![]() What I am saying, in short, is that every beat needs another beat to give the first beat meaning in a rhythm. If you’re confused, I completely understand. So, there really is no “1” – there really is only “1 + something”. ![]() It only means something when placed in context with another beat. Every beat is just a sound, an isolated sonority, when it is alone. Rhythmic diversity is very important in music, but there really is no such thing as “1 over something” in rhythm. One of the most perplexing time signatures I encounter from time to time is “1 over something” – i.e. The overview and math (I promise not too much of either!) This is not meant to replace regular counting, but rather act as an additional tool to help you quickly and easily internalize challenging rhythms.īy the end of this article, you’ll understand how to apply this method of subdivision to a variety of simple and complex time signatures in order to internalize, read, and play through seemingly-complicated meters, beats, and patterns. ![]() There are several ways to simplify complex rhythms, and one of the most versatile ones is to reduce them into groups of 2’s and 3’s. Though complex rhythms are one of the most initially intimidating elements we come across when learning music, if you sit with them for a little bit, you’ll notice you can break them down into smaller components to better understand and play the tricky passages. We’ve all had to learn a passage of music where the rhythm seemed simply impossible to nail – maybe it was in a bizarre time signature, or perhaps there were indecipherable flurries of sixteenth notes and rests that were hard on both the eyes and the hands. ![]()
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