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Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)

By Nathan Petitpas - Dots and Beams

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Piano Solo, Easy Piano, Organ, Harpsichord, Flute, Oboe, Clarinet, English Horn, Bassoon, Alto Sax, Tenor Sax, Baritone Sax, Soprano Sax, Trumpet, Trombone, Tuba, Horn in F, Euphonium, Violin, Viola, Cello, Double Bass, Timpani, Drums, Marimba, Vibraphone, Xylophone, Multi-Percussion, Drum Set, Hand Percussion, Voice, Soprano Voice, Alto Voice, Tenor Voice, Baritone Voice, Bass Voice, Guitar, Bass Guitar, Ukulele, Banjo, Harp, Handbell, Harmonica, Orff instruments, Soprano Recorder, Alto Recorder, Tenor Recorder, Baritone Recorder, All Instruments - Easy/Beginner - Digital Download
Composed by Nathan Petitpas - Dots and Beams. Method, Etudes and Exercises, Classroom, General Instructional, Technique Training. 137 pages. Published by Dots and Beams (S0.613897).

Item Number: S0.613897

Thiscollection presents its user with a series of increasinglydifficult rhythmson a single pitch.

Therhythmic material in this series is organized into 10 difficultylevels. Eachdifficultylevelcontainsfourexercises in each of the following time signatures: 2/4, 3/4, 4/4,6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per barin both simple and compound meters. Thefirst two exercises of each time signature haveno ties while the remaining twoexercises in each time signature include ties. InBook 1 of this series you’ll find difficulty levels 1 to 5, whileBook 2 completesthe set with levels 6 to 10.

Theexercises in this collection are intentionally random and difficultto internalize. They don’t follow any predictable or standard“groove” pattern, but instead are random successions of eighth-and sixteenth-note groupings within the prescribed difficulty level.In keeping the rhythmic material as unpredictable as possible thedoor is left open for the materials to be used in conjunction withany number of exercises, while forcing the user to process everyrhythm as its own event without relying on pattern recognition tohelp in identifying the rhythms.

Tocurate the difficulty of rhythm in as objective a way as possible Ilooked at all of the possible eighth-note and sixteenth-notegroupings within the basic unit of one beat. Each difficulty levelbuilds on the exercises of the previous by adding groupings that areslightly more conceptually challenging. Difficulty Level 9 containsall possible groupings, while Level 10 focuses on the morechallenging groupings by omitting easy ones.

Somesuggestions for how to use this book include:

  • Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material.

  • Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time.

  • Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless.

  • Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice.

  • Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises.

  • Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own.

  • Combine the above exercises in any way that you think will be beneficial to your practice.

Aswith any of the Dots and Beams books, the uses for this particularcollection are limited only by the imagination of the musician usingit. I encourage anybody using this book to find as many uses forthese exercises as possible.

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