Course 2: Intermediate Readers
Unit 4: Adding Sixteenths and Triplets
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Quarter-Value Sixteenth Notes
In 4/4 time, the beat and count are the same. In this exercise, the beats that are broken into 4 equal parts appear as a group of 4 sixteenth notes. Sixteenth notes have two beams or horizontal lines connecting the note stems. Notice how they are beamed together by beat to see what you feel as you perform.
Treble Clef,
Cmaj,
4/4
In 4/4 time, the beat and count are the same. In this exercise, the beats that are broken into 4 equal parts appear as a group of 4 sixteenth notes. Sixteenth notes have two beams or horizontal lines connecting the note stems. Notice how they are beamed together by beat to see what you feel as you perform.
Counting Sixteenth Variations
This exercise shows different ways the four divisions of the beat can be mixed and matched. Study this exercise carefully while trying to feel the 'motor-rhythm' feel of constant sixteenth notes. The most common rhythm reading method gives each of the 4 sixteenth notes its own sound: "1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a".
Treble Clef,
Cmaj,
4/4
This exercise shows different ways the four divisions of the beat can be mixed and matched. Study this exercise carefully while trying to feel the 'motor-rhythm' feel of constant sixteenth notes. The most common rhythm reading method gives each of the 4 sixteenth notes its own sound: "1-e-&-a 2-e-&-a 3-e-&-a 4-e-&-a".
Dotted-Quarter-Two-Sixteenths
When you first encounter it, the two sixteenths sitting alone may look odd (measure 2), but they are only taking the eighth note value and breaking it with an "&-a" rhythm count. The mi-fa-mi is timed exactly at the same time as the first measure for reference.
Treble Clef,
Cmaj,
4/4
When you first encounter it, the two sixteenths sitting alone may look odd (measure 2), but they are only taking the eighth note value and breaking it with an "&-a" rhythm count. The mi-fa-mi is timed exactly at the same time as the first measure for reference.
Eighth-Note Triplets
When meter first divides the beat into two equal parts, we need special notation with the number 3 to indicate three evenly timed notes in the same time that two would have existed. Not to be confused with solfege, we read the rhythm in measure one as: 1 & 2 & 3-ti-ta 4, evenly distributing "3-ti-ta" across the time of one beat. The first system is grouped by beat for clarity, but the second system is also notated correctly.
Treble Clef,
Cmaj,
4/4
When meter first divides the beat into two equal parts, we need special notation with the number 3 to indicate three evenly timed notes in the same time that two would have existed. Not to be confused with solfege, we read the rhythm in measure one as: 1 & 2 & 3-ti-ta 4, evenly distributing "3-ti-ta" across the time of one beat. The first system is grouped by beat for clarity, but the second system is also notated correctly.
Switching Sub-Divisions
This exercise forces you to navigate beats sub-divided by sixteenths (in sets of fours) to triplet eighth notes (in sets of threes.) Having flexibility to feel the shift of timing when you need the sets of threes will bring you new levels of reading mastery.
Treble Clef,
Cmaj,
4/4
This exercise forces you to navigate beats sub-divided by sixteenths (in sets of fours) to triplet eighth notes (in sets of threes.) Having flexibility to feel the shift of timing when you need the sets of threes will bring you new levels of reading mastery.
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