dotted 8th & 16th rhythms
-D-
& 16th rhythms. A drill I'm practicing suggests playing the passages both
as legitmate and as a triplet feel. I'm having trouble properly playing the
difference between the two.
So as an example, you would play a measure as 1-a-and-ah / 2-a-and-ah /
3-a-and-ah / 4-a-and-ah only picking on the 1st and last beats in the
dotted 8th and 16th note sequence. When I try to play both the legitmate
and triplet feel for the passages, it sounds the same. I know the triplet
feel should sound more legato compared to a more jerky sound playing the
legitmate notation. I was looking online for a sample audio clip, so I
could hear the difference on how they are played. Anyone know where I might
be able to find a sample clip of this rhythm?
-D-
Cathy Cowette
news:8bOdnVRhDcN...@centurytel.net...
Triplets would be three even notes per beat, like: 1 2 3, 2 2 2, 3 2 3, 4 2
3. If you're playing in 4/4 time, there are four beats to each measure.
Notice the first number in each set of numbers represents a beat in the
measure.
I've always taught my younger students that dotted 8th followed by a 16th
note is comparable to the nursery rhyme: Humpty dumpty, with hump and dump
being held longer.. HUMPty DUMPty. It seems to work for the kids.
Cathy
http://www.cathycowette.com
-D-
Thanks for replying to my post. I might not have explained my question
properly. I'm learning using the Berklee Series - Modern Method For Guitar
Volume 1 by William G. Leavitt. As you explained in your post, I'm
practicing a sequence in 4/4 time that has dotted 8th notes followed by a
16th note for a total of 8 notes in a measure. Your suggestion of using the
HUMPty DUMPty as a way to count the dotted 8th note followed by the 16th
note is a great idea...thank you!
In the sequence it also says to play the dotted 8th note followed by a
16th note with a triplet feel for a smoother flowing sound. The sequence
I'm playing is on page 81 of the above mentioned book. So, when I try to
play the passages using a triplet feel, I don't get it? It describes
playing the dotted 8th note followed by a sixteenth note by playing it as a
triplet...i.e. "1-and-ah" but not picking on the "and". So the notes are
played more legato? At least that is what the book says? I hope I'm
explaining this correctly?
Both ways, it sounds the same when I play it. I was trying to find an
example so I could hear the difference. Am I making any sense in my
explanation?
Thank you again.
-D-
"Cathy Cowette" <ca...@cathycowette.com> wrote in message
news:Hmq4c.1899$CJ5....@newsread2.news.atl.earthlink.net...
^MisterJingo^
> Hi Cathy,
> Thanks for replying to my post. I might not have explained my
> question properly. I'm learning using the Berklee Series - Modern
> Method For Guitar Volume 1 by William G. Leavitt. As you explained
> in your post, I'm practicing a sequence in 4/4 time that has dotted
> 8th notes followed by a 16th note for a total of 8 notes in a
> measure. Your suggestion of using the HUMPty DUMPty as a way to
> count the dotted 8th note followed by the 16th note is a great
> idea...thank you! In the sequence it also says to play the dotted
> 8th note followed by a 16th note with a triplet feel for a smoother
> flowing sound. The sequence I'm playing is on page 81 of the above
> mentioned book. So, when I try to play the passages using a triplet
> feel, I don't get it? It describes playing the dotted 8th note
> followed by a sixteenth note by playing it as a triplet...i.e.
> "1-and-ah" but not picking on the "and". So the notes are played
> more legato? At least that is what the book says? I hope I'm
> explaining this correctly? Both ways, it sounds the same when I
> play it. I was trying to find an example so I could hear the
> difference. Am I making any sense in my explanation?
> Thank you again.
> -D-
>
I think I know what you are talking about. To use the idea of triplets
would it be the equivalent of letting two thirds of the triplet ring then
the third part is the other note? Unless it tells you to palm mute the 'and'
it should be ringing out? This shouldn't sound like a triplet its more:
deeeee de deeeee de deeeee. lol sorry about that, but its the best way to
get it across using text. You're right that if using a triplet, letting the
1 ring across the 2 and striking the 3 would sound just the same (unless
again palm muting is used.)
TO distinguish triplets my tutor has my play them in this rhythm: down up
down down up down down up down. There's a flowing motion and a distinct
aural difference from just alternate picking.
-D-
the third part is the other note...(the notation is a dotted 8th note
followed by the 16th note). Meant to have a triplet feel.
So, if I play the notes as written...i.e. 8th note followed by and 16th,
should there be a different feel when treating them as a triplet? No muting
is indicated.
Thanks.
-D-
"^MisterJingo^" <A@"myname".com> wrote in message
news:2Cs4c.15332$_%3.320...@news-text.cableinet.net...
Tony Meloche
Yep, except I used the words : HUN-gry, HUN-gry - result is the
same.
For triplet feel, I taught my students that in the same "time frame"
as HUN-gry
(let's say dotted eighth and sixteenth) a triplet (three eights in the
space of two) you would say: MICH-i-gan, MICH-i-gan instead of HUN-gry
HUN-gry.
The Old Guy
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Cathy Cowette
Triplets in that sense, striking the fist note and letting it ring over the
second, then striking the third not, will sound much like a dotted 8th
followed by a 16th. But you should concentrate on hearing the triplets in
your head, even though you aren't playing the second note. The reason for
doing this is probably to set you up for playing hammer-ons and pull-offs.
In the case of a hammer-on, they will teach you to strike the first note,
hammer a finger down on the next fret for the second note, then strike the
third note. They are attempting to make you hear the difference in your
head. So, you should count 1 2 3, but don't strike the string on the 2.
Strike it on the 1 and 3 and let the 1 ring over the two, all the while
counting 1 2 3.
Cathy
http://www.cathycowette.com
Ian
I don't know the book you're working from, but it doesn't sound like the
best advice to me.
In my experience there is a whole range a slight swing (often writen as just
as two 8 notes in a pair - I'll call this [8 8]) through a triplet (a
standard swing feel - which we'll call [8-3-8]), to a really harsh skip
(dotted 8 note followed by a 16 note - I'll refer to this as [8. 16] ).
Naturally we almost all fall into the triplet (Hun-gry, or Hump-ty or
whatever). And I can't remember ever having played a piece written [8. 16]
that wasn't played a little more [8-3-8] (actually I can, from my days in
orchestral percussion with a particularly strange conductor who obsessed
about it for one piece). That even goes for pieces that don't have a swing
feel: the [8. 16] is still played nearer [8-3-8] in practice.
Trying to hear the difference sounds like a waste of time to me, because
they aren't two options, they're part of a continuum. I would ignore the
book in this case, and instead follow the advice of other posters and try to
cultivate the 'feel' of the swing.
Email me at in...@fretfarm.co.uk and I can sand you a couple of midi files
with the different extremes. But I suspect they won't be any more
enlightening.
Ian.
---
http://www.fretfarm.co.uk
FretFarm: The Complete Reference for Guitar, Bass and Mandolin
Chords, Scales, Capo Settings, Modulations, Songwriting, Transposition and
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"-D-" <no...@nospam.com> wrote in message
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