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Rhythmic Scale

Rhythm has its own concept of scale. Rhythmic groupings have a distinct "personality" Learn how each sounds over the quarter note using first the singles then getting a feel for the doubles.

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838 views5 pages

Rhythmic Scale

Rhythm has its own concept of scale. Rhythmic groupings have a distinct "personality" Learn how each sounds over the quarter note using first the singles then getting a feel for the doubles.

Uploaded by

escanquema
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Rhythmic Scale

JUST as melodies are based around scales, rhythm has its own concept of scale. There are several ways of using this page. To start, I would recommend setting a metronome to about 60 BPM and practicing on a pad until you can flow through the a lines, which are single strokes. (above the line is your dominant hand, below is your non-dominant). Remember, all odd-numbered groupings will alternate from hand-tohand every beat. When you feel the lay of the rhythm, progress to the b line, which consist ofdouble strokes.
= 60-80

Rhythmic Scale continued

Each rhythmic grouping has a distinct personality. Learn how each sounds over the quarter note using first the singles then getting a feel for the doubles. One thing you should pay attention to in the odd-numbered groupings is the sequence in which the stickings occur. Over the threes and sevens, the hand pattern that occurs on downbeats (the 1st note of each grouping) will be as follows (assuming you are starting on the Right hand) 1st Right, 2nd Left, 1st Left, 2nd Right. In further expansions of scale this pattern
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will apply to 11s and 15s. Over groupings of five the pattern is this: 1st Right, 2nd Right, 1st Left, 2nd Left. In further expansions of scale the fives pattern will apply to 9s and 13s.

Drumset Variations
Here are the rhythms in some very basic beats. All beats are in 4/4 time unless otherwise noted. 8th notes in a rock pattern

8th Note triplets in a blues pattern

Sixteenth notes in a funk pattern

Quintuplets

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However complicated the groupings of 6,7, & 8 sound, they are actually quite easy. Look at the stickings of the following: Sextuplets- RLRRLR BLRRLR

Septuplets- RLRRLRR LRRLRRL

And here is the slower version of that example.

sound files for the creation of this, I made a mistake in an edit. It turned out to be a really cool little intro thing in 5/8 time with a 32nd note triplet at the end! So, being that I wanted the challenge I decided to transcribe it and pass it on to you! Lets examine: Notice the 5 groupings of 16th note brackets over the notes. (Each 8th note contains 2 16th notes) The triplet at the end is more felt than played. But definitely NAIL that last note! The sticking is this: [: F ; RR L RR ; LRRL RLLL R; ; :] (; = a 32nd rest and remember the triplet at the end!!) A count I like to use on this is: Ex- 1 da E da & da AH da 2 da E da & da AH da 3 da E (or 3 trip-let.)

The octuplet example here has a very interesting beginning. When I was editing

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Take note of how the PRIMARY 16th note count in the above illustration relates to the extended count example above. Heres Octuplets- RLRRLRRR LRRLRRLL

And heres the slow version of the above example. All the sound files can be downloaded Here.

Other Possibilities
Mixing these rhythms is also a great thing too! If this is something youre into then look for the rhythmic relations lesson. Im sure youll find it equally as expanding. Use the rhythms in a double-bass pattern.

Conclusion
All in all these are great ways to expand your horizons and develop your sense of time in a more keen and acute manner. You will notice a boost in creativity. I must caution you though- These rhythmic devices are Dangerous. They can make your gig go away. So that being said, I assume NO responsibility for any loss you suffer by playing groups of 7 over the guitar solo. Now that Ive said that in your interest, let me speak on My behalf. The sounds and MP3 files are the sole property of Bill Ray and DrumLessonsOnline.com. They are not to be duplicated, sampled, or copied in any way other than their sole intended purpose. My written permission is required for any musical alterations or augmentations. Make a copy for your practice session. Enjoy it. Give it to your guitar player so he can figure it out and get comfortable with the concept. Just remember- learn how to play it yourself and it will be that much more gratifying. www.drumlessonsonline.com
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