chapter III: Meter

Chapter IV: Subdivisions

Chapter V: Metronomes

Chapter VI: Conclusion

Glossary

Answer Key

About the Authors



Chapter I

INTRODUCTION



Melody + Rhythm = Music

I would argue that music is easily 75% rhythm. What’s more memorable to you? A great

melody, or an undeniable rhythm that gets you moving involuntarily?

Rhythm moves us in ways melody simply can’t. Think about it: there are drum beats and

bass lines that will make your hips move whether you like it or not. You’ll nod your head.

You’ll bounce on the balls of your feet.

Melody isn’t primal in the same way.

Melody without rhythm doesn’t exist, but rhythm without melody absolutely does. In fact,

it thrives in today’s musical climate where pop, hip-hop and EDM reign supreme.

Before we get any further, let me first say: I’m a guitarist by trade. However, even though

I love being a melodic leader of a song, one of my strongest musical memories is the first

time I ever played with a drummer.

I was 12 years old and my friend and I were in my parents’ garage “practicing” (as

budding rock musicians are known to do). I was playing my latest idea for him when he

suddenly sat down behind the drum kit and laid down the simplest drum beat ever played.

It gave me chills. Hearing a solid (albeit simple) beat over my melody was inspiring. The

beat started moving me and before I knew it, I was writing my first song.

Just like that, I knew I wanted to do music professionally and I haven’t looked back since.

But this book isn’t about me. It’s about you.Why should rhythm matter to you?

First: musicians who don’t have a great sense of rhythm, time and meter don’t make it

very far in their careers. Of course, playing music as a hobby is perfectly fine, but without

rhythm you’ll be constantly frustrated. It can limit your creative horizons and diminish

your opportunities to connect with a listener in every possible way.

Even if you aren’t a professional musician (or trying to become one), lacking a strong

sense of rhythm is a recipe for disaster. Worse yet, no one will want to play music withyou because your frustration will become their frustration as you struggle to play in time

or even to understand what playing in time truly means.

And if you’re interested in improving—and why wouldn’t you be?—playing with others is

invaluable. Responding to other musicians flexes some musical muscles that never

contract when you’re only listening to yourself.

Second: rhythm is fun! There’s nothing quite like exploring creative, new and exciting

rhythmic ideas on an instrument… any instrument!Plus, you can practice anywhere. From tapping on your legs, to “practicing” on a desk or

table, improving your rhythm is easy!



Furthermore, you can inspire amazing song ideas from the simplest rhythms. Think about

“We Will Rock You” by Queen. Even though the inimitable Brian May plays guitar on it,

the hook of the entire song is the basic drum beat. I’ve experienced this in my career and

it’s amazing. Experience it once and you’ll be hooked for good.

Who is this book for?

Although we will be focusing on the basic foundations of rhythm, there is plenty of

information for the advanced student as well. You will get massive value out of the

concepts presented here regardless of your age, skill level, instrument, genre or

background. If you’re struggling to understand basic rhythmic concepts, this book is for

you. If you feel like you really have a strong rhythmic foundation and are looking for

more advanced ideas, this book is also for you.

You don’t have to be able to read music to benefit from this book. In fact, we will touch on

the basics of reading rhythm in music and you’ll be an expert in no time (it’s super easy, Ipromise!).

Again: it doesn’t matter what instrument you play. Rhythm applies equally across all

instruments and styles of music.

If you are a musician and can count to 6*, this book is for you.

What should you expect to learn from this book?

After reading this book, you will have a firm understanding of everything from basic note

values, to complex time signatures. You will be able to recognize tempos and meters in

any song you hear as well as subdivide measures into all of the different note values.

You’ll learn how to apply all of these ideas in your own music, as well as all of my tips

and tricks for making rhythm easy…even if you know nothing about it now!

The best part is, getting a grip on rhythm doesn’t take much time! I’ve seen how little time

it takes my students to learn the basics and how excited they get as the light bulb above

their head jolts to life.

On a trip to Minnesota one summer I spent less than two hours explaining the basics ofrhythm to my friend. Within that same time frame he was counting complex meter

changes in Dream Theater songs with confidence and ease. If you’re unfamiliar with

Dream Theater, they’re known for writing extremely complicated rhythms that constantly

change (even within the same song).

Another example: I explained the basics of rhythm to one of my students in a single one-

hour lesson. One hour that would pay him endless dividends as a musician. He had a firm

grasp on it after that lesson, and was more excited than I’ve ever seen him.

He called me a few days later to tell me all of the songs he was able to learn in no time at

all…because of his newfound understanding of rhythm!



How is this book laid out?

There are three main sections of this book: Tempo, Subdivisions and Meter. There is also a

bonus section about how to practice, record and perform using a metronome (or click

track). I’ve included a glossary with common vocabulary defined in easy-to-understand

terms so you’re not left wondering about mysterious music theory lingo.

In each section, I’ll start with the definitions and basics before moving into more complex

ideas. Don’t worry, I’ll be right there with you to guide you through the learning process.

There is a quiz after each core section to ensure we’re on the same page. Don’t panic, the

answer key has been included at the end of the book!

I’ve also included audio examples on the companion website to this book. Simply go to

www.adpsound.com/book to follow along. This is a great way to hear what you see and

really connect the dots. “This sounds awfully complicated!”

When I started learning the basics of rhythm, I thought the same thing, but it isn’t nearlyas hard as you think. Most people tend to psych themselves out before even getting

started. Think of all the amazing musical ideas they’re missing out on! And that means

that we, the music listeners, also miss out on any music they might have made. Others

never consciously learn rhythm and are forced to learn it when they finally realize how

much it matters. Or worse, some think rhythm is stupid and they don’t need it. You’re not

going to be any of these folks.

I’ve seen plenty of people go from zero rhythm knowledge to absolute rhythmic guru in

very short periods of time. You’re going to be that person. You’re going to realize the

amazing benefits of a strong rhythmic foundation. You’re going to commit a very small

amount of time to learning rhythm, then reap the benefits for years to come. These

concepts will add so much to your music and I’m excited for you to experience these

results firsthand.

It is my hope these simple foundations of rhythm will have as significant an impact on

your musicianship, as they’ve had on mine and the people around me.

Let’s get started!

Footnote: 6 because it is the last consecutive number to have only one syllable (1,2,3,4,5,6). 7 has two syllables (se-

ven) and is harder to say when you’re counting at faster tempos

http://www.adpsound.com/book



Chapter II

TEMPO



Simply put, tempo is the speed at which a piece of music is performed. It’s typically

measured in BPM (beats per minute). In classical music, many tempos actually have

“names.” This can be incredibly useful because it allows you to estimate tempos when

writing or performing music, as opposed to rigidly sticking to a single BPM.

The tempo is typically shown at the beginning of a piece of music as a quarter note

equaling some number (shown below).

This literally tells us there should be 120 quarter notes (beats) in one minute. However, itwon’t always be a quarter note. When notating tempo at the beginning of a piece, the note

value will equal that of the denominator of your time signature (more on this later).

Here’s a chart with the common classical tempo names:

Today we see fewer of these terms used when discussing contemporary music. Instead, wesee words like “bouncy,” “upbeat,” “easygoing,” or “serenely.”

These names are just signposts and time savers to give you an idea of the feel of the songs.

You know an “upbeat” song won’t be played at the slow dirge tempo of a funeral march.

You know that “serenely” probably doesn’t mean a ‘the-joint-is-jumpin’ polka frenzy. A

song’s tempo greatly dictates its overall feel and groove. How could it not?

I’ve analyzed hundreds of songs and I want to tell you about “magic tempos.” These are

tempos that almost seem to write the songs themselves, with little additional input fromthe musicians. When this happens, you, as the musician, feel lucky that you got to channel

a song that feels like it was already out there existing, just waiting for you to discover it.



Before wandering any farther into this subjective la la land, here’s what I mean:

For me, playing anything between 110-116 bpm really grooves. Anything around 150 bpm

has a lively, rocking feel to it. In my opinion, one of the most notable “magic” tempos is

that of an insane beat drop - almost always around 80-85 bpm.

The more you experiment, the better you’ll be able to recognize your own sweet spots.

And the better your understanding of rhythm, the more experiments you’ll be able to

conduct.

Now, experiments aside, nailing down a song’s exact tempo is not an exact science, but

anyone can get close.

I’ll show you some of the tools I use to get pretty close, but it’s never going to be perfect.

This is especially true if the song you’re listening to wasn’t recorded to a click track or

metronome. The natural error that occurs in a human performance will ensure your tempo

is not exact and will most likely fluctuate throughout the song.

So, what are our options?

One way to find the tempo is to ask the artist, producer or recording engineer. Obviously,

this isn’t always possible and only really works if you personally know the artist or

producer in some capacity.

Another way to find the tempo is to take an educated guess. When you’re first starting out

you are likely to be wildly off. That’s ok! You’ll get better at it over time (although this is

still a less-than-optimal way to find the tempos of songs you’re listening to).

By far, the best way I’ve found to quickly check song tempos is to use the “tap tempo”

function found on most digital metronomes or metronome apps.

The concept of tap tempo is relatively simple. You literally tap the “tap” button to the beat

of the song you’re listening to and voila! The metronome measures the time between each

of your taps and determines the tempo at which you’re tapping. This is extraordinarily

useful for finding the tempo of songs you hear in passing (i.e. on the radio, in a restaurant,

etc.).

Tap tempo is great, but it’s still not perfect. Unless you’re a machine, human error will

always ensure you’re slightly off beat.

You will see this clearly when using tap tempo because the number the metronome

displays will change with almost every tap. Not to worry!

Instead, the tap tempo method is simply a way for you to get close to the tempo the

original composer or songwriter intended for the piece.

I’d encourage you to try playing songs and adding your own tempo “flavor”, if you will.

Try playing it way faster! How about waaaaaaaay slower? Both can work well. Both can

be disastrous. It varies from song to song and musician to musician. Give yourself the



chance to learn what consistently works for you.

So, how do we apply these elements to your own playing?

When you’re fleshing out a song, you will naturally play that song in a similar tempo

every time as you try to nail down the key motifs and structures (unless you deliberately

change the tempo).

However, it’s still useful to know how to find the tempo of your own music for the

following reasons:

It is useful to tell someone who’s recording you or your music

It is more efficient when dealing with bandmates (especially drummers or

anyone using a metronome)

It is useful to check yourself and make sure you’re not unconsciously writing

all of your songs in similar tempos

It shows you’re knowledgeable and professional

What if your song changes tempo? If you’re deliberately making a musical choice to do

this, then tempo changes can be fun, spontaneous and unique!

If you’re changing tempo accidentally or ineptly, your music can sound awkward and you

you might look like your sense of rhythm is lagging behind your ambitions.

It sounds simplistic and obvious, but knowing the tempo of your music will make sure you

can recognize when you’re changing tempo and when you’re failing to stay on time. Asthe creator of the song, you want to have control over it. If tempo gets all squirrelly and

you can’t rein it in, who’s really in charge?

Now it’s time to put your newfound knowledge of tempo to the test.



1. What is the best definition of “tempo”?

A) How many beats are in each measure of music

B) How we measure time in a musical piece

C) The speed at which a piece of music is performed

D) The ability to play to a metronome

2. What does BPM stand for?

A) Bohemian post modern

B) Beats per minute

C) Beats per measure

D) It’s not this one

3. What does the image above tell us?

A) There should be 120 quarter notes in one minute of music

B) This piece should be played as fast as possible

C) There are 120 quarter notes in this piece of music

D) There should be 60 quarter notes in one minute of music

4. What is a “magic” tempo?

A) A tempo you can change at willB) A tempo that seems to write the music itself

C) A tempo that really grooves

D) A tempo you can ignore

5. How can we find the tempos of songs? (Choose all that apply)

A) Use the “tap tempo” function on a metronome

B) Ask the artist or producer

C) Give up and never figure it out

D) Take an educated guess



6. Why is it useful to know the tempo of the music you write?

A) You can tell someone who’s recording you

B) More efficient when dealing with musicians using a metronome

C) Demonstrates your professionalism and musical knowledge

D) Check that you’re not writing all your music in the same tempos

7. What is the classical tempo name for a piece of music intended to be performed at 105

bpm?

A) Andante

B) Moderato

C) Forte

D) Allegro



Chapter III

METER



Meter is how we measure time in a musical piece. We always denote meter at the

beginning of a piece with a time signature. A time signature is always made up of two

numbers (one on top of the other). The numerator (the number on top) tells us how many

beats are in a measure while the denominator (the number on the bottom) tells us which

note gets the beat. The numerator can be just about any number you can imagine, but the

denominator will always be either a whole note (1), half note (2), quarter note (4), eighth

note (8), sixteenth note (16), thirty-second note (32), or sixty-fourth note (64). More on

these note values in the “Subdivisions” chapter.

Meter has three categories: simple, compound, and complex. Simple meter means that

each beat can be subdivided into two equal parts. You just chop it in half. Simple!

Compound meter means that each beat can be subdivided into three equal parts. Chop

chop!

Complex meter doesn’t fit into either of these categories. Typically complex meters areodd numbers consisting of an unusual number of beats per measure.

Subdivisions are the individual notes we use to break up a measure so it can be more

easily understood.

We can further characterize meter by the number of beats per measure.

Duple meter is when the measure has two beats per measure. This includes simple double

rhythm such as 2/2 and 4/4, but also compound rhythms like 6/8.

Triple meter, as the name suggests, is when the measure has three beats per measure.

Quadruple meter has four beats per measure and complex is everything else. If this all

sounds confusing, don’t worry! The chart below summarizes this section visually.



It’s worth pointing out the most common meters in music: 4/4, 3/4, 6/8. 4/4 is the most

common meter overall. It’s used in just about every style of modern popular music.

Let’s take a moment and examine the differences between 3/4 and 6/8. I see lots of

confusion here from musicians of all skill levels.

3/4 is classified as simple triple meter (it has three beats per measure; each of those beats

can be divided into two notes), while 6/8 is classified as compound duple (there are two

beats per measure; each of those beats can be divided into two notes).

So now that we understand the basics of meter, let’s look at some more advanced and



unusual meters. Take 7/4 and 7/8 for example. Comparing these two meters really helped

me understand how big of a difference the denominator in a time signature makes. One

measure in each of these meters has seven beats. However, the quarter note gets the beat in

7/4, while the 8th note gets the beat in 7/8. This makes them sound very different! In my

opinion, 7/4 doesn’t sound as “off” as 7/8. Experiment with these two meters to really hear

how the denominator in a time signature can affect the groove.

Now, how do you use your newfound knowledge to find the meter in songs you’re

listening to? Simple: You count along to the music.

Here’s my proven 4-step method to finding any meter in any song just by listening:

1. Pick the part of the song you want to analyze. It definitely helps if you’ve heard

the song more than once so you know when the segment repeats. Take note of

where the segment you’re going to count begins and ends.

2. When the segment turns around and repeats, start counting from one. Make sure

you’re in time with the song!

3. When the segment turns around again, note where you stop. That’s the

numerator.4. Once you have the numerator you’ll have to use some rhythmic judgment to

determine the denominator. One trick I like to use is to start nodding your head

down to the first beat of the segment. When the segment ends, note whether

your head ended by nodding up or down. If your head ended nodding up, you’re

most likely listening to an odd meter with 8 or 16 as the denominator. If you’re

head nodded down, it will most likely be over 4 (but could be over 2, 8 or 16 if

it’s an even numerator).

Just like tempo, it can be tricky to get meter exactly right. However, you can always get

close (and with some practice, most of the time, you’ll be right on). There are some audio

examples on the companion site I’d encourage you to listen to if you really want to

improve this skill.

Now let’s move on to subdivisions.



1. Which is the best definition of “meter”?

A) How fast the music should be played

B) How many quarter notes are in a musical piece

C) The way in which in a musical phrase is performed

D) How we measure time in a musical piece

2. What is a time signature?

A) A way to tell time

B) The best way to know how fast to play

C) A symbol at the beginning of a piece that tells us the meter

D) A secret trick known to very few musicians

3. What does the image above tell us?

A) There are 8 beats per measure; the 6th note gets the beat

B) There are 6 beats per measure; the 8th note gets the beat

C) There are 8 bars in the song; the first 6 are played backwards

D) There are 6 bars in the song; the first 8 are played backwards

4. What kind of meter is 6/8 classified as?

A) Compound triple

B) Compound duple

C) Complex

D) Simple triple

5. What kind of meter is 7/8 classified as?

A) Compound triple



B) Compound duple

C) Complex

D) Simple triple

6. What are the most common meters in music? (Choose all that apply)

A) 4/4

B) 5/8

C) 6/8

D) 3/4

7. How many beats does a measure of 7/4 have?

A) 4

B) 3

C) 7

D) 6



Chapter IV

SUBDIVISIONS



As defined in the meter section, subdivisions are the individual notes we use to break up a

measure so it can be more easily understood. Therefore, subdividing is simply the process

we use to determine these note values. This is the cornerstone of rhythmic expertise.

For simplicity’s sake, let’s examine how subdivisions work within one bar of 4/4.

Whole Notes

A whole note has four beats and takes up an entire measure of 4/4.

Half Notes

As the name suggests, a half note is half the length of a whole note. It

is worth two beats. There are two of these in a bar of 4/4.

Quarter Notes

A quarter note has a single beat and derives its name from beingworth one-fourth of a whole note. There are four of these in a bar of

4/4.

8th Notes

Continuing the now-obvious pattern, the eighth note is worth one-

eighth of a whole note and half of a quarter note. There are eight of

these in a bar of 4/4.

16th Notes

The sixteenth note has the duration of half of the eighth note. There

are sixteen of them in a bar of 4/4.

32nd Notes

The thirty-second note has the duration of half of the sixteenth note.

There are thirty-two of these in a bar of 4/4.

64th Notes

The sixty-fourth note is the last one we will cover in this book. It is

worth half of a thirty-second note and there are sixty-four of them in a

single bar of 4/4.

Triplets

A triplet is three notes of equal length that are to be performed in the

duration of one note. For example, a group of 8th note triplets would

have the same duration as one quarter note. Any note value can be



grouped into triplets.

Dotted Notes

A dotted note is worth one and a half times what the nondotted note is

worth. For example, a dotted quarter note gets one and a half beats (a

quarter note plus an 8

th

note) while a dotted 8

th

note only has threequarters of a beat (an 8th note plus a 16th note). A dotted half note

would receive three beats (a half note plus a quarter note).

All of these note values can also be made into rests. A rest is a symbol used in music

notation that denotes a break. So if you saw a quarter note rest, you would silence your

instrument for that quarter note.

Here is a chart I made so you can clearly see how each note is written.



There is a great trick I use to easily differentiate between whole and half rests: The whole

note rest is like a “hole”, while the half note rest is like a “hat”.

Now let’s look at some examples of these note values in practice. The examples work with

any note you can play on any instrument, (or if you prefer, you can tap them on your legs,

the table, etc.). The goal is to understand these rhythms!

Example 1:

Example 2:

Example 3:

Example 4:

Example 5:

Example 6:

Example 7:

Example 8:

Example 9:

Example 10:



Don’t forget to head on over to www.adpsound.com/book to listen to all of these

examples.

I’ve also put together a killer subdivisions exercise for you to achieve astounding results

in a very short amount of time. Practice it once a day for ten minutes and I promise, you

will start to see huge improvements in your playing. You can download it for free on the

companion site.

Now that you’ve seen some examples, you’re ready to take the subdivisions quiz. Be

careful, some of the questions are tricky!




1. What is the best definition for a “subdivision”?

A) The individual note values used to break up a measure

B) The individual notes played in each measure

C) The notes used to define the tempo

D) The way we decide how fast to perform a piece of music

2. How many whole notes would it take to fill up 4 bars of 4/4?

A) 1

B) 2

C) 4

D) 8

3. How many 8th notes will be in a single measure of 15/8?

A) 8

B) 15

C) 16

D) 32

4. A quarter note rest is worth 2 8th notes.

A) True

B) False

5. How many individual 8th note triplets will fit in 2 bars of 4/4?

A) 8

B) 12

C) 16

D) 24

6. A dotted quarter note is worth 6 8th notes.

A) True

B) False

7. There is no such thing as a 64th note rest.

A) True

B) False



Chapter V

METRONOMES



At this point, you probably know more about rhythm than you ever thought you would.

We’ve covered all the basics and you’re well on your way to becoming an rhythm expert!

I’ve included this bonus section to talk about the importance of playing to (or along with)

a metronome and to teach you some tips and tricks that will make your metronome

practice more beneficial.

If you’re unfamiliar with the term, a metronome is a device that keeps a beat for you. You

can set it to any tempo, and it will beep or click along at whatever bpm you chose. There

are tons of free options online, and of course, like everything else these days, there’s a

multitude of apps that are compatible with just about any mobile device you could

imagine.

Why is playing to a metronome important?

A metronome is the glue that allows you to stay in time with other musicians when you’re

playing live, in the studio, or just practicing. Metronomes are most prevalent in therecording studio and the practice room. Some live performances may call for a

metronome, but that’s more of a performer’s preference.

Most people think they can play to a metronome flawlessly. However, I haven’t seen many

people who can play in perfect time without any previous practice doing so. It’s not

impossible, and it’s not going to require Herculean effort, but it does take a little time and

commitment.

So how do we practice this skill? Simple: just do it! How’s that for anticlimactic?

But all habits (good and bad) develop in the same way, and it’s always a simple process.

Do and do again.

Commit to practicing with a metronome for at least ten minutes each day. You can practice

whatever you want (scales, rudiments, songs, etc.) Just make sure you have the

metronome click-clacking away while you do it! Using a metronome is also the best way

to get really good at the subdivision practice routine from the previous section.

Here is the biggest commitment I need you to make: be ruthless with yourself. If you getoff the beat, stop and pick it up when the beat comes back around. Don’t lie to yourself

and say you have it when you don’t. That attitude is extremely detrimental to you in the

long run. There’s no shame in getting off the beat, because there’s no shame in not being a

machine!

Even the pros get off track every now and again. Just be honest, stop, and pick the beat

back up. Practice makes perfect, but imperfect practice will only lead to greater

imperfection. Eventually, you’ll stop falling off altogether and your rhythmic confidence

will shoot through the roof.

How will I know when I’m doing it right?



You’re doing it right when you’re so spot on with the click track that you stop hearing it

altogether. Reaching that level will take some work, and most people won’t get it right

away, but when you do…it’s magical. Give me ten minutes a day and, you’ll be well on

your way to being a metronome master within a month or so.

“I don’t want to play to a click, I’ll lose the feel of my playing.”

I disagree. I felt the same way until I realized my excuse was simply masking my

hesitation for learning a new skill. If you don’t try, you can’t fail.

It was nonsense. The purpose of playing to a metronome is to develop the ability to play in

such refined, precise time that you don’t lose any of your feel, instincts, or the human

element that can make music so special, but still play flawlessly in time. Practice enough

and the sound of the metronome will fade to background noise, and eventually your ears

and your muscle memory will forget it was ever there.

Develop impeccable timing with a metronome and you’ll eliminate much of the fear ofrecording or playing live to a click track, and you’ll have a deeper understanding of

rhythm and how to practice it. Furthermore, you’ll better understand how subdivisions

sound and feel.

There are always exceptions, of course. There are times when playing with a metronome

could be inappropriate. Playing live is the most obvious example.

As I mentioned earlier, using a metronome live is up to the performers. Some can’t live

without it, some hate it with a passion. Plenty of musicians do use a click live though, andit’s a surefire way to take your live shows a to whole new level of tightness.

Some musicians prefer to have a more raw performance. I was recently chatting with

Xavier Muriel (the drummer for the rock band Buckcherry) and he mentioned how he uses

a click to start off each song and then turns it off a few bars in. For Buckcherry, this allows

them to make sure each song starts at the proper tempo but still leaves a rock n’ roll

element of looseness and spontaneity that really works for their style.

Xavier said when they did play to a click, it sounded too robotic and killed the life of theirsongs.

This is similar to actors who are obviously just waiting to say their lines, versus truly

being in the moment with other performers and playing off of the little hitches and ad libs

that can introduce such memorable, unplanned moments in film.

It’s definitely worth pointing out that even though Buckcherry chooses not to use a click

track when they perform, every musician in that band can play to a metronome perfectly.

Get good enough to give yourself the choice.

I’m constantly amazed by how many musicians completely lack the ability to play to a

metronome. Completely! These are commonly amateur musicians who have never



recorded in a professional setting and therefore haven’t yet realized how critical the skill

is.

It can be quite embarrassing when musicians think they can perform to a click track, are

thrust into a situation where they have to, and fail miserably. Anyone with good rhythm

knows quickly when someone can’t play in time. I’ve seen it and it’s not pretty. Don’t let it

happen to you!

Practice, practice, practice to a metronome and you’ll be a rhythmic superstar. Put in the

time now to get tight with a click and you’ll be way ahead of the curve. This skill will pay

massive dividends later and you’ll thank yourself continually for learning this early on.

Once more: Bad habits start early, but so do good ones!

When you’re playing in a studio, or in a live setting, there are so many elements you need

to focus on. If you’re comfortable playing with a metronome, you’ll be able to spend your

energy on all the other things that matter.



Chapter VI

CONCLUSION



So there you have it. Take a bow! Give yourself some wild applause (in perfect time, of

course).You’re officially a rhythmic expert.

If you haven’t taken any of the quizzes at the end of each core section, I’d encourage you

to do so. They are designed to reinforce the content and help you retain the information.

There’s also a companion website I created to go along with this book. You can find it at

www.adpsound.com/book. It has audio versions of all of the examples we’ve seen so you

can hear them, instead of just seeing them. After all, what is rhythm if we can’t hear it?

Last but not least, thank you for purchasing this book. It is my hope that you’re a better

musician for it. Now go forth and use your newfound knowledge to write great songs,

grow as an artist, and deepen your passion for music.




GLOSSARY



8th Note - Note which is one eighth the duration of a whole note.

16th Note - Note which is one sixteenth the duration of a whole note.

32nd Note - Note which is one thirty-second the duration of a whole note.

64th Note - Note which is one sixty-fourth the duration of a whole note.

BPM - Beats per minute; how we measure the speed of a musical piece.

Complex Meter - Any meter which is not simple or compound.

Compound Meter - Meter in which each beat is divisible by three.

Duple Meter - A rhythmic pattern with the measure being divisible by two.

Half Note - Note which is half the duration of a whole note.

Meter - How we measure time in a musical piece.

Metronome - A device that makes repeated clicking sounds and can be adjusted to

different tempos; used for marking rhythm, especially when practicing or recording. Also

known as a click track.

Quadruple Meter - A rhythmic pattern with the measure being divisible by four.

Quarter Note - Note which is one quarter the duration of a whole note.

Rest - A symbol standing for a musical break with a specified duration.

Simple Meter - Meter in which each beat is divisible by two.

Subdivisions - The individual notes used to break up a measure so it can be more easily

understood.

Tempo - The speed at which a piece of music is performed.

Time Signature - A symbol indicating the meter of a composition.

Triple Meter - A rhythmic pattern with the measure being divisible by three.

Whole Note - Note with a value of one whole measure in 4/4.



ANSWER KEY



Tempo Quiz

1. C

2. B

3. A

4. B

5. A, B, D

6. A, B, C, D

7. B

Meter Quiz

1. D

2. C

3. B

4. B

5. C

6. A, C, D

7. C

Subdivisions Quiz

1. A

2. C

3. B

4. A

5. D6. B

7. B



ABOUT THE AUTHORS



Dallas Dwight is an author, music producer, composer and multi-instrumentalist who fuels

his burning passion for music by teaching and helping others learn and grow as musicians.

As a guitarist, he has played on hundreds of recordings and performed throughout the

United States for thousands of people. He is one of the co-founders of ADP Sound, a

music production facility in Charlotte, North Carolina.

Ashton McCombs started playing drums in his early teens and hasn’t looked back since.Inspired by Chad Smith (Red Hot Chili Peppers), Ashton continues to work towards

bettering himself as a musician. He is the other co-founder of ADP Sound. His passion for

business, is only matched by his passion for music and video games.

They currently live in Charlotte, North Carolina.

You can personally email Dallas or Ashton with any questions regarding this book or

anything else at [email protected] or [email protected].

mailto:[email protected]

mailto:[email protected]

rhythmic genius - dallas dwight

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